Under the title “Vienna at Night”, the original sound ensemble “Dolce Risonanza” from Austria presented three varied works by composers of the Viennese classical music.
Dachau - “Have you already seen Vienna at night?” Florian Wieninger, artistic director and contra-violonist of the original sound ensemble “Dolce Risonanza” opened the palace concert with this question. In Vienna in the 18th century, not only was the nocturnal street music a welcome source of income among well-known musicians, but also concerts in public places, so-called serenades, were held in better-off circles in the middle of the night.
In 2018, “Dolce Risonanza” made a guest appearance in Dachau, when the musicians played works by the Munich renaissance composer Orlando di Lasso. “Today, however, we brought you music from our homeland,” explained Wieninger, who, with his moderation, provided the audience, which is limited due to the distance rules, with exciting background information and contemporary reviews on the individual program items. Wieninger brings together interpreters who specialize in historical performance under the name “Dolce Risonanza”. This time mainly strings appeared in Dachau, supplemented by a fortepiano and percussion.
The ensemble began with the “Sinfonia Nazionale nel Gusto di cinque Nazioni a quatro Stromenti obligati”, KreD 18, by Carl Ditters von Dittersdorf.
In this work, the various national musical styles of the early classical period are caricatured.
So first the German sentence called “Andantino.
Tedesco “as a sedate striding allemande.
The composer exaggerated the “affected”, ie theatrical and dramatic style of the Italians, by having the orchestra repeat the same chord over and over again with a grand final gesture.
English dance culture
Ditters von Dittersdorf paid tribute to English dance culture in “Allegretto. Inglese “Tribute, a somewhat biased and rigid rondo phrase. Since the French music of this time was usually richly ornamented, the composer dedicated a mannered and over-ornamented minuet to the French. As an imitation of Turkish Janissary music, on the other hand, he juxtaposed stresses on every difficult time and military rhythm with an oriental-inspired melody on the violins.
After this humorous symphony, the ensemble performed the Concerto for Pianoforte and Orchestra in D major, Hob. XVII: 2, by Joseph Haydn, a work originally written for organ and one of Haydn's most famous concerts. The soloist Anton Holzapfel played on a replica of a fortepiano from the 18th century. This instrument sounds less rich in overtones than a modern grand piano, but very soft, round and vocal. The solo part of Haydn's piano concerto, mastered by Holzapfel with intellectual elegance, contains many virtuoso runs, charming twists and turns and elegant sequences, but the pianoforte was not always able to assert itself tonally against the sometimes sharp, direct orchestral sound. As an encore, the soloist played what is probably Joseph Haydn's most famous work:Variations on the birthday hymn "Gott get Franz den Kaiser", used today as the German national anthem.
In the last work, the Serenada Notturna KV 239 composed by Wolfgang Amadeus Mozart for the carnival, timpani provided a pompous, celebratory character.
Based on the baroque Concerti grossi, the orchestra in this serenade is divided into a “concertino” and a “ripieno” group.
In the last movement, the musicians had a special surprise in store for the audience: between the recurring rondo parts they played well-known melodies that no longer had much to do with Viennese classical music, such as the theme “Joy of beautiful gods spark” from Beethoven's Ninth Symphony or the “Radetzky March” by Johann Strauss.
In order to bring out the musical depth and seriousness of Mozart after “all the fuss”, so Wieninger, the ensemble played an excerpt from his opera “Idomeneo” as an encore.
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