FOR IMMEDIATE RELEASE

OPUS 10 BAROQUE MUSIC FESTIVAL

two weekends of solo, chamber and Orchestral concerts celebrating Tempesta di Mare’s 10^th Anniversary Season

PHILADELPHIA, PA—April 8, 2012 — Tempesta di Mare’s landmark 10th season wraps up with its Opus 10 Baroque Music Festival, two-weekends of solo, chamber and orchestral ten’s: Opus Ten, Number Ten, and more, May 12, 13, 19 and 20 in Center City and Chestnut Hill. Tickets and festival passes are available at www.tempestadimare.org, by phone (215-755-8776) and at the door.

Full Festival details below.

“Ten Years!” muses Artistic Director Gwyn Roberts. After more than 150 concerts, 5 international CD releases on the prestigious Chandos label, 3 acclaimed European tours, more than 20 modern world premiere performances and over 45 million listeners to national broadcasts of Tempesta’s concerts, with millions more worldwide, the group has something to show for its first decade. “But what matters the most”, continues Roberts, “is the ever-deepening musical relationship we have all formed, that sound, style and sense of ensemble that kicks in with the first note we play together and makes us instantly, recognizably Tempesta.  That’s the thrill.”

Founding partner and co-Artistic Director Richard Stone adds: “We’ve tried to expand our horizons, for ourselves, for our artists, and for our audience. We—Gwyn, Emlyn and I—get to call the repertoire shots. We’ve indulged ourselves by playing all this stuff that we’ve always been curious about, or stuff that none of us has ever heard of before, always looking for the newest favorite composer, that next distinctive musical voice. And everyone’s into it, it seems.”

The two-weekend Opus 10 Baroque Music Festival will exemplify the variety of ensemble and breadth of repertoire, presenting both chamber and orchestral music performances and presenting the inaugural performances of its new baroque solo-recital series.

Weekend I: Chamber and Solo

The festival opens on Saturday, May 12, with Opus 10: Chamber, an “Open Doors,” free-admission concert, with a violin duet by Leclair, trios by Haydn, Telemann and dall’Abaco, the tenth concerto of Couperin’s “Goûts Réunis” and a chamber concerto by Vivaldi. One performance only. The concert takes place at the Arch Street Meeting House at 8:00. Register for free admission at www.tempestadimare.org or at the door. Contributions welcome.

The festival’s opening weekend concludes on Sunday, May 13, with Opus 10: Solo, a round-robin recital of solo works featuring our orchestra’s principals—Gwyn Roberts, Emlyn Ngai, Karina Fox, Eve Miller, Richard Stone and Adam Pearl—playing musical 10’s by Bach, Weiss, Frescobaldi and others on recorder, violin, cello, lute and harpsichord. The one performance takes place at the Arch Street Meeting House at 4:00.

Weekend II: Orchestra

The festival finale includes two performances of Opus 10: Orchestra, May 19 and 20 in Center City and Chestnut Hill. The program includes one of Jean-Marie Leclair’s jaw-dropping Opus 10 violin concertos, with concertmaster Emlyn Ngai as soloist, along with a harpsichord concerto by Stanley, Adam Pearl, soloist, concerti grossi by Handel and Scarlatti and an orchestral suite by Telemann. Concerts take place on Saturday, May 19 at 8:00 at the Arch Street Meeting House in Center City, and on Sunday, May 20 at 4:00 at the Presbyterian Church of Chestnut Hill.

FULL FESTIVAL DETAILS

OPUS 10: CHAMBER
Saturday, May 12, 8:00 — Arch Street Friends Meeting, 320 Arch Street
“Open Doors” free-admission concert.

PROGRAM:
Concert X from Les Goûts Réunis — Couperin
Tenth Duo in A, for two violins —  Leclair
Trio in A Minor, for recorder, violin and continuo —  Telemann
Divertimento in A, Op 100, for flute, violin and cello —  Haydn
Sonata in F, Op 3 No 10, for two violins and continuo — dall’Abaco
Recorder Concerto in D, Op 10 No 3, “Il Gardellino” — Vivaldi

OPUS 10: SOLO
Sunday, May 13, 4:00 — Arch Street Friends Meeting, 320 Arch Street

