- Boston Baroque
Boston Baroque, the oldest continuing
period instrumentorchestra in North America, was founded in 1973 by the American harpsichordist and conductor, Martin Pearlman, to present concerts of the Baroque and Classical repertoire on period instruments, drawing on the insights of the historical performancemovement.
The Boston Baroque professional chamber chorus was established as an integral part of the ensemble in 1981.
With Mr. Pearlman as its music director, the ensemble presents an annual subscription concert series in Greater
Boston, Massachusetts; has performed on tour in Carnegie Hall, Chicago's Shubert Theatre, Los Angeles's Disney Hall, and at the Ravinia and Tanglewoodfestivals; and has toured internationally.
The orchestra, originally named "Banchetto Musicale", was renamed Boston Baroque in 1992, when
Telarc Records, in its first commitment to a period-instrument orchestra, signed the ensemble to produce a series of recordings of major Baroque and Classical repertoire for international commercial distribution.
As of 2007, there are eighteen recordings in the series, three of which have received
Grammynominations. These recordings are distributed in thirty countries worldwide and are broadcast on classical radio in North America, South America, Europe, and Asia.
Boston Baroque is the resident professional ensemble for
Boston University's Historical Performance Program, where it is helping to train the next generation of period-instrument performers.
*Boston's period-instrument premiere of
Handel's Messiahin 1981.
*American premiere of the opera
Zoroastreby Jean-Philippe Rameauin 1983.
*Boston’s first period-instrument performances of the complete concertos of
Johann Sebastian Bachin 1984-1985 to mark Bach’s Tercentenary.
*American period-instrument premiere of
Mozart's Don Giovanni, broadcast nationally on public radio in 1986.
*American period-instrument premieres of Beethoven's Seventh Symphony and Violin Concerto in 1987-88
*Boston’s period-instrument premiere of
Joseph Haydn’s The Creation in 1989.
*Modern world premiere of "
Der Stein der Weisen" ("The Philosopher's Stone") in 1998, a Singspielcollaboratively written by members of Mozart's circle--with the likely participation of Mozart himself--which sheds new light on the composition of The Magic Fluteone year later.
*Boston's first complete cycle of the three surviving
Monteverdioperas (semi-staged in 2001-2003) with new performing versions of L'Incoronazione di Poppeaand Il ritorno d'Ulisse in patriawritten by Martin Pearlman.
*Boston Baroque’s European debut, performing
Handel's Messiahin Krakowand Warsaw, Polandin 2003.
*Boston Baroque’s tour of the
Monteverdi Vespers of 1610to Walt Disney Concert Hallin Los Angeles, and the summer music festivals at Ravinia and Tanglewoodin 2004
*First professional Boston performances of
Luigi Cherubini's Requiem in C minor in 2005, a neglected work highly praised by leading composers of the day and favorably compared with Mozart's Requiem.
Boston Baroque has performed and recorded period-instrument performances of Bach’s
Brandenburg Concertos, Handel’s Messiah, Purcell’s Dido and Aeneas, Monteverdi Vespers of 1610, Bach’s Mass in B minor, Handel's Concerti Grossi, Op. 6, Gluck’s Iphigénie en Tauride, Mozart’s The Impresario& Mozart's Circle’s The Beneficent Dervish, Handel’s Music for Royal Fireworks and Water Music, Bach: The Complete Orchestral Suites, Mozart: Flute Concertos and Symphony No. 41"Jupiter", Vivaldi’s Gloria, Bach’s Magnificat, Cherubini’s Requiem in C minor (1816) & March funèbre (1820), Beethoven’s Elegiac Song ( Elegischer Gesang), Op. 118.
Boston Baroque has received three
Messiah, 1992: Best Performance of a Choral Work
Vespers of 1610, 1998: Best Performance of a Choral Work
Mass in B Minor, 2000: Best Performance of a Choral Work
Notable premiere recordings by Boston Baroque include:
period instrumentrecording of Mozart’s Requiem Mass in D minorin the completion by Robert D. Levin, in which Levin addresses the issues of instrumentation, grammar and structure raised by the traditional Sussmayrcompletion.
*Lost Music of Early America, the first and sole professional CD recording of American
Moravian Churchmusic—the first early American classical music. Martin Pearlman researched the music at the Moravian Music Foundation in Salem, N. Carolina, and chose and arranged the hymns into patterns appropriate for the Moravian Lovefeastor Liebesmahl, primarily a song service with hymns, psalms and anthems. Included are Lovefeasts for Christmas, Lent and Thanksgiving.
*The Philosopher's Stone, (Der Stein der Weisen), 1790, a collaboratively composed
Singspielwith a story based on the same set of fairy-tales from which The Magic Flutewas drawn, which attracted renewed attention in 1996, when musicologist David J. Buch discovered a previously unknown copy. Besides numerous correlations with Mozart’s final operatic work, The Magic Flute, which was written for the same company a year later, this copy of The Philosopher’s Stone suggested the likelihood of Mozart’s participation in the composition of more of the music than had been previously thought. Boston Baroque was chosen by David J. Buch to give the modern-day world premiere of The Philosopher‘s Stone. The work was presented in concert form in Boston’s Jordan Hall(1999) and recorded for Telarc.
period instrumentrecording of Luigi Cherubini's long neglected Requiem in C minor, which premiered on January 21, 1817, in a memorial concert below the abbey church of St. Denis to commemorate the anniversary of the executions of Louis XVIand Marie Antoinette. Though held in the highest esteem by Beethoven, Brahms, Berliozand Wagner, and performed widely in its own day, the piece fell into obscurity along with most of Cherubini's output by the end of the 19th century.
*Boston Baroque performed with
Mark Morrisand the Mark Morris Dance Groupin five performances of Henry Purcell's Dido and Aeneas, in Chicago and Ann Arbor, in 1996.
*Boston Baroque performed Boston's first fully staged production of
Alcesteby Christoph Willibald Gluckin a co-production with Opera Bostonat the Cutler Majestic Theatre in 2005
*Boston Baroque performed Handel's
Semele, in a fully staged production with Opera Bostonat the Cutler Majestic Theatre in February 2008.
*http://www.bostonbaroque.org/home.php Boston Baroque Website
*http://www.bach-cantatas.com/Bio/Boston-Baroque.htm Bach-cantatas.com: Boston Baroque
*http://ffaire.com/stein/parallels.html Parallels between The Philosopher’s Stone and The Magic Flute
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