CONTINUUM is above all: many things not. For example: no fixed ensemble and no collective. It is rather an overall idea that hovers above the concrete projects and people, that can lean in all directions. There is already a label under this name CONTINUU|RECORDS|M – perhaps also a project space at some point.   It is the freedom to think of early music in a completely new way, to present it innovatively and to relate it to a present that is not as distant from it as the name and the usual performance practice suggest.



Availability upon request
Missa Miniatura
with Marie Luise Werneburg & Viola Blache, soprano // Alex Potter & Tobias Knaus, counter tenor // Benedikt Kristjánsson, tenor // Tobias Berndt, bass // Thomas Hall, speaker

What emerges in Elina Albach’s arrangements of large baroque works for small ensembles is described rather trivially as “miniature”. The “Missa miniatura” takes on Johann Sebastian Bach’s Mass in B minor. It is the only time Bach has set all the texts of the Latin mass to music, translating the traditional, almost schematic phrases into a search for a human being in wholeness that touches the heart of every individual. An appropriation that Albach and CONTINUUM develop further with their arrangement for seven baroque multi- instrumentalists and six singers. Instead of “merely” innovatively conceived early music, “Missa miniatura” is a piece that translates a formative work of church music into contemporary, agnostic reflection and reveals new musical facets in the well-known material.

After J. S. Bach: Mass in b minor, BWV 232
7 instrumentalists, 6 singers, 1 speaker

© Stephan Röhl
© Stephan Röhl
© Stephan Röhl
© Stephan Röhl
© Stephan Röhl
© Stephan Röhl
© Stephan Röhl

Availability upon request
Il Passagio (based on Monteverdi: L’Orfeo)
with Lambert Colson, zink & recorder // Liam Byrne, Viola da Gamba // Philipp Lamprecht, percussion // Elina Albach, organ & cembalo

Radical reinterpretation through reduction as an artistic principle: Baroque opulence translated into minimalist, yet highly emotional and musically multifaceted settings and arrangements are offered by Elina Albach and CONTINUUM’s version of what is presumed to be the first opera in world history. As early as 1607, Claudio Monteverdi’s “L’Orfeo” found a formative form of modern art music in the ancient material.

Instead of a large ensemble, four instrumentalists create all the sounds in the modern interpretation of “Il passagio”. Zincs and gambas, percussion and baroque keyboard instruments are used in surprising ways, drawing the audience into the music in immersive repetitions, letting the attractive, clear melodies shine and giving the instrumentally arranged vocal parts a special, unheard drama. Sparse text projections replace the subtitles usually found in opera, leaving listeners free to use their own imagination to develop the musical elements that drive the plot.

Based on C. Monteverdi: L’Orfeo, SV 318
4 instrumentalists

© Bodo Gierga
© Bodo Gierga
© Bodo Gierga
© Bodo Gierga
© Bodo Gierga
© Bodo Gierga
© Bodo Gierga


Phantasm Viol Consort

PHANTASM, an award-winning consort of viols, was founded in 1994 by Laurence Dreyfus. The ensemble quickly set a new standard for consort playing internationally both in the depth of its interpretations and its commitment to flawless string technique.

The winner of three Gramophone Awards among other prominent citations, the consort has travelled the world over, performing on concert series and in festivals throughout Europe, the Americas and Asia. Phantasm’s performances and over 20 recordings have garnered steady praise with critics singling out their ‘intensity and homogeneity of tone and their acuity to the music’s ever-active emotional flux’. Their most recent honours are the 2017 Gramophone Award for Early Music and the 2017 Diapason d’or de l’année bestowed for their recording of Dowland’s Lachrimae.

The members of Phantasm (from the UK, Finland and Germany) were Consort-in-Residence at the University of Oxford and Magdalen College from 2005 to 2015. In 2015, the group’s art activity shifted to Berlin.