PROGRAM:
Cento Partite (100 Variations), for harpsichord —  Frescobaldi
Suite IV in E-flat, BWV 1010, for cello — Bach
Sonata in D, RV 10, for violin and continuo — Vivaldi
Sonata 10 in E-flat, for lute — Weiss
Fantasia X in D, TWV 40:23, for solo violin —  Telemann
Sonata X in D Minor, for recorder and continuo — Mancini

OPUS 10: ORCHESTRA
Saturday, May 19, 8:00 — Arch Street Friends Meeting, 320 Arch Street
Sunday, May 20, 4:00 — Presbyterian Church of Chestnut Hill, 8855 Germantown Avenue

PROGRAM:
Sinfonia X in A Minor — Scarlatti
Harpsichord Concerto in D, Op 10, No 2 — Stanley
Violin Concerto in E Minor, Op 10 No 5 — Leclair
Recorder Concerto in F, Op 10 No 5 — Vivaldi
Concerto Grosso in D Minor, Op 6 No 10 — Handel
Orchestral Suite in E Minor, TWV 55:e10 — Telemann

Publicity photos available on our website at tempestadimare.org/media/photos-2/

FOR IMMEDIATE RELEASE

 “One of the greatest singers of his generation” (Toronto Globe and Mail)

MICHAEL MANIACI

Performs with the Tempesta di Mare Chamber Players

PHILADELPHIA, PA—December 22, 2011— The Tempesta di Mare Chamber Players and countertenor Michael Maniaci will perform cantatas and concerti of Italian composers imported to Vienna by the glittering and sophisticated Hapsburg court in a program titled Italians in Vienna on February 4 and 5 in Center City and Chestnut Hill.

 Italians in Vienna features music by baroque great Antonio Vivaldi, as well as Guiseppe Porsile, Roberto Valentini, Antonio Caldara and Carlo Badia. Princeton Professor Wendy Heller will give pre-performance talks about the “italiophilia” situation in Vienna.

Tickets and Information:   Single tickets are on sale now: www.tempestadimare.org, or call 215-755-8776 or email info@tempestadimare.org

“Michael Maniaci brings warmth and agility to his program, in every instance displaying sensitive phrasing, lyrical legato, superb coloratura, and unfailing confidence. This is no white-voiced countertenor; he sings from the chest, and he employs liberal but never wobbly vibrato. Maniaci delivers every aria with vocal finesse and an awareness of the texts’ varying dramatic implications.” (James Reel, Fanfare Magazine)

Michael Maniaci joins the Tempesta di Mare Chamber Players, Gwyn Roberts & Eve Friedman, flutes and recorders, Emlyn Ngai and Karina Fox, violins, Eve Miller, cello, Richard Stone, lute, and Adam Pearl, harpsichord for a snapshot of the height of the italophile Hapsburg Court.

The program includes the cantatas “Le sofferte” by Napels born composer Giuseppe Porsile
, unusual for its scoring for two flutes, ”Perché son molli” by frequent visiting artist Antonio Vivaldi and the substantial La Fenice by the Venetian Carlo Badia. The program also includes three concerti: the Recorder Concerto in B-flat by Roberto Valentini
(Gwyn Roberts, recorder), Antonio Caldara’s Cello Concerto in D Minor (Eve Miller, cello), and the Concerto in G for 2 Flutes by Antonio Vivaldi (Gwyn Roberts and Eve Friedman, flute).

Dr. Wendy Heller and Italians in Vienna

Princeton Professor Wendy Heller, who specializes in the study of seventeenth- and eighteenth-century opera from interdisciplinary perspectives, with emphasis on gender and sexuality, art history, and the classical tradition, will give pre-performance talks prior to each performance.

The reign of Charles VI, Holy Roman Emperor and Archduke of Austria, lasted from 1711 to 1740 and corresponded to the peak of Austro-Hungarian imperial splendor. The Hapsburg court of Vienna was so in love with Italy as to adopt Italian as its court language. Resident composers included Italian imports like Giuseppe Porsile, Carlo Badia, and Antonio Caldara, while visitors like Antonio Vivaldi were also welcome guests. Their musical boss was an Austrian, though, the famous and influential composer, Johann Josef Fux.

The “italophilia” situation in Vienna was unusual, since the majority of courts in Central and Eastern Europe fashioned themselves after the centralized, continental world-power, France. Dr. Heller, who recently completed the chapter “Music in Court, City, and Church in the Holy Roman Empire” to the Vienna section of her forthcoming music history textbook, Music in the Baroque (W.W. Norton & Co., 2013), will address this unusual phenomenon in her pre-concert talks. In addition she will discuss labor relations between the Italian immigrant composers and their native Austrian composer-supervisors.

