Ars Lyrica’s 2018/19 season finale travels from Brandenburg to Esterházy, with Bach’s two remaining concertos and a concerto by Franz Joseph Haydn. The second “Brandenburg” concerto offers the set’s oddest combination of soloists - recorder, oboe, violin, and trumpet - while the fourth is a stealth concerto, ostensibly for violin and two recorders, though the violinist leaves everyone in the dust.
Baroque violinist Ingrid Matthews joins harpsichordist and artistic director Matthew Dirst at center stage, along with Paul Leenhouts (recorder), Kathryn Montoya (Baroque oboe), and Nathaniel Mayfield (natural trumpet).
Ars Lyrica’s 2018/19 season finale travels from Brandenburg to Esterházy, with Bach’s two remaining concertos and a concerto by Franz Joseph Haydn. The second “Brandenburg” concerto offers the set’s oddest combination of soloists - recorder, oboe, violin, and trumpet - while the fourth is a stealth concerto, ostensibly for violin and two recorders, though the violinist leaves everyone in the dust.
Baroque violinist Ingrid Matthews joins harpsichordist and artistic director Matthew Dirst at center stage, along with Paul Leenhouts (recorder), Kathryn Montoya (Baroque oboe), and Nathaniel Mayfield (natural trumpet).
Ars Lyrica’s 2018/19 season finale travels from Brandenburg to Esterházy, with Bach’s two remaining concertos and a concerto by Franz Joseph Haydn. The second “Brandenburg” concerto offers the set’s oddest combination of soloists - recorder, oboe, violin, and trumpet - while the fourth is a stealth concerto, ostensibly for violin and two recorders, though the violinist leaves everyone in the dust.
Baroque violinist Ingrid Matthews joins harpsichordist and artistic director Matthew Dirst at center stage, along with Paul Leenhouts (recorder), Kathryn Montoya (Baroque oboe), and Nathaniel Mayfield (natural trumpet).