„Phantasm’s playing brims with imaginative fantasy and dance-like momentum“


„Rigorous intellect with sensitive musicianship.“

BBC Music Magazine


Availability upon request
The well-tempered Consort: Music by J. S. Bach

In this programme we try to get ‘inside Bach’s head’ to make concrete within Bach’s glorious polyphony not only his vast range of references to arias, concertos, dances, sonatas but also as string players to engage with the astounding variety of characters, styles and emotions lurking beneath the surface of the notes. Even for those familiar with this repertoire from the keyboard will be astounded at how the clarity of lines audible on the viols that seems to result in new works penned by Bach’s genius.

Availability upon request
The Art of Being Human

The Art of Being Human is an exploration of how it feels to be alive and to exist among others, in relationships that are perfectly expressed through the polyphony of Early Music – its dissonances and harmonies – and reflected in the movement of dancers’ bodies, in a performance that offers profound insights into the very meaning of life. The Art of Being Human was commissioned by Pierre Boulez Saal, Berlin, where it will premiere in March 2023.


La Folia Barockorchester

La Folia – this term of the baroque era focusses on wildness, fury, jollity and generally on an artistic attitude of liberality and excessive creativity.

Since their foundation in 2007 the La Folia Barockorchester vitalises on period instruments the international music scene. Whether in a chamber music instrumentation or with baroque opulence, whether with instrumental music or together with vocal soloist – the aspiring young orchestra under the direction of the violinist Robin Peter Müller stands for energetic and overwhelming interpretations of the music from the 17th and 18th century. Historically informed the musicians are looking for opportunities to transfer the emotions and contents of the past centuries into contemporary interpretations which have thrilled both audience and critics alike.

The ensemble cooperates regularly with renowned instrumentalists and singers like Hille Perl, the Vienna Boys’ Choir, Regula Mühlemann, Mahan Esfahani and Jan Vogler, Dorothee Oberlinger, Dorothee Mields, Anna Prohaska, Maurice Steger and Stefan Temmingh.

Founder and director Robin Peter Müller, born in Dresden, is one of the most sought-after musicians of his generation performing on period as well as on modern violin.Within a short period he led La Folia Barockorchestra to international reputation.



„Standing Ovations für einen überragenden Countertenor mit einem erlesenen Orchester und für ein spannendes, die interpretatorischen Grenzen durchaus tangierendes Programm.“

Die Nordwest-Zeitung, 31.08.2019

„Ein wunderbarer Abend mit Riesenbeifall.“

Weser Kurier, 22.09.2019


20 – 30 November 2023
Celebration of Life in Death – Dances of the Dead and Love (not only) in Times of the Plague
with Anna Prohaska
Pandemics have accompanied mankind since time immemorial. At the same time, they have been reflected artistically in the various cultures. In music, we find a wide variety of funeral music, dances, folk tunes, arias and cantatas spread over the last 500 years. But all these works have one thing in common: they are a clear commitment to life!

Works by Oswald von Wolkenstein, Guillaume de Machaut, Christoph Graupner, Henry Purcell and others.
Crossover variant: On request also with songs by Leonard Cohen (Hallelujah), City (At the Window) and The Beatles (Eleanor Rigby) at the end of the programme.

Anna Prohaska © Marco Borggreve

Anna Prohaska changes “the languages and styles as well as (…) the modes of coping with the crises. Her crystal-clear language and articulation, the bounciness of her voice and her insane desire to express herself, no matter how beautiful or unattractive it sounds then.”

Christine Lemke-Matwey for SWR 2

Dates available upon request
Cesare! – A Hero’s Journey
with Bejun Mehta, Countertenor

Works by Georg Friedrich Händel, Antonio Vivaldi, Archangelo Corelli etc.

Bejun Mehta © Marco Borggreve

“Such an abundance of baroque splendour is not served every day.”

