Sibbe Live!: Baccano – Sibelius-museo Skip to main content

Sibbe Live!: Baccano

18.09.2024 19:00 – 20:00

Standard Price 15€ (+service fee)

Students/ pensioners/ children 12€ (+service fee)

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Baroque ensemble Baccano

Hanna Haapamäki, recorder
Anni Elonen, violin
Jussi Seppänen, cello
Eero Palviainen, lute

Eine kleine Bachmusik

J. S. Bach (1685-1750):

Aria from Goldberg Variations BWV 988
Kommst du nun, Jesu BWV 650 (Schübler Chorale)
Sarabande from solo cello series BWV 1007
Symphony from cantata Himmelskönig, sei willkommen BWV 182

Allegro from trio sonata BWV 529
Aria Wie furchtsam wanklen meine Schritte from cantata Allein zu dir BWV 33
Allegro frorm trio sonata BWV 529

Prelude from solo cello series BWV 1009
Aria Ein ungefärbt Gemüthe from cantata BWV 24
Wachet auf, ruft uns die Stimme BWV 645 (Schübler Chorale)
Die Seele ruht from cantata Herr Jesu Christ BWV 127
Sarabande from solo cello series BWV 1011
Chorale from cantata Komm, du süsse Todesstunde BWV 161
Duet Entziehe dich from cantata Meinem Jesum lass ich nicht BWV 124

The baroque ensemble Baccano, who uses period instruments, consists of some of Finland’s leading baroque musicians, and have been performing widely around Finland since 2003. Members of the ensemble have, together and separately, performed at several significant Finnish music festivals, and have participated in concerts around Europe as part of different ensembles, and also play as solo instrumentalists in early music orchestras in Finland.

Baccano has performed at Sastamala Gregoriana, the Crusell Music festival in Uusikaupunki, Rauma Festivo, Kaustinen Chamber Music Week, Kymijoen Lohisoitot, Hauho Music Festival and Lahti Organ Festival.

Recorder player Hanna Haapamäki is known as an active musician, who has performed both as a soloist and as a chamber musician in various ensembles and orchestras for early music. Hanna has been a soloist in, for example, Kymi Sinfonietta, Helsinki Baroque Orchestra and the Finnish Baroque Orchestra. Haapamäki is a member of the Baccano baroque ensemble and the Bravade recorder quartet, and she also plays the recorder and the traverso as a member in the Helsinki Baroque Orchestra and the Finnish Baroque Orchestra. Hanna Haapamäki has performed at countless music festivals both in Finland and abroad, for example in many European countries and in Japan. In addition to her work as a soloist and a chamber musician Hanna is also a founding member of Collegium Ry, whose purpose is developing the pedagogy of baroque music. Near and dear to her are also children’s concerts and concerts for assisted living homes and nursing homes. Haapamäki has also toured schools, kindergartens and nursing homes around Finland, spreading the joy of the recorder and baroque music.

Anni Elonen works in the music and culture field in a variety of assignments, for example, as a violinist, singer, teacher, educator and producer. She is a multifaceted musician, who enjoys taking the stage playing early music, entertainment music as well as pop-rock music. She tours regularly both in Finland and abroad, as a member of, for example, Helsinki Baroque Orchestra, the Finnish Baroque Orchestra, Baroque ensemble Baccano, Ensemble Un’altra ondata and Soria Duo & Band. Besides working as a musician Anni can be seen acting and hosting events especially for children and youth, and as a music pedagogy and audience development expert in different projects related to art education. Anni is both a founding member of Collegium ry, dedicated to develop baroque music pedagogy, and Kipinä Productions Oy, her company in the field of culture production and administration.

Jussi Seppänen studied cello at Tampere Conservatory, the Sibelius Academy and at Amsterdam Conservatory. He has been a member of the Finnish National Opera since 2004. Seppänen has worked as a baroque cellist in various ensembles, in addition to baroque ensemble Baccano the Finnish Baroque Orchestra, Helsinki Baroque Orchestra and trio Origo, and has recorded and held concerts both in Finland and around Europe.

Eero Palviainen started playing the lute at Turku Conservatory, and from there he moved to the Sibelius Academy as a first lute student in the soloists’ department, He continued his studies in 1987 under Hopkinson Smith at Basel Conservatory, where he earned his diploma in 1992. His solo repertoire reaches from early renaissance to late baroque, and he plays the renaissance lute, vihuela, archlute, theorbo, baroque guitar and baroque lute. Palviainen performs actively both in Finland and around Europe. He is one of the founding members of the Battalia ensemble and also plays In the Finnish Baroque Orchestra. Palviainen has visited many different ensembles, like L’Arpeggiata, Avanti!, The Harp Consort Freiburger Barockorchester and La Fenice. He has done album recordings and solo recordings for Yle (Finnish Broadcasting Company) and for television.

About the program:

Johann Sebastian Bach (1685-1750), who worked in Leipzig from 1723 until his death, worked not only as a Thomaskantor but also as a musical director in four churches. During the premiere year of the St Mathhew Passion, 1729, Bach was named leader of the Collegium Musicum, a musical association founded by Telemann at the turn of the century, where both visitors, local students and amateur musicians made music together with professional musicians. Bach played with this group every Friday in Zimmermans café. At the café concerts many of Bach’s chamber music and cembalo concerts were performed, often together with Bach’s sons Friedemann and Emanuel. The five volumes of cantatas composed by Bach for each Sunday and church holiday were also performed.

Unlike many of his contemporaries, Bach very precisely marked the desired instrumentation for his compositions. On the other hand, Bach loved arrangements. Arrangements and the reworking of compositions, as well as shifting the works to different keys, was a common practice during the Baroque period and these were not unusual for Bach, in relation to his own music or to the works of his contemporaries. Much of Bach’s chamber music exists in several different versions and instrumentations. The more than two hundred surviving cantatas, in particular, are a significant treasure trove in this respect. The master composer was clearly looking for different ways to express the same idea with different emphasis and timbre. With this reusage, Bach wanted to ensure that his best music would be heard more than once.

Text: Jussi Seppänen (translated from Finnish)

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