The leading representatives of historically informed performance not only play the music of bygone centuries in an authentic fashion on contemporary instruments, they also delve deep into libraries and archives in search of long-neglected treasures. This concert by György Vashegyi, the Purcell Choir and the Orfeo Orchestra exemplifies how first discovering musical riches is integrally connected to later presenting these as-of-yet unfamiliar works: more than half of the pieces on this concert programme are now receiving their first modern interpretation.
A significant number of these originate from the material in the Esterházy collection kept at the Széchényi Library. Most of the scores were published by Ágnes Pintér and Augusztin Szokos, members of the Purcell Choir and Orfeo Orchestra and winners of scholarships from the Hungarian Academy of Arts. Vashegyi has woven the programme for the evening into two threads, interspersing oratorio overtures by Gregor Joseph Werner - Haydn's predecessor in the service of the Esterházy family - with three ...Salve Reginas: two by Werner himself, the other by Haydn's contemporary Johann Georg Albrechtsberger. Of special interest is the number closing the concert: Werner's 1729 Salve Regina, which the conductor discovered only recently in the collection of Dresden's Sächsische Landesbibliothek. Vashegyi believes that this work served as a model for one of Haydn's most important works: the 1771 Salve Regina that he wrote in the same key. It is well worth paying particular attention to Werner's output: although posterity has unjustly relegated him to the role of Haydn's jealous rival, he was in fact a composer of exceptional magnitude. The Hungarian singers at the concert - Csilla Kovács, Eszter Balogh and Attila Varga-Tóth - are talented young artists, while Christian Immler, a former alto with the Tölzer Knabenchor, is one of the finest bass-baritones working with the Baroque repertoire today.
Presented by: Müpa Budapest
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