Tiroler Tageszeitung, 29 August 2019



16 Sep 2021
Lausitz Festival
Robin Peter Müller, leader & violin / Elisabeth Breuer, soprano / Tim Mead, countertenor

G.-B. Pergolesi: Stabat Mater f-Moll, P.77
J.-S. Bach: Kantate »Tilge, Höchster, meine Sünden«, BWV 1083

10 Sep 2021
Harbour Front Literaturfestival, Elbphilharmonie Hamburg
Robin Peter Müller, leader & violin / Anna Prohaska, soprano / Carolin Emcke, text

Anna Prohaska and the La Folia Barockorchester provided musical answers to questions between love and loss from eight centuries. Together, the author and the musicians celebrated “Celebration of Life in Death” on that evening at HARBOUR FRONT SOUNDS and gave expression to hope and grief in times of pandemic.

6 + 27 Aug 2019
Festwochen Innsbruck, Musikfest Bremen
Robin Peter Müller, leader & violin / Bejun Mehta, countertenor

G. F. Händel: Ouverture, March and Arias of Cesare from the opera “Giulio Cesare in Egitto” HWV 17

Il Giardino Armonico

Il Giardino Armonico, founded in 1985 and conducted by Giovanni Antonini, has long established itself as one of the world’s leading period instrument ensembles, bringing together musicians from some of the most important music institutions in Europe. The repertoire of the ensemble focuses mainly on works of the 17th and 18th centuries. Depending on the requirements of the program, the ensemble consists of three to 30 instrumentalists.

Il Giardino Armonico is regularly invited to festivals all over the world, performing in the most important concert halls, and received the highest acclaim for both their concerts and their staged opera productions, like Monteverdi’s Orfeo, Händel’s Agrippina, Il Trionfo del Tempo del Disinganno and La Resurrezione, Vivaldi’s Ottone in Villa, as well as Handel’s opera Giulio Cesare in Egitto at the Salzburger Festspiele and Pfingstfestival in 2012.

Il Giardino Armonico is regularly invited to festivals all over the world, performing in the most important concert halls, and received the highest acclaim for both their concerts and their staged opera productions, like Monteverdi’s Orfeo, Händel’s Agrippina, Il Trionfo del Tempo del Disinganno and La Resurrezione, Vivaldi’s Ottone in Villa, as well as Handel’s opera Giulio Cesare in Egitto at the Salzburger Festspiele and Pfingstfestival in 2012.

The most recent projects include the recording of Haydn’s The Creation in collaboration with the Bavarian Radio Chorus, published by Alpha Classic in October 2020.



„The clarity of the orchestration is made transparent and gleaming by the soloists of Il Giardino Armonico, who also make the most of every joke or surprise.“

The Guardian, 19 JUN 2021

„De la très belle ouvrage.“

Diapason d’Or, APR 2021

„On the basis of this delightful recording I can only hope that at some point during his Haydn journey Antonini will also tackle Haydn’s other great oratorio, The Seasons.“

Presto Music, 09 OCT 2020


December 2023 and upon request
Project with Giovanni Antonini, direction and recorder // Avi Avital, mandolin

J. Haydn: Overture, Allegro con Espressione from Philemon und Baucis Hob. XXIXa:1
C. W. Gluck: Dance of the Blessed Spirits from Orfeo ed Euridice
J. S. Bach: Concerto for two harpsichords in C minor BWV 1060 (transcription for recorder, mandolin and orchestra: Avi Avital)
J. S. Bach: Harpsichord concerto No. 1 in D minor, BWV 1052 (transcription for recorder, mandolin and orchestra: Avi Avital)
J. N. Hummel: Mandolin Concerto in G major S28
J. Haydn: Symphony No. 43 E flat major Hob. I:43 „Merkur“

25 + 31 August 2023 and upon request
Serpent & Fire
with Giovanni Antonini, direction and recorder // Anna Prohaska, soprano

Works by H. Purcell, C. Graupner, J. A. Hasse, G. F. Händel and others

This album is simply masterful – both conceptually and artistically.

Dirk Kruse, BR Klassik

Availability upon request
with Giovanni Antonini, direction / Patricia Kopatchinskaja, violin

Works by Antonio Vivaldi, Luca Francesconi, Simone Movio, Salvatore Sciarrino a.o.

