Orchestra of the Age of Enlightenment

Biography

Active: 1986 - ; London, England
In the late 1970s and early 1980s the "original instruments" (or "authentic instruments") groups began to be appear. They ordinarily associated with particular individual conductors, usually the musician who formed each in the first place, and were not full-time organizations. Typically they gathered for a limited number of concerts and recordings a year, and their membership was variable. Half the people playing on one day's studio session as Read more the London Classical Players might have been on stage the week before as part of the Academy of Ancient Music.

In 1986, a group of the best of these freelance players sought increased security and the artistic benefits of performing regularly as a permanent orchestra, and formed the Orchestra of the Age of Enlightenment. As most London orchestras, they organized themselves into a self-governing co-operative owned by its musicians. As a matter of policy, they decided against appointing anyone as its music director or permanent conductor. This meant they had to shine from the outset to attract the best interpreters to lead their performances.

That they did. They immediately made a mark in the central Baroque- and Classical-era repertory of composers like Purcell, Vivaldi, the Bachs, the Haydn brothers, and the Mozarts under such leaders in the period instrument field as Frans Brüggen, Ton Koopman, Gustav Leonhardt, Sigiswald Kuijken, and Charles Mackerras. An early success was when they served as the orchestra for a production of Mozart's Idomeneo with Simon Rattle in 1987.

In 1989, they were invited to perform in a major series of Haydn concerts, making their debut at the Glyndebourne Festival Opera, with which it has often performed since. In 1991, the anniversary year of Mozart's death, the OAE performed at the Salzburg Festival and in the "Mozart Now" series at London's South Bank Centre.

Being without a permanent conductor, the OAE held itself out as available to perform with conductors who are not part of the Baroque and Classical specialist crowd, such as Paavo Järvi, Sir Simon Rattle, Ivan Fischer, Andrew Davis, Heinrich Schiff, and Mark Elder. Most of the OAE's members can be considered scholar-specialists on the history of their own instrument and have mastered all the successive technical variants thereof that occurred over the years. Thus, the OAE often performs music of such composers of Rossini, Mendelssohn, Brahms, Wagner, and even Tchaikovsky and Mahler on instruments appropriate to these masters' own periods.

In 1992, Brüggen and Rattle agreed to be named the OAE's principal guest conductors, and have performed often with it since. Its regular venues are London's Royal Festival Hall (where it is an Associate Ensemble) and St. George's Bristol, where it is the Resident Ensemble. In 2002, its long association with Glyndebourne was formalized as it was officially named that venue's "Associate Orchestra." The orchestra has toured widely, including 17 countries in Europe alone, as well as major venues in most other parts of the world and has recorded over 50 CD releases. Read less
C. P. E. Bach: Symphonies / Miller, Age of Enlightenment
Release Date: 02/10/2015   Label: Signum U.k.  
Catalog: 395   Number of Discs: 1
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Monteverdi: Vespers / Howarth, Orchestra & Choir Of The Age Of Enlightenment
Release Date: 04/26/2011   Label: Signum U.k.  
Catalog: 237   Number of Discs: 1
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Mozart - An Italian Journey / Jeremy Ovenden, Jonathan Cohen, Age Of Enlightenment
Release Date: 09/27/2011   Label: Signum U.k.  
Catalog: 251   Number of Discs: 1
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Vivaldi: The Four Seasons / Debretzeni, Orchestra Of The Age Of Enlightenment
Release Date: 04/29/2014   Label: Signum U.k.  
Catalog: 377   Number of Discs: 1
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There are 121 Orchestra of the Age of Enlightenment recordings available.

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Biography

Active: 1986 - ; London, England
In the late 1970s and early 1980s the "original instruments" (or "authentic instruments") groups began to be appear. They ordinarily associated with particular individual conductors, usually the musician who formed each in the first place, and were not full-time organizations. Typically they gathered for a limited number of concerts and recordings a year, and their membership was variable. Half the people playing on one day's studio session as Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Symphony in D Major, Wq. 183, No. 1: I. Allegro di molto
Symphony in D Major, Wq. 183, No. 1: II. Largo
Symphony in D Major, Wq. 183, No. 1: III. Presto
Act I: Overture
Act I Scene 1-2: Vive le roi! (Chorus, Sparck, Hartmann, Facio)
Act I Scene 2: Fanfare
Act I Scene 3: Dialogue: Mes amis, je vous ai annonce les (Le Roi, All)
Act I Scene 3: Vive le roi! Vive le roi! (Chorus)
Act I Scene 3-5: Dialogue: Ou diable est donc ? (Hartmann, Sparck, Marinoni, Facio)
Act I Scene 5: Voyez dans la nuit brune ()
Act I Scene 5-6: Dialogue: Eh bien, que ferons-nous de (Facio, Hartmann, , Sparck, Flamel)
Act I Scene 7: Voila toute la ville en fete (Elsbeth)
Act I Scene 7: Quel murmure charmant soudain (, Elsbeth)
Act I Scene 8: Dialogue: Quel astre contemples-tu la? (Sparck, )
Act I Scene 8: Dialogue: Vois comme ce clair de lune est (, Sparck)
Act I Scene 9: O Saint-Jean! ta joyeuse face (The Mourners, , Sparck)
Act I Scene 9-11: Dialogue: Que je prenne la place de Saint-Jean (, Sparck, The Tailor, Le Prince, Marinoni)
Act I Scene 11: Je medite un projet d'importance (Le Prince, Marinoni)
Act I Scene 11: Dialogue: Une seule chose me para't s'opposer (Marinoni, Le Prince)
Act I Scene 12-14: Tout bruit cesse (Chorus, Hartmann, Facio, Sparck, , Max)
Act II: Entracte
Act II Scene 1: Quand l'ombre des arbres (Chorus, Flamel, Elsbeth)
Act II Scene 2: Je me sens, malgre tout (Elsbeth, Flamel)
Act II Scene 3: Oui, c'est bien lui, chere princesse! (Flamel, Marinoni, Le Prince, Elsbeth, Le Roi)
Act II Scene 3-4: Permettez-moi de baiser cette main (Marinoni, Elsbeth, Le Prince, Le Roi)
Act II Scene 5: Je ne serai donc jamais, non jamais (Le Prince)
Act II Scene 5-6: Aurait-elle un coeur dur et faux? (Le Prince)
Act II Scene 7-8: Quel metier delicieux quel celui ()
Act II Scene 8: C'est le nouveau bouffon de roi (, Elsbeth)
Act II Scene 8: Tu me fais l'effet de regarder (, Elsbeth)
Act II Scene 8: Je n'ai donc rien de plus (Elsbeth, )
Act II Scene 8-9: Je vous laisse, princesse (, Flamel, Elsbeth)
Act II Scene 10: C'est aujourd'hui fete a la cour (Chorus, Flamel, Facio, Max, Sparck, , Le Prince, Marinoni, Le Roi, Elsbeth)
Act III Tableau I: Entr'acte
Act III Tableau I: Scene 1-2: Par Jupiter! Je l'avais bien predit! (, Elsbeth)
