Set on the shores of the River Tiber, Handel’s cantata O come chiare e belle stars an ancient River Tiber coaxed by the shepherd Olinto and goddess Gloria, to reinvigorate itself in a new era. Handel’s famous Water Music Suites were composed in 1717 to accompany King George I on an evening journey on the River Thames from Whitehall to Chelsea.

Set on the shores of the River Tiber, Handel’s cantata O come chiare e belle stars an ancient River Tiber coaxed by the shepherd Olinto and goddess Gloria, to reinvigorate itself in a new era. Handel’s famous Water Music Suites were composed in 1717 to accompany King George I on an evening journey on the River Thames from Whitehall to Chelsea.

This Bach at One is the first installment of Trinity’s Divine Muse series celebrating Saint Cecilia, whose spirituality and martyrdom have inspired countless works of art, literature, and music. Director of Music Melissa Attebury leads the Trinity Choir and the Trinity Baroque Orchestra in a tribute that includes Bach’s Komm, Jesu, komm; Gott der Herr ist Sonn und Schild, and Benjamin Britten’s Hymn to St. Cecilia — one of the best-known musical tributes to the saint. 

A concert of contrasts that opens with the delicate medieval music of Hildegard von Bingen and the gentle ebbs and flows of Caroline Shaw’s Entr’acte. Haydn’s Symphony is a whirlwind, while Mozart’s Clarinet Concerto encompasses sweetness, melancholy and drama—with a bit of cheekiness too. The concert ends with a beginning: the delightful overture to A Midsummer Night’s Dream, sending you home with a smile on your face.

A concert of contrasts that opens with the delicate medieval music of Hildegard von Bingen and the gentle ebbs and flows of Caroline Shaw’s Entr’acte. Haydn’s Symphony is a whirlwind, while Mozart’s Clarinet Concerto encompasses sweetness, melancholy and drama—with a bit of cheekiness too. The concert ends with a beginning: the delightful overture to A Midsummer Night’s Dream, sending you home with a smile on your face.

A concert of contrasts that opens with the delicate medieval music of Hildegard von Bingen and the gentle ebbs and flows of Caroline Shaw’s Entr’acte. Haydn’s Symphony is a whirlwind, while Mozart’s Clarinet Concerto encompasses sweetness, melancholy and drama—with a bit of cheekiness too. The concert ends with a beginning: the delightful overture to A Midsummer Night’s Dream, sending you home with a smile on your face.

The newly-established Smithsonian Academy Orchestra brings together top young early music professionals for a week of exploration of late eighteenth and early nineteenth century repertoire, using period instruments and tuning. Under the direction of School of Music Strings Literature Lecturer Kenneth Slowik, performers delve into classical performance practice and attend lectures by esteemed musicologists, deepening their understanding of the repertoire's historical context.

As a part of its inaugural project, the Academy Orchestra performs works by Haydn and Beethoven. The 33-piece ensemble mirrors the size of the ensemble that premiered Beethoven's Fourth Symphony, providing audience members a similar experience to those who witnessed its first performance in 1807. In addition to its performance at UMD, the Academy Orchestra will be performing at Cornell University, the Pennsylvania State University and the Smithsonian Institution.

The newly-established Smithsonian Academy Orchestra brings together top young early music professionals for a week of exploration of late eighteenth and early nineteenth century repertoire, using period instruments and tuning. Under the direction of School of Music Strings Literature Lecturer Kenneth Slowik, performers delve into classical performance practice and attend lectures by esteemed musicologists, deepening their understanding of the repertoire's historical context.

As a part of its inaugural project, the Academy Orchestra performs works by Haydn and Beethoven. The 33-piece ensemble mirrors the size of the ensemble that premiered Beethoven's Fourth Symphony, providing audience members a similar experience to those who witnessed its first performance in 1807. In addition to its performance at UMD, the Academy Orchestra will be performing at Cornell University, the Pennsylvania State University and the Smithsonian Institution.

The newly-established Smithsonian Academy Orchestra brings together top young early music professionals for a week of exploration of late eighteenth and early nineteenth century repertoire, using period instruments and tuning. Under the direction of School of Music Strings Literature Lecturer Kenneth Slowik, performers delve into classical performance practice and attend lectures by esteemed musicologists, deepening their understanding of the repertoire's historical context.

As a part of its inaugural project, the Academy Orchestra performs works by Haydn and Beethoven. The 33-piece ensemble mirrors the size of the ensemble that premiered Beethoven's Fourth Symphony, providing audience members a similar experience to those who witnessed its first performance in 1807. In addition to its performance at UMD, the Academy Orchestra will be performing at Cornell University, the Pennsylvania State University and the Smithsonian Institution.

The newly-established Smithsonian Academy Orchestra brings together top young early music professionals for a week of exploration of late eighteenth and early nineteenth century repertoire, using period instruments and tuning. Under the direction of School of Music Strings Literature Lecturer Kenneth Slowik, performers delve into classical performance practice and attend lectures by esteemed musicologists, deepening their understanding of the repertoire's historical context.

As a part of its inaugural project, the Academy Orchestra performs works by Haydn and Beethoven. The 33-piece ensemble mirrors the size of the ensemble that premiered Beethoven's Fourth Symphony, providing audience members a similar experience to those who witnessed its first performance in 1807. In addition to its performance at UMD, the Academy Orchestra will be performing at Cornell University, the Pennsylvania State University and the Smithsonian Institution.