© Patricia Kopatchinskaja

It is precisely this power that strikes the listener from every bar of the co-produced recording “What’s Next Vivaldi?”.

concerti, 18. Oktober 2020



10. + 11. May 2019, Herkulessaal der Residenz, München
13. May 2019, Mozartfest Augsburg
14. May 2019, Konzerthaus Wien
23. June 2019, Soli Deo Gloria – Braunschweig Festival
28. June 2019, Rheingau Musik Festival
Giovanni Antonini, conductor / Anna Lucia Richter, soprano / Maximilian Schmitt, tenor / Florian Boesch, bass baritone / Chor des Bayerischen Rundfunks

J. Haydn: The Creation Hob. XXI:2

14. November 2018, Konzerthaus Berlin
Il Giardino Armonico Giovanni Antonini, conductor / Patricia Kopatchinskaja, violin

Works by A. Vivaldi, L. Francesconi, S. Movio, A. Cattaneo

© Patricia Kopatchinskaja

26. + 7. August 2018
„Serpent & fire“
Giovanni Antonini, conductor / Anna Prohaska, soprano

Freiburger Barockorchester

The Freiburg Baroque Orchestra looks back on a success story lasting almost thirty years and is a popular guest at the most important concert halls and opera houses. A glance at the ensemble’s concert calendar shows a diverse repertoire played at a variety of venues, ranging from the Baroque to the musical present and from Freiburg to the Far East. The Freiburgers’ artistic credo, however, remains unchanged: the creative curiosity of each of them, with the intention of playing a composition in as lively and as expressive a manner as possible.

Under the artistic directorship of Gottfried von der Goltz and Kristian Bezuidenhout, and under the baton of selected conductors, the FBO presents it-self with about one hundred performances per year in a variety of formations from chamber to opera orchestra: a self-administrated ensemble with its own subscription concerts at Freiburg’s Concert Hall, Stuttgart’s Liederhalle, and Berlin’s Philharmonie and with tours all over the world.

Andreas Richter Cultural Consulting represents the Freiburg Baroque Orchestra in Asia, Great Britain, Germany and neighboring countries on request.



„What a wonderful gift for these challenging times!“

Limelight, 13th March 2020

„I doubt that Beethoven, at least recently, has sounded quite so original or so much fun.“

Gramophone, January 2020

„But what marks this recording out is the way they make the music dance – as if no one is watching.“

The Guardian, 20th February 2020


Dates available upon request
A Midsummer Night’s Dream
Pablo Heras-Casado, conductor / SWR Vokalensemble (Frauenchor SSAA, tbc) / n.n.. Soprano (2X) / n.n.: Ouverture

Franz Schubert: Symphony No. 6 C Major D. 589
Felix Mendelssohn: A Midsummer Night’s Dream op. 61

Pablo Heras-Casado © Dario Acosta

Dates available upon request
Christoph Willibald Gluck: Orfeo ed Euridice (konzertant)
mit René Jacobs, Dirigent / n.n., Choir / n.n., Soloists (SATB)

René Jacobs © Molina Visuals



28 April 2022, Konzerthaus Freiburg
30 April 2022, Staatstheater Wiesbaden
03 May 2022, Kölner Philharmonie
04 May 2022, Elbphilharmonie Hamburg
C. M. von Weber: Der Freischütz


“Toll ins Schwarze getroffen”
Hamburger Abendblatt, 06. Mai 2022
“Konzertant heißt bei René Jacobs immer auch theatral .”
Badische Zeitung, 30. April 2022

10 March 2020, Melbourne Recital Center
L. v. Beethoven: Piano Concert no. 1 in C major op. 15 / Piano Concerto no. 2 in B flat major op. 19 / Piano Concerto no. 3 in C minor op. 37
Gottfried von der Goltz, leader & violin / Kris Bezuidenhout, piano

