Every year we perform Bach’s Matthew Passion in the days leading up to Easter and every year we discover its riches anew. This extraordinary retelling of the passion story has the power to move and inspire us like no other, a journey that is by turns heartrending and uplifting from the opening chorus to the last. This year, we welcome back Kristian Bezuidenhout, a central figure in the field of historically informed performance, to direct Dunedin Consort in our revelatory one-per-part interpretation.
So named because they were dedicated to the Margrave of Brandenburg in 1721, Bach’s six Brandenburg Concertos contain some of the most sumptuous and virtuosic instrumental writing in all of his output. Each is composed for a different line-up, from the intimacy of concertos 3 and 6, composed for strings alone, to the bombastic splendour of Nos. 1 and 2, with their blazing trumpet and horns. Join us as we explore these astonishing instrumental jewels, presented in their entirety (in Edinburgh and Madrid), alongside two of Bach’s best-loved alto cantatas with soloist Meg Bragle (in Philadelphia and Washington), and with our wind soloists taking centre stage (in Perth and Glasgow).
‘For all the debates on historically informed performance, the most persuasive aspect of this concert was the sheer sense of joy’ — The Times
Dunedin Consort returns to Perth Concert Hall for an inspiring lunchtime concert, featuring Bach’s extraordinary Brandenburg Concerto No. 6. Cecilia Bernardini takes centre stage as the soloist in ‘Autumn’ from Vivaldi’s Four Seasons, and the programme is completed by Handel at his most brilliant in two of his Op 6 Concerto Grossi.
‘For all the debates on historically informed performance, the most persuasive aspect of this concert was the sheer sense of joy’