Performance Tuesday, April 8, 2014 | 7:30 PM

Akademie für Alte Musik Berlin

Zankel Hall
One of the most outstanding ensembles championing the authentic style of performing on period instruments visits Carnegie Hall. Akademie für Alte Musik Berlin’s program keeps things all in the family, performing Bach’s Orchestral Suite No. 1, with sparkling works by three composers on whom he had the greatest influence—his sons.


  • Akademie für Alte Musik Berlin


  • BACH Orchestral Suite No. 1
  • J.C. BACH Concerto for Harpsichord, Strings, and Basso Continuo in F Minor
  • C. P. E. BACH String Symphony No. 5 in B Minor, Wq. 182
  • C. P. E. BACH Concerto for Oboe, Strings, and Basso Continuo in E-Flat Major, Wq. 165
  • J. C. BACH Symphony in G Minor, Op. 6, No. 6

  • Encore:
  • HAYDN Finale: Alla breve from Symphony No. 3 in G Major

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.


  • Akademie für Alte Musik Berlin

    Founded in Berlin in 1982 and recognized today as one of the world's leading chamber orchestras, the Akademie für Alte Musik Berlin, or Akamus, enjoys a distinguished history of success. The ensemble, which performs regularly in Europe's leading musical centers, has toured throughout Asia, North America, and South America.

    Ever since the reopening of the Berlin Konzerthaus in 1984, the ensemble has enjoyed its own concert series in Germany's capital, and since 1994 has been a regular guest at the Berlin State Opera as well as the Innsbruck Festival of Early Music. Starting with the 2012-2013 season, Akamus also has established its own concert series at Munich's Prinzregententheater. Each year, Akamusperforms approximately 100 concerts, ranging from small chamber works to large-scale symphonic pieces, and performs under the artistic leadership of its concertmasters Midori Seiler, Stephan Mai, Bernhard Forck, and Georg Kallweit.

    Numerous guest conductors and soloists have worked with the Akademie für Alte Musik Berlin. For more than 25 years, the ensemble's partnership with the Belgian countertenor and conductor René Jacobs has produced many celebrated opera and oratorio productions. One of the most recent of these is an acclaimed recording of Mozart's Die Zauberflöte. The ensemble has also worked with conductors Marcus Creed, Peter Dijkstra, Daniel Reuss, and Hans-Christoph Rademann, and with soloists Andreas Scholl, Sandrine Piau, and Bejun Mehta.

    The international success of the Akademie für Alte Musik Berlin is highlighted by well over one million recordings sold to the public. Recording exclusively for Harmonia Mundisince 1994, the ensemble's CDs have earned many international prizes, including a GrammyAward, Diapason d'Or, Cannes Classical Award, Gramophone Award, and Edison Award. For its DVD production of Purcell's opera Dido and Aeneas, Akamusreceived the German Record Critics' Awardin 2009. For its recording of Telemann's Brockes-Passion, the ensemble was awarded the MIDEM Classical Award 2010 and the Choc de l'année. In 2011, the ensemble's recording of Mozart's Die Zauberflöte was honored with the German Record Critics' Award. The CD Friedrich der Grosse: Music for the Berlin Court was awarded the Diapason d'Orin 2012, and a recording of Handel's Agrippina was nominated for a GrammyAward in 2013. Recent CD releases under René Jacobs's direction have included the world premiere recording of Pergolesi's oratorio Septem verba a Christo and an acclaimed new interpretation of Bach's St. Matthew Passion. The latest addition to the orchestra's discography is a CD devoted to Carl Philipp Emanuel Bach, released to celebrate the 300th anniversary of the composer's birth and including his fascinating Magnificat.

    More Info


J. C. Bach's Symphony in G Minor, Op. 6, No. 6 (Allegro molto)
Akademie für Alte Musik Berlin
Berlin Classics

At a Glance

"If ever there was a family in which an extraordinary disposition for the same art seemed to be hereditary, it was certainly the family of Bach; through six successive generations, there were scarcely two or three members of it who had not received from nature the gifts of a very distinguished talent for music and who did not make the practice of this art the main occupation of their lives."

So wrote Johann Nikolaus Forkel, whose pioneering biography of Johann Sebastian Bach appeared in 1802. Forkel's assessment of the Bach dynasty was informed by his acquaintance with J. S. Bach's two eldest composer-sons, Wilhelm Friedemann and Carl Philipp Emanuel. Although both cut their musical teeth under their father's tutelage, they felt no compulsion to imitate his "learned," heavily contrapuntal style. Indeed, according to Forkel, both sons "confessed frankly that they had been necessarily obliged to choose a style of their own because they could never have equaled their father in his style."

The five pieces on tonight's program show how the "very distinguished talent for music" manifested itself in the works of three members of the Bach clan at the beginning, middle, and end of the 18th century. J. S. Bach's tuneful orchestral suite harks back to the dance suites of the 17th century. C. P. E. Bach's symphony and concerto reflect the influence of the passionately expressive empfindsamer Stil ("sensitive style") of the mid-1700s, while the cosmopolitan charm of Johann Christian Bach's music looks ahead to the Classicism of Haydn and Mozart.
Program Notes
This performance is part of Baroque Unlimited.