11 March 2020, Melbourne Recital Center
L. v. Beethoven: Ouverture Die Geschöpfe des Prometheus op.43 / Piano Concerto no. 4 in G major op. 58 / Ouverture Coriolan op. 62, Piano Concerto no. 5 in E flat major op. 73

© Melbourne Recital Center

27 November 2018, Elbphilharmonie
J.-P. Rameau: Hippolyte et Aricie
Sir Simon Rattle, Conductor / Aletta Collins, Director, Choreography / Ólafur Elíasson, Stage, Light Design, Costumes / Anna Prohaska, Aricie / Reinoud van Mechelen, Hippolyte / Magdalena Kozená, Phèdre / Gyula Orendt, Thésée / Elsa Dreisig, Diane / Staatsopernchor

© Thies Rätzke Images

Finnish Baroque Orchestra

Founded in 1989, the Finnish Baroque Orchestra (FiBO) has been a pioneer in many ways throughout its history. The orchestra is known in Finland and abroad for its skilful performances, its creative approach to concert programming and groundbreaking partnerships, such as the Nordic Baroque Scene. At the core FiBO is a Baroque orchestra, but they also venture into early Baroque and Romanticism as well as Sibelius’ works and new music for period instruments. In addition to its own FiBO Records series, FiBO has made recordings with several record labels. The latest record, Il labirinto armonico (BIS), featuring Locatelli’s violin concerts with soloist Ilya Gringolts, has received significant international recognition such as Gramophone Editor’s Choice (3/2021) and Diapason d’or (5/2021).  



„From the opening track onwards, elegant playing launches a programme rich in charm from Ilya Gringolts and the Finnish Baroque Orchestra, all on sparkling form.“

Gramophone Magazin, 19.02.2021

„Sharp-edged playing from the Finnish Baroque Orchestra.”

The Guardian, 27.01.2019


Dates available upon request
THE BIRTH OF THE WORLD – Early Baroque and Finnish folk music
Virpi Räisänen, mezzo soprano / Taito Hoffrén, runensong

Works by Claudio Monteverdi, Enríquez de Valderrábano, Tarquinio Merula etc.

Virpi Räisänen © Jukka Lehtinen

Dates available upon request
UN’ ALMA INNAMORATA – Handel’s italian cantate
with Carolyn Sampson, soprano

Georg Friedrich Händel: Andante from Triosonata C Minor l HWV 386a – attaca – Kantate Alpestre monte HVW 81
Antonio Vivaldi: Concerto for 2 flutes C-Dur RV 533
Domenico Scarlatti: Sonata for Cembalo A-Dur K 208
Georg Friedrich Händel: Kantate Un’ alma innamorata HVW 173
Georg Friedrich Händel: Kantate Tra le fiamme HWV 170

Carolyn Sampson © Marco Borggreve



19 August 2019, Brühler Schlosskonzerte
„From Russia with love“
Irma Niskanen, leader & violin / Petteri Pitko, cembalo

Works by G. Pasiello, D. Cimarosa, J. Haydn and B. Galuppi: Concerto a quattro

© Brühler Schlosskonzerte

21 July 2019, Herrenchiemsee Festspiele
Dancing Queen“
Kajsa Dahlbäck, soprano / Olga Heikkilä, soprano / Katariina Heikkilä, alto / Jukka Jokitalo, tenor / Juha-Pekka Mitjonen, basso

Works by A. Scarlatti, A. Corelli, G. Düben, J. H. Schmelzer, C. Gesualdo, V. Albrici, A. Cesti a.o.

Europa Galante

Europa Galante was founded in 1989 by its musical director Fabio Biondi, who wanted to form an Italian period instrument ensemble to play both, the baroque and classical repertoire. The ensemble has a varying structure and often performs chamber music, such as the string sonatas of Italian composers of the seventeenth century. des 17. Jahrhunderts.