FOR IMMEDIATE RELEASE

LEIPZIG SHORTLIST

and

Fasch recording Volume II now available

PHILADELPHIA, PA: The Philadelphia Baroque Orchestra Chamber Players continue Tempesta di Mare’s tenth anniversary season on December 3 and 4 with Leipzig Shortlist: Telemann, Fasch, Graupner or Bach? in Center City and Chestnut Hill. Bach, Telemann, Fasch and Graupner were all finalists for the same job in Leipzig. The post – famously – went to Bach, the search committee’s bottom choice. In Leipzig Shortlist landmark baroque works and modern premieres make compelling cases in support of all four of these composers.

Tickets and Information: Single tickets are on sale now: www.tempestadimare.org, call 215-755-8776 or email info@tempestadimare.org

Tempesta di Mare Chamber Players, Gwyn Roberts, flute and recorder, Emlyn Ngai and Karina Fox, violin, Daniela Giulia Pierson, viola, Eve Miller, cello, Anne Peterson, bass, Richard Stone, lute, and Adam Pearl, harpsichord perform works by the three musicians who the search committee in Leipzig  invited to apply for the Thomaskirche job: Georg Philipp Telemann, Johann Friedrich Fasch and Johann Christoph Graupner, and the harpsichord concerto in f-minor of one Johann Sebastian Bach, who won the job, and was, famously, the committee’s bottom choice.

The works on this concert not only display four distinct musical personalities, but also a level of craft that make compelling arguments in favor of hiring any of these composers.

Works on the program are:

• Fasch’s Recorder Concerto, FWV L:F-deest* (Gwyn Roberts, recorder), heard here in its US premiere, is a recent rediscovery. It was identified in a manuscript collection not in Germany but at the New York Public Library.
• Fasch’s Lute Concerto in D Minor FWV L:d1* (Richard Stone, lute), possibly the finest surviving lute concerto from the German High Baroque and written for the great lutenist at the court of Dresden, Silvius Leopold Weiss.
• Graupner’s Entrata per musica di tavola, GWV 453 (suite of banquet music) will receive its modern world premiere performance on these concerts.
• Bach’s Harpsichord Concerto in F Minor, BWV 1056   (Adam Pearl, harpsichord)—stands in contrast to the rest of Bach’s keyboard concerti on account of its compact form.
• and Telemann’s “Paris” Quartet XII in E Minor, TWV 43:e4

* Part of our live-in-concert, modern premiere recording for Chandos to be released in 2012.

FASCH Orchestral Works, Vol. 2: now available on Chandos Records (CHAN 0783)

Chandos Records just released Tempesta di Mare’s second all-premieres CD of orchestral music by Bach-contemporary Johann Friedrich Fasch, the group’s fifth release on the prestigious British label. The music was recorded live-in-concert on Tempesta di Mare’s 2010-2011 concert series in Philadelphia and includes:

• Concerto for Orchestra in D, FWV L:D5,
• Overture in A Minor, FWV K:a1,
• Sinfonia in G Minor, FWV M:g1,
• Concerto for Orchestra in G, FWV L:G13.

The performance editions for three of the works on this CD were curated and edited from manuscripts by Tempesta di Mare’s Artistic Directors, and all are published by Prima la musica!.

 LIVE-IN-CONCERT RECORDING FOR CHANDOS RECORDS CONTINUES …

Tempesta di Mare will complete its live-in-concert recording project for Chandos Records of orchestral works by Bach-contemporary Johann Friedrich Fasch during the 2011–2012 season. We recorded the Overture in D, FWV K:D2 and the Concerto in F, “Konzertsatz”, FWV L:F3 this past October. In December we will record Fasch’s Lute and Recorder concertos with soloists Richard Stone and Gwyn Roberts, respectively.  The final selection will be recorded on this series in March. Together these works will comprise its sixth Chandos disc and also the third and final in a series dedicated to this extraordinary composer’s work. It will be released in Fall 2012.

Tempesta di Mare’s first CD of works by Fasch was released in 2008.

