Saisonkonzert 3 - Ombra e Luce - Sreten Manojlovic, Dorothee Oberlinger

At the beginning, there is chaos. With the first twelve-tone chords, three centuries before Schönberg, the Frenchman Jean-Féry Rebel ignited a musical big bang in his ballet music "Les Élémens." Dorothee Oberlinger, the "prima donna assoluta" of the recorder, along with the "basso profondo" Sreten Manojlovic and CAMERATA, ventures into the shadowy realms of the world, only to find their way back into the light from there, returning to the baroque repertoire of CAMERATA's founding period.

In Handel's Italian version of Ovid's "Acis and Galathea," Manojlovic, as the Cyclops Polyphemus, delves into the deepest realms of darkness before erupting in furious desire for the nymph Acis—now in Handel's English-language setting. Meanwhile, Oberlinger ascends to brighter spheres with an organ concerto by Handel, adapted for the recorder, and dreams away with a version of John Cage's "Dream."

The night beckons again as Oberlinger and CAMERATA illuminate it with Vivaldi's concerti, featuring atmospheric harmonies and lively melodies. In Heinrich Ignaz Franz Biber's Ciacona from the "Nachtwächter" serenade, composed in Salzburg in 1673, CAMERATA evokes the nocturnal scene: "the instruments are all played without bows as on the lute ..., namely the violins under the arms." This mirrors how music was once played on Salzburg's streets at night, and not only there. A march from Boccherini's "Musica notturna" recorded in Madrid also resounds.

Sreten Manojlovic envelopes those falling asleep in Morpheus' arms with Lully's lyrical tragedy "Atys," and conjures the nocturnal spirits of the Arthurian legend from Purcell's semi-opera "King Arthur" with a shadow aria. Another melody from England serves as the foundation for variations by the Dutch flute master Jacob van Eyck in his "Fluyten Lust-hof," where Oberlinger transforms into a nightingale.