The ensemble’s repertoire includes operas of Handel, such as Agrippina and Imeneo, as well as Vivaldi, including Bazajet, Ercole sul Termodonte, Oracolo in Messenia and many pre-eighteenth century instrumental works. The orchestra is widely known for its performances of the works of Alessandro Scarlatti, such as the oratorios (Maddalena, La Santissima Trinità), serenatas (Clori, Dorino e Amore) and operas including Massimo Puppieno, Il Trionfo dell’Onore, La Principessa Fedele and Carlo Re d’Allemagna. Europa Galante regularly collaborates with the Fondazione Santa Cecilia in Rome to rediscover and restore eighteenth-century Italian operas, such as Antonio Caldara’s La Passione di Gesù Cristo, Leonardo Leo’s Sant’Elena al Calvario or Gesu sotto il peso della Croce by F. di Mayo. Last season in Rome, the ensemble presented La Foresta Incantata by Francesco Geminiani, together with an animated film by Fabio Biondi and the director Davide Livermore.

Europa Galante performed in many of the world’s major concert halls and theatres, including La Scala in Milan, Accademia di Santa Cecilia in Rome, Suntory Hall in Tokyo, Concertgebouw in Amsterdam, the Royal Albert Hall in London, Musikverein in Vienna, Lincoln Center in New York and the Sydney Opera House. The ensemble also toured throughout Australia, Japan, Europe, Canada, Israel, the USA and South America.



„… tutto aveva un senso, un’ intelligenza musicale. In tutto, questo Europa Galante si è confermata un’ orchestra che risponde come un corpo unico ma che rivelare tra le sue fila bravi solisti, quando serve. Teatro colmo pubblico un festa come a un concerto rock!”

Gazzetta di Parma, 22 October 2021

„Had Fabio Biondi made no other record, we would know from this one that he was a great violinist.“

The Strad, 2019

„I will certainly be looking out for any future releases he (Fabio Biondi) cares to record.“

The Art Music Lounge, 2019

„Biondi was a wizard on his violin.“

The San Diego Union Tribune. 2018


Availability upon request
Antonio Vivaldi – “Les Adieux”
with Fabio Biondi, künstlerische Leitung und Violine und Ann Hallenberg, Mezzosopran

A. Vivaldi:
Symphony from Griselda, RV 718
Aria „Vorrei dirti il mio dolore“ from Rosmira fidele, RV 731
Aria “Un certo freddo orrore” from Feraspe, RV 713
Violin concerto in b major, RV 372 “Per la Signora Chiara“
Symphony in g major, RV 149 “Il coro delle muse“
Concerto for Lute, Strings & Bc, RV 540
Arias „Sarebbe un bel diletto“ and „Sposa, non mi conosci?“ from Oracolo in Messenia, RV 726
Violin concerto in b minor, RV 390
Sonata in e flat major, RV 130 “Al santo sepolcro“

Availability upon request
A. Vivaldi: Argippo RV 697



16 February 2022 Elbphilharmonie Hamburg / 18 February 2022 Palau de la Música Barcelona / 20 Feburary 2022 Auditorio Nacional de Música Madrid / 22 Feburary 2022 Theater an der Wien
C. Monteverdi: L’ Orfeo
Fabio Biondi, Conductor / Ian Bostridge (Orfeo) / Monica Piccinini (Euridice, La Musica) / Marina de Liso (Messagera, La Speranza) / RIAS Kammerchor / Europa Galante / a.o.


“One can only marvel at the richness of colour in the ensemble Europa Galante, not even two dozen strong, under the direction of its concertmaster Fabio Biondi.”

Hamburger Abendblatt, 17 February 2022

“El excelente conjunto instrumental.”

opera world, 15 February 2022

20 April 2019
C. Monteverdi: Il ritorno d’Ulisse in patria
Fabio Biondi, conductor / Furio Zanasi, Ulisse / Sara Mingardo, Penelope / Ewa Leszczynska Ericlea / Matheus Pompeu, Giove / Coro Costanzo Porta / Walter Le Moli (stage director) a.o.