Hailed as “Sensational” (Die Volksstimme, Magdeburg), Tempesta di Mare’s performance of Fasch works at the International Fasch Festival in Zerbst, Germany this spring were the first by a non-European ensemble in the festival’s 38-year history. Fasch (1688-1758) is now acknowledged as having one of the most distinctive musical voices of the German High Baroque, alongside Bach, Handel, Telemann and Zelenka. “These works are all significant, new contributions to the concert and recorded repertoire that represent the breadth of Fasch’s orchestral œuvre,” comments artistic co-director Gwyn Roberts. She adds that recording these pieces live “inspires us to our most exciting playing and makes our audiences an integral part of the project.”

The recording project has been made possible in part by The Pew Center for Arts & Heritage through the Philadelphia Music Project, by The William Penn Foundation. the Musical Fund Society, and by the Beneficia Foundation.

FOR IMMEDIATE RELEASE

PARTY OF THE MUSES

an orchestral program of Tempesta firsts

PHILADELPHIA, PA—February 21, 2012 — Philadelphia Baroque Orchestra Tempesta di Mare welcomes a class of four new composers in a program called Party of the Muses that marks the culmination of its multi-season rediscovery of orchestral music of J.F. Fasch. The orchestra will perform Kusser’s theatrical Festin des Muses, a tour-de-force violin concerto by Locatelli and the modern premieres of a symphony by Endler and a concerto grosso by Stölzel, all alongside a rip-snorting orchestral suite by Fasch. Performances of this fourth production in the ensemble’s 10th Anniversary Season take place on March 24 and 25 in Center City and Chestnut Hill.

Dr. Stephen Zohn’s pre-performance talks, which precede both performances, will address the influence of the French suite on Kusser of the time, and the other three composers’ lasting influence and current revivals.

In Party of the Muses, Tempesta di Mare wraps up its two-season, live-in-concert recording project of music by Bach-contemporary Johann Friedrich Fasch, a composer whom Tempesta first introduced to its Philadelphia audiences five seasons ago, and in whose international revival Tempesta has played a pivotal role. Tempesta will perform and record—for release on Chandos records in September 2012— Fasch’s Orchestral Suite in F, FWV K:F1, while presenting four more baroque composers whose music Tempesta has never programmed before. They are Johann Samuel Endler and his Sinfonia in G in its modern premiere; the Concerto Grosso in E minor by Gottfried Heinrich Stölzel, also a modern premiere, Pietro Antonio Locatelli’s tour-de-force Violin Concerto in B-flat, Op 3 No 7, with Emlyn Ngai as soloist, and the fourth suite from Le Festin des Muses (Party of the Muses) by Johann Sigismund Kusser.

Tempesta’s full orchestra of 23 musicians, including horns, flutes, oboes and bassoons, strings and continuo, will perform these works unconducted, lead by Music Directors Gwyn Roberts and Richard Stone, and Concertmaster Emlyn Ngai. Tempesta remains the only rostered orchestra in the US that exclusively performs baroque music unconducted, as was the practice when the music was new.

Tempesta di Mare’s November 2011 release of Volume II of orchestral works by Fasch on Chandos’ Chaconne label (CHAN 0783) was recently named CD of the week by both WETA and the Middle German Radio station MDR-Figaro and continues to garner top ratings in the international music press.

 Steven Zohn and The Party of the Muses

Stephen Zohn, author of Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works (Oxford University Press, 2008), the first book-length study of the composer’s music to appear in English, will address our audience before the performances of Party of the Muses.

The concert’s title comes from Kusser’s influential 1700 German publication, titled Le Festin des Muses (the Party of the Muses), the main focus of Dr. Zohn’s pre-concert talk. Hungarian-born Kusser is a particularly interesting figure whose music is now undergoing a revival. Kusser went to France and studied Louis XIV’s court orchestra in Paris. Le Festin des Muses is a result of his field studies that helped establish him as a pioneer of the overture-suite, a German creation based on French theatrical models. Other topics that Zohn will discuss include:

—how the recent discovery that Bach performed many sacred cantatas by his contemporary Stölzel provides further impetus for Stölzel’s modern revival;

—Locatelli’s important, lasting advancements in virtuoso violin technique;

—Endler as one of the early proponents of the modern symphony.

