Divine Geometry

Baroque brilliance and minimalist mastery

‘Divine Geometry’ explores the fascinating connections between Baroque music and minimalism, and exemplifies the Baltic Sea Philharmonic’s unique way of giving audiences a fresh perspective and a new kind of concert experience. The programme connects the past to the present by merging Baroque sensuality and minimalist modernism. It begins with one of the supreme monuments of the Baroque era, Bach’s Chaconne from the Partita No. 2 in D minor for solo violin, BWV 1004, in a contemporary orchestration by Arman Tigranyan. Music by another Baroque great, Handel, has been given a sparkling reinterpretation by conductor and composer Kristjan Järvi in Too Hot to Handel. Drawing from Handel’s Op. 3 and Op. 6 concerti grossi, this piece bridges orchestrations of Handel with original music by Järvi, and includes electric bass and electric piano in the scoring. ‘It’s kind of a Handel journey,’ says Järvi. ‘I hope that audiences don’t see it as an old piece, but as a new piece by Handel, just written in the 21st century.’

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The Baltic Sea Philharmonic’s programme at the Usedom Music Festival adds another minimalist icon into the mix – Steve Reich. His Music for Ensemble and Orchestra (2018) was co-commissioned by the Baltic Sea Philharmonic together with the New York Philharmonic, the Los Angeles Philharmonic, the San Francisco Symphony, the London Symphony Orchestra and the Sydney Symphony Orchestra. Reich’s first orchestral work in more than 30 years, Music for Ensemble and Orchestra will receive its German premiere at the Usedom Music Festival. Kristjan Järvi describes the piece as ‘essentially a modern concerto grosso’. He says, ‘Reich and Glass are writing in their own unique languages but you can hear the connections with Baroque music. This whole programme is a juxtaposition of the old and the new, and I think it’s a great marriage.’

Divine Geometry

Soloist of the tour & Concert Dates

Between the Bach and the Handel/Järvi, American pianist Simone Dinnerstein makes her debut with the Baltic Sea Philharmonic in the Piano Concerto No. 3 by master minimalist Philip Glass. Composed in 2017 for Dinnerstein, who is renowned for her interpretations of Bach’s keyboard works, Glass’s concerto is scored for piano and strings, a combination that has been rarely used since Bach’s time.

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