Ulisses © Patrick Klein

8 June 2018 / 21 July 2018 / 11 September 2018

Works by M. Mascitti, A. Vivaldi, G.F. Händel, F. Geminianio, F. Barsanti, G. Paisiello, J. Stamitz, A. Soler, L. Boccherini and G. P. Telemann

© Musikfestspiele Potsdam Sanssouci

Compagnia di Punto

As part of the Ludwig van Beethoven Year 2020 – the 250th anniversary of the birth of the German-born Viennese master -, the Compagnia di Punto has made a recording of his first three symphonies. How is this special?

A remarkable aspect of this recording is that Beethoven’s symphonies, today considered as untouchable and virtually sacred monuments, are here performed by the Compagnia di Punto in arrangements realized by Beethoven’s contemporaries for a chamber ensemble made up of only ten instrumentalists. While this may be considered an affront to some purists, this recording will be welcomed by classical music fans with an open mind as an absolute rarity. On one hand, original arrangements of famous works reveal how loosely the “musical pantheon” could be treated during Beethoven’s time; on the other hand, they manage to cast a completely new light on musical works that are known inside out. With exceptional works such as Beethoven’s symphonies, this is an especially rewarding undertaking. Nominated for an OPUS Klassik 2020 in the category “Ensemble/Orchestra of the year”!



„An outstanding ensemble gives us a new perspective on Beethoven’s symphonies.“

NDR Kultur, 21.02.2020

„The presence of mind and vitality of nine fantastically motivated players sweep the listener into the symphonic chamber music of yesteryear…“

Süddeutschen Zeitung, 02.02.2020

„Fazit: Auf jeden Fall spannend!“

onlineMerker, 07.02.2020


Availability on request
Rosetti Mystery
with Nicolas Altstaedt, artistic direction & cello

The idea for this chamber music pastiche arose in close connection with Compagna di Punto’s second CD “Trovatello”. Reports by Rosetti’s contemporaries, quotations from letters and excerpts from the novella “Concert spirituel” by Hans Joachim Schädlich illuminate the mystery of Rosetti in many facets.
The young Count of Oettingen-Wallerstein does not yet suspect the identity of the robbed and helpless man he finds in a forest near his castle in 1773, nor that he himself is only a year away from an event that would plunge him into deepest mourning and his famous court orchestra into complete uncertainty. Soon enough, this foundling as Antonio Rosetti is at the helm of this same court chapel of Oettingen-Wallerstein and remains loyal to the count through all turmoil. With sounds and words, Compagnia di Punto tells of two fates interwoven in a special way, against the backdrop of which a music of its very own colour has been created.

A. Rosetti (Arr. G. Punto): Quintet in F major
J. Fiala: Quintet in E flat major
W. A. Mozart: Quartet in D major, K. 285
J. A. Amon: Quartet No. 2, Op. 109
A. Rosetti: Sextett in D major Murray B24
J. A. Amon: Quintet No. 1 in F major, Op. 110

Availability on request
En miniature

The Compagnia die Punto plays Beethoven’s, Mozart’s and Haydn’s symphonies on period instruments in chamber music format, arranged by contemporaries Carl Friedrich Ebers and Ferdinand Ries. The symphonies can be combined at will or supplemented with other works by Beethoven for small ensembles.

L. v. Beethoven: Symphony No. 1 in C major, Op. 21, edited by Karl Friedrich Ebers (1770-1836)
L. v. Beethoven: Symphony No. 2 in D major, Op. 38, edited by Ferdinand Ries (1784-1838)
L. v. Beethoven: Symphony No. 3 in E flat major, Op. 55, edited by Carl Friedrich Ebers
L. v. Beethoven: Symphony No. 6 “Pastoral” in F major, Op. 68
W. A. Mozart: Symphony No. 40 in G minor, K. 550
J. Haydn: Symphony No. 99 in E flat major, Hob. I:99
J. Haydn: Symphony No. 101 ” The clock” in D major, Hob. I:101
A. Rosetti: Sinfonie G major Murray A41
A. Rosetti: Sinfonie F major Murray A35
A. Rosetti: Sinfonie C major Murray A3

