Czech Chamber Music Society • Nicholas Kraemer

The orchestral music of the Late Baroque in the works of Germany’s three most prominent masters—today’s programme can be briefly characterised in this way. We encounter many forms of the concertante style as well as the popular orchestral overture. Although written in Köthen, London, and Hamburg, these works share a common foundation in the European musical tradition of drawing upon Italian and French musical influences, which were creatively interwoven in the first half of the 18th century in what is now Germany.

We must begin with the concertante genre in its earliest form, which emerged in Italy and spread around Europe during the High Baroque. The basis of the genre is dialogue between a smaller group of instruments (a “concertino” of soloists) and a larger one (“concerto grosso”) in the context of an instrumental ensemble. We know only a few examples of this form from the Late Baroque, but in the hands of George Frideric Handel (1685–1759), the genre gets a masterful treatment. The first collection, Concerti grossi, Op. 3, appeared in 1710 and called for strings and winds, then 1739 saw the publication of the Concerti grossi, Op. 6, where the orchestral parts are for strings only, with optional oboes “colla parte” (in unison with the violins). The concertino consists of two violins and a cello. Handel created his collection of twelve concertos incredibly quickly between 29 September and 30 October 1739, writing some of the concertos in a single day. At the same time, they represent this Baroque form at its pinnacle, magnificent in scale, melodically rich, and technically brilliant. The sixth Concerto grosso in G minor is one of the most remarkable in the entire opus. Although this is instrumental music, Handel the dramatist comes through here as well, whether through contrasts between individual movements or the choice of keys expressing pathos in the manner of opera arias. The concerto also exhibits the features of a French suite, beginning with a slow movement and containing many movements including dances. Evoking the pastoral atmosphere popular among the French is the Musette, which departs from the home key to E flat major and features a repeated bass line accompaniment imitating bagpipes.

Representing Georg Philipp Telemann (1681–1767), the third German composer of the Late Baroque on tonight’s programme, is an overture. In this case, the overture is a purely abstract, self-contained work; the multi-movement overture without continuation is a tradition most closely associated with France. Telemann’s style represents a highly individual combination of Italian and French influences, so some historians referred to the style as “mixed” or even “German”. One of the most prolific composers of all time, he was more highly regarded in his day than Johann Sebastian Bach despite having been self-taught as a composer. In 1702, he took the position of director of opera in Leipzig, then he passed through a succession of positions as Kapellmeister of orchestras at aristocratic courts. Ultimately, he became the music director at five churches in Hamburg and was responsible for the city’s opera theatre and for public concerts. All of those positions constantly demanded new repertoire including instrumental music. The Overture in D major, TWV 55:D21, is one of Telemann’s very late compositions (and one of the last works of the Baroque era), written in 1765. Telemann dedicated the composition to Ludwig VIII, Landgrave of Hesse-Darmstadt. Because the nobleman was a lover of the hunt, the score calls for two hunting horns and gives them a prominent role. The typically French introduction is followed by a “lament” (Plainte), a more celebratory Réjouissance, then a Carillon with the onomatopoetic imitation of bells. The next movement, Tintamare, takes its name from the French word tintamarre, meaning “noise” or “clamour.” The suite ends with two gentler dance movements, a Loure and a pair of Menuets.

Nicholas Kraemer, a pioneer of historically informed interpretation and now chief guest conductor of the Chicago-based orchestra Music of the Baroque, has earned an international reputation for leading ensembles specializing in early music. He began his career as a harpsichordist, but soon moved to the front of the orchestra, conducting directly from this instrument. He has held positions as artistic director of the Irish Chamber Orchestra and the London Bach Orchestra, was the first music director of the British company English Touring Opera and founded the ensemble The Raglan Baroque Players.

However, he also guest conducts modern orchestras (especially in the US and the UK, but also, for example, the Berlin Philharmonic), which he guides toward informed interpretation. Although Baroque is his main specialization, his repertoire ranges from Monteverdi to the present day. In Paris, Lisbon, Amsterdam, Geneva, Bergen, and Marseille, he has conducted numerous operas by Richard Strauss, Britten, Mozart, and others.

The music of George Frideric Handel plays an important role in his conducting and performing activities. In the spring of 2025, on the occasion of his 80th birthday, he performed Handel’s oratorio Theodora with the Music of the Baroque orchestra and choir. He also has a close relationship with Handel’s oratorio Messiah, which he first heard at the age of nine at an orchestra rehearsal in Edinburgh, where his mother played. He was very impressed by the work and has performed it more than a hundred times during his conducting career. In 2022, he also successfully recorded it and released it on CD.

He also performed this work during his debut with the Czech Philharmonic, together with the Prague Philharmonic Choir and leading British soloists in 2024 – the performance was praised by critics and hailed as one of the highlights of the season. He returned to the Czech Republic a year later to conduct Bach’s Mass in B minor, and also appeared here in June 2026 with the Czech Philharmonic Chamber Orchestra performing a program of early music that included, among other works, three of Bach’s Brandenburg Concertos.

Kraemer’s discography is also extensive – examples include Vivaldi’s concertos with the City of London Sinfonia chamber orchestra, Locatelli’s Concerti grossi, Tartini’s Violin concertos, and concertos by Durante, Pergolesi, and Leo with violinist Elizabeth Wallfisch and the Raglan Baroque Players.

A three-part series is available on YouTube, in which Nicholas Kraemer talks to Sir Simon Rattle as part of the accompanying program to the concerts of the Music of the Baroque orchestra. This informal and friendly discussion between the two conductors offers listeners an interesting insight into their memories and personal experiences, not only with Baroque music. Nicholas Kraemer has also been involved in several feature films, most notably as Baroque music director for the film The Madness of King George.