Selections from The Magic Flute – Wolfgang Amadeus Mozart, arr. Joseph Heidenreich
Overture
“Der Vogelfänger bin Ich ja”
“Dies Bildnis ist bezaubernd schön”
“Du feines Täubchen nur herein”

Adagio from Serenade in Eb, KV 375 – Mozart

Selections from Don Giovanni – Mozart, arr. Josef Triebensee
Ouvertura
“Notte e Giorno a faticar”
“Là ci darem la mano”
“Gia la mensa è preparata”

Serenade in C minor, KV 388 – Mozart
I. Allegro
II. Andante
III. Menuetto in canone
IV. Allegro – theme and variations

Selections from The Magic Flute – Wolfgang Amadeus Mozart, arr. Joseph Heidenreich
Overture
“Der Vogelfänger bin Ich ja”
“Dies Bildnis ist bezaubernd schön”
“Du feines Täubchen nur herein”

Adagio from Serenade in Eb, KV 375 – Mozart

Selections from Don Giovanni – Mozart, arr. Josef Triebensee
Ouvertura
“Notte e Giorno a faticar”
“Là ci darem la mano”
“Gia la mensa è preparata”

Serenade in C minor, KV 388 – Mozart
I. Allegro
II. Andante
III. Menuetto in canone
IV. Allegro – theme and variations

Selections from The Magic Flute – Wolfgang Amadeus Mozart, arr. Joseph Heidenreich
Overture
“Der Vogelfänger bin Ich ja”
“Dies Bildnis ist bezaubernd schön”
“Du feines Täubchen nur herein”

Adagio from Serenade in Eb, KV 375 – Mozart

Selections from Don Giovanni – Mozart, arr. Josef Triebensee
Ouvertura
“Notte e Giorno a faticar”
“Là ci darem la mano”
“Gia la mensa è preparata”

Serenade in C minor, KV 388 – Mozart
I. Allegro
II. Andante
III. Menuetto in canone
IV. Allegro – theme and variations

Selections from The Magic Flute – Wolfgang Amadeus Mozart, arr. Joseph Heidenreich
Overture
“Der Vogelfänger bin Ich ja”
“Dies Bildnis ist bezaubernd schön”
“Du feines Täubchen nur herein”

Adagio from Serenade in Eb, KV 375 – Mozart

Selections from Don Giovanni – Mozart, arr. Josef Triebensee
Ouvertura
“Notte e Giorno a faticar”
“Là ci darem la mano”
“Gia la mensa è preparata”

Serenade in C minor, KV 388 – Mozart
I. Allegro
II. Andante
III. Menuetto in canone
IV. Allegro – theme and variations

La Grande Bande’s 5th Anniversary Season concludes with our much-beloved “Dine Out” concert experience. On the program are cantatas and concertos by some of the most famous composers of the late-Baroque.

Two cantatas by congratulate a new tax official (Bach) and celebrate the joy of a great night’s sleep (Handel). Filling out the evening are concertos featuring the virtuosos of La Grande Bande.

We hope you join us for a special evening of delicious food, great songs, and the continuation of a beloved tradition.

La Grande Bande’s 5th Anniversary Season concludes with our much-beloved “Dine Out” concert experience. On the program are cantatas and concertos by some of the most famous composers of the late-Baroque.

Two cantatas by congratulate a new tax official (Bach) and celebrate the joy of a great night’s sleep (Handel). Filling out the evening are concertos featuring the virtuosos of La Grande Bande.

We hope you join us for a special evening of delicious food, great songs, and the continuation of a beloved tradition.

Schumann’s first symphony is brimming with romantic-era lushness – a lyrical jubilance that captures the excitement and anticipation of Spring after a long, dark Winter. Brahms’ Fourth Symphony has become one of this master’s most legendary works and classical music’s greatest masterpieces – a powerful final symphonic statement that is a treat to experience live.

Revel in the splendor of J.S. Bach’s complete Brandenburg Concertos, the best of the Baroque. From the clarion call of the trumpet in No. 2 to the tour de force harpsichord solo in No. 5, there’s always something new to discover in this much-loved collection. H+H’s endlessly dynamic concertmaster Aisslinn Nosky joins principal keyboard Ian Watson to co-pilot the ensemble from within. This is historically informed performance at its finest: masterfully performed and passionately shared.

Revel in the splendor of J.S. Bach’s complete Brandenburg Concertos, the best of the Baroque. From the clarion call of the trumpet in No. 2 to the tour de force harpsichord solo in No. 5, there’s always something new to discover in this much-loved collection. H+H’s endlessly dynamic concertmaster Aisslinn Nosky joins principal keyboard Ian Watson to co-pilot the ensemble from within. This is historically informed performance at its finest: masterfully performed and passionately shared.

Revel in the splendor of J.S. Bach’s complete Brandenburg Concertos, the best of the Baroque. From the clarion call of the trumpet in No. 2 to the tour de force harpsichord solo in No. 5, there’s always something new to discover in this much-loved collection. H+H’s endlessly dynamic concertmaster Aisslinn Nosky joins principal keyboard Ian Watson to co-pilot the ensemble from within. This is historically informed performance at its finest: masterfully performed and passionately shared.