Additional works by Beethoven: Serenade for flute, violin and viola Op. 25, Sextett Op. 81b (2 horns and piano), Horn Sonata

Die Sammlung André - Compagnia di Punto

Symphony No. 2 in D Major, Op. 36: IV. Allegro molto (Arr. for Small Orchestra by Ferdinand Ries)


B’Rock Orchestra

B’Rock Orchestra was set up in Ghent in 2005 on the basis of an urge for renewal and rejuvenation in the world of Early Music. The selected international musicians specialise in historically well-founded performance practices. They distinguish themselves by their open mind and flexibility of repertoire and playing style.

In the choices it makes for its concert programmes, B’Rock combines established works of baroque composition with the lesser-known repertoire of the 17th and 18th centuries. In addition, the orchestra pursues a bold and innovative programme policy, in which early and contemporary music meet and enrich each other. It focuses especially on giving first performances of new music written with its historic instruments in mind. Yet, the orchestra has a reputation for cross-genre productions, too. Finally, early music in combination with theatre, visual art and/or video are also a part of the orchestra’s DNA.

B’Rock Orchestra regularly engages prominent guest conductors and soloists such as René Jacobs, Jérémie Rhorer, Leonardo García Alarcón, Peter Dijkstra, Bejun Mehta, Alexander Melnikov, Kristian Bezuidenhout, Dmitry Sinkovsky, Sophie Karthäuser and many others. It frequently collaborates with leading choral ensembles such as RIAS Kammerchor, Collegium Vocale Ghent, the Nederlands Kamerkoor and Cappella Amsterdam ND has developed structural partnerships in the fields of opera and musical theatre with De Munt/La Monnaie and Muziektheater Transparant.



„But, under Mr. Jacobs’s baton, B’Rock still sounded like a small chamber orchestra: nimble, clear, precise. And restrained, reserving its most powerful sound for dramatic effect, which added a sense of theater to a piece…”

New York Times, January 2019

„It’s a very special experience, from which the world can learn a great deal.“

Bachtrack, March 2017


September 2023 and upon request
Jeanine de Bique, soprano // Andreas Küppers, artistic direction and keyboards instruments // B’Rock Vocal Consort

Versatile Jeanine de Bique, adventurous sister in mind of B’Rock, joins the ensemble for an evening full of change and metamorphosis: transformative experiences of opera protagonists form a caleidoscope of different life changing (or ending) experiences. Interwoven with baroque funeral anthems (from life to death), Jeanine de Bique, B’Rock orchestra and Vocal Consort present musical story-telling at it’s best.

With works by J.-B. Lully, H. Purcell, G.F. Handel


27 September – 1 October 023
Mendelssohn, a new journey
René Jacobs, conductor // Vilde Frang, violin

After the successful Schubert cycle, B’Rock and René Jacobs embark on a new symphonic adventure together.

F. Mendelssohn: 1st & 5th Symphony
F. Mendelssohn: Violin Concerto in E minor, Op. 64

23 February – 2 March 2024
The Lay of Love and Death
Julian Prégardien, Tenor // Andreas Küppers, artistic direction and keyboards instruments

The love of life and the art of dying: two mutually dependent poles of human existence which have inspired countless poets, painters, and composers to take up the underlying sadness about the finiteness of all life and transform it into beauty. Julian Prégardien, known and unanimously beloved for his wonderful voice and his creative concert programs alike, invites the audience to join him and B’Rock in an immersive journey through the centuries, listening to the infinite ways of love and death sounding different and yet eternally the same.

Works by J. Dowland, C. Monteverdi, F. Schubert, G. Mahler, L.G. Lilburn among others.



11 + 19 March 2018
B’rock Orchestra, René Jacobs, Robin Johanssen
Franz Schubert: Symphony no. 1 in D major D 82
Franz Schubert: Symphony no. 6 in C major D 589