“Male soprano solid as a rock: The star of Tempesta di Mare’s Sunday afternoon concert was guest vocalist Michael Maniaci. In all three of the secular cantatas Sunday afternoon for an audience that nearly filled Chestnut Hill Presbyterian Church, he sang with consummate artistry, both technically and interpretively. Co-director Gwyn Roberts was joined by Eve Friedman for Vivaldi’s “Concerto for Two Flutes.” They delineated the first movement’s quick changes of mood, caught the elegant delicacy of the second movement, and the high spirits of the third through expertly balanced dynamics and rhythmic accents.” January 2. Chestnut Hill LOCAL, February 2012.

“Maniaci possesses a voice with the range of a female soprano and the color and fullness of a mezzo. It’s a rare gift, and he exploits it with an unforced naturalness that produced some of the most appealing vocal music I’ve heard. The program’s instrumental pieces were just as good as the cantatas. The opening number, Vivaldi’s Concerto for Two Flutes in D, introduced the festivities with a Vivaldian rush. Richard Stone’s guitar added a rustic touch to the surge, and duets for the two flutes, played by Gwyn Roberts and Eve Friedman, contrasted with passages for the whole ensemble. The two flutists engaged in some witty, cheerful dialogue in a 1749 trio by Niccolo Jommelli while Eve Miller added the cello’s own style of jauntiness. Miller commanded the stage during the solos in her biggest moment, a cello concerto by Antonio Caldera, and Ngai and Fox engaged in some especially spirited interchanges in a trio sonata by Joseph Fux.” Broad Street Review, February 2012.

“For years, Tempesta di Mare has liberated its programs from the masterpiece mentality that often comes with higher-budget organizations. At Sunday’s concert at Presbyterian Church of Chestnut Hill, hardly a brand-name composer (excepting Antonio Vivaldi) or a previously known piece was heard. Tempesta di Mare is an old-music group that acts like a new-music group, by pushing the cutting edge back rather than forward. Performance-wise, the primary attraction at Sunday’s Italians in Vienna program was Michael Maniaci. There was a wonderful clarity to his passagework, and at every turn, his sympathy for the music ran deep, with a wonderful sense for shaping recitatives and making an aria phrase land with grace and confidence. As for the repertoire, the cantata “Perché son molli” had an airborne lyricism that reminded you how great Vivaldi can be.” The Philadelphia Inquirer, February 2012

“As it has done over the decade of its life, Tempesta di Mare performed a program [Leipzig Shortlist] that not only proved an historical point but that also proffered a series of musical delights. Fasch’s Concerto for Lute in D minor, Telemann’s Quatour VI in E minor, Graupner’s “Entrata per musica di tavola” and Fasch’s Concerto for Recorder in F major may not have proved themselves the equals of Bach’s Concerto for Harpsichord in F minor throughout the passage of the centuries, but all four are scores worthy of far more frequent hearing than they’re given nowadays. Fasch’s two concerti, in particular, offer lively rhythms, captivating melodies, elegant scorings and inventive harmonies. The Telemann is a fascinating display of a German composer taking on French styles. The Bach Harpsichord Concerto, of course, stole the show. It did so first of all because it’s a concise masterpiece of structure and color, and second, because Tempesta’s resident harpsichordist, Adam Pearl, gave it a superb rendition. In truth, the entire concert was performed with exemplary technical mastery, interpretive integrity and stylish panache. Gwyn Roberts was particularly noteworthy as the recorder soloist in the Fasch, as was lutenist Richard Stone in the other Fasch. And the strings played beautifully in the Telemann.” Chestnut Hill LOCAL, December 2011.

“Maybe the single most marvelous discovery of Tempesta’s decade—thanks to cofounders Gwyn Roberts and Richard Stone” — Philadelphia Inquirer

Read the full reviews for Tempesta Turns Ten

2011–2012 marks the tenth anniversary of Tempesta di Mare’s Philadelphia concert series, and we make a season-long occasion out of it with great music that celebrates auspiciousness, an expanded concert calendar, the return of star countertenor Michael Maniaci, and a two-weekend “Opus 10” festival. Season Passes and single tickets are available on our website (single tickets after Labor Day), by mail or by phone. All performances take place at the Arch Street Friends Meeting and the Presbyterian Church of Chestnut Hill.

Our season opens October 15 and 16 with Tempesta Turns Ten, performed by Tempesta’s grandest orchestra ever, replete with trumpets, horns and tympani. The program includes Vivaldi’s famous Concerto for Four Violins from L’Estro armonico on the 300th anniversary of its publication, a birthday symphony by William Boyce, a ballet suite from Rameau’s Celebrations of Polyhymnia, and a festive overture by Fasch in its modern premiere.

