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Articles / Reviews

  • April 27, 2018

    An Interview with Music Director Martin Pearlman and Brittany Ross from Boston Baroque on the release of the recording of the Biber Mystery Sonatas

    BR: You’ve mentored Christina (Day Martinson) since she studied at Boston University in the Historical Performance Program. Now that you have collaborated with her as concertmaster and in this recording, how has your relationship grown over the years and how has she evolved as a performer? MP: Christina was an extraordinary student when she came […]

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  • April 12, 2018

    Program Notes: Beethoven’s Fidelio

    “Of all my children, this is the one that caused me the most painful birth pangs and the most sorrows.” –Beethoven Beethoven first attempted to write an opera when he received a commission from Emanuel Schikaneder, the theater director who years earlier had written the libretto for Mozart’s The Magic Flute. Schikaneder’s libretto for Vestas […]

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  • February 26, 2018

    Program Notes: Telemann’s St. Luke Passion of 1744

    Buxtehude, Dixit Dominus Dieterich Buxtehude was best known in his day—and is still best known in ours—as a great organist whose music is standard repertoire for that instrument. Yet the majority of his output was for voice. More than a hundred cantatas, motets, and other vocal works have come down to us, although sadly his […]

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  • December 18, 2017

    Program Notes: New Year’s Eve 2017

    By Martin Pearlman

    Brandenburg Concerto No. 1 The first of the Brandenburg Concertos has the thickest, most complex orchestral sound of any of the six.  Here, Bach calls for an orchestra divided into three choirs of instruments–strings, woodwinds and brass–and appoints solo instruments within each group.  The string section of the orchestra includes a solo violino piccolo, a […]

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  • November 29, 2017

    Program Notes: Handel’s Messiah

    By Martin Pearlman

    One of the special challenges in performing Messiah year after year is to keep the work sounding fresh, as if one had just discovered it. When Boston Baroque gave the first Boston period-instrument performances of the complete oratorio in 1981, the work was still normally heard in this country in the relatively heavy, reverential style […]

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