"Musik Mania"

George Weston Recital Hall

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In a Nutshell

Violinist Cecilia Bernardini leads the orchestra through an evening of baroque compositions that explore themes of chaos and insanity

The Fine Print

Promotional value expires Oct 6, 2015. Limit 8 per person. Valid only for option purchased. Redeem 10/6 for a ticket at the venue's Groupon greeting table. Refundable only on day of purchase. Must purchase together to sit together. Customers may not select their own seats. Discount reflects merchant's current ticket prices-price may differ on day of the event. For ADA seating, call box office promptly upon receipt of voucher - availability is limited. Ticket value includes all fees. Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services.

The Deal

  • $39.50 for orchestra seating (up to $87.75 value)
  • $28 for rear orchestra or balcony seating (up to $63 value)
  • $18.50 for loge seating (up to $43.50 value)
  • Click here to view the seating chart

Musik Mania

Dutch-Italian violinist Cecilia Bernardini directs a program of hidden baroque gems with Tafelmusik.

  • Zelenka—Hypochondria in A Major: In the 18th century, the term hypochondria referred to an imbalance of the bodily humours. That theme enters this piece as a hale and hearty A major melody is repeatedly punctured by a melancholic A minor theme, whooshing back and forth between optimistic and depressive moods.
  • Geminiani—Concerto grosso La Follia: The follia, or “empty-headed,” theme repeats blissfully throughout the bass section as a violin part is fortified between two musicians. And since this work was written by Francesco Geminiani, who popularized the concerto grosso genre, audiences can rest assured that they’ll leave with their heads feeling plenty full.
  • Bach—Brandenburg Concerto No. 4: One of six orchestral pieces dedicated to Margrave Christian Ludwig of Brandenburg in 1721.
  • Vivaldi—Concerto in F Major: Bearing the subtitle “the world turned upside-down,” Vivaldi’s madcap concerto gives the bass line to the violin and the melody to the cello, then drops the cello part an octave lower than any other instrument to create a disorienting effect that’s further tweaked by complex, multi-layered solos.
  • Telemann—Overture in G Major La Bizarre: Chaos reigns in this orchestral suite as the second violins twitter madly throughout the opening, then interrupt the first violins just as those leaders seem to take the reins. In fact, close-listeners may notice the second violins never quite pick up the theme, instead inviting the violists in on their wild romp.
  • R. Keiser—Sinfonia from Der lächerliche Prinz Jodelet: Reinhard Keiser is perhaps best known for his influence on Handel, who moved to Hamburg to play in the master’s opera orchestra. In this musical farce of folk melodies, the German composer follows a mischievous tramp mistaken for a fugitive prince.

Tafelmusik Baroque Orchestra and Chamber Choir

Praised by the Toronto Star as “one of the world’s top period-performance orchestras,” the Tafelmusik Baroque Orchestra dazzles music fans with an aural kaleidoscope of euphony. Based out of Toronto's imposingly grand Trinity-St. Paul's Centre, the group comprises a choir of angel-voiced singers and a virtuosic chamber orchestra that are dedicated to authentic period performance. An intense commitment to accuracy leads the musicians to adopt centuries-old performance techniques, such as playing only instruments styled after 18th century versions.

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