Leipzig Shortlist, on December 3 and 4, marks the occasion of Bach’s appointment at Saint Thomas’s Church in Leipzig. He, Telemann, Fasch and Graupner were all finalists for the same job. Though the post went to Bach, Telemann’s twelfth Paris Quartet, Fasch’s gorgeous Lute Concerto and dazzling Recorder Concerto (in its US premiere), a giddy suite for strings by Graupner and Bach’s elegaic Harpsichord Concerto in F Minor make compelling cases in support of all four composers.

On February 4 and 5, Michael Maniaci, lauded as “one of the greatest singers of his generation” (Toronto Globe and Mail), joins the Tempesta di Mare Chamber Players for Italians in Vienna. We’ll perform cantatas and chamber music by Caldara, Porsile and Badia, some Italy’s finest composers whom the glittering and sophisticated Hapsburg court imported to Vienna, by their Viennese boss Fux, and by Vivaldi, a notable visitor.

We’ll cap off our two-year celebration of the music of Fasch on March 24 and 25 by introducing four composers we’ve never played before inParty of the Muses. We present Johann Sigismund Kusser’s theatrical overture, Party of the Muses, a tour-de-force violin concerto by Pietro Locatelli, and modern premieres of a sinfonia by Samuel Endler and a concerto grosso by Heinrich Stölzel, all alongside Fasch’s rip-roaring Orchestral Suite in F.

We mark the completion of our first decade with our Opus 10 Festival, two weekends featuring musical 10’s: Opus 10, Number 10, BWV 1010 and more. Weekend-1 begins on May 12 with Opus 10–Chamber, including music by Haydn, Vivaldi, Couperin and dall’Abaco, and concludes on May 13 with Opus 10–Solo, a round-robin recital of solo works featuring our orchestra’s principals playing Bach, Weiss, Frescobaldi and others. The festival finale takes place over weekend-2 with two performances of Opus 10–Orchestra, May 19 and 20. It includes one of Jean-Marie Leclair’s jaw-dropping Opus 10 violin concertos, with concertmaster Emlyn Ngai as soloist, plus music by Handel, Vivaldi, Telemann and Scarlatti.

LIVE-IN-CONCERT RECORDING FOR CHANDOS RECORDS

Three programs on Tempesta di Mare’s 2011–2012 series—October, December and March—will include one or more works by Bach-contemporary Johann Friedrich Fasch that Chandos Records will record live-in-concert and release on its Chaconne label after the end of the season. This CD will be the third release on Chandos dedicated to this extraordinary composer’s work by Tempesta di Mare.

Chandos will release Tempesta di Mare’s second CD of works by Fasch, recorded live-in-concert during the 2010-2011 season, in November 2011.

Johann Friedrich Fasch (1688-1758) is now acknowledged as having one of the most distinctive musical voices of the German High Baroque, alongside Bach, Handel, Telemann and Zelenka. According to Tempesta co-director Richard Stone, “his as-yet-unperformed concerti, suites and symphonies are stunning works that rate as true modern rediscoveries.” Several of these works were personally restored by Stone in Dresden from original manuscripts damaged during the World War II bombings.

“These works showcase Fasch’s unparalleled gift for orchestration, his highly personal style of tuneful, forward-looking writing, and his masterful pacing of large-scale forms,” comments artistic co-director Gwyn Roberts. “They are all significant, new contributions to the concert and recorded repertoire that represent the breadth of Fasch’s orchestral œuvre.” She adds that recording these pieces live “inspires us to our most exciting playing and makes our audiences an integral part of the project.”

Chandos has contracted Tempesta di Mare to produce a new CD annually for worldwide commercial release on its Chaconne label. In a marketplace otherwise dominated by European groups, Tempesta di Mare is the only US baroque orchestra on the prestigious British label’s roster. The recording project has been made possible in part by The Pew Center for Arts & Heritage through the Philadelphia Music Project and by The William Penn Foundation.

# # #

• Concerto in D, FWV L:D5 • Ouverture in A Minor, FWV K:a1
• Sinfonia in G Minor, FWV M:g1 • Concerto in G, FWV L:G13

Get yours today directly from Tempesta!
(official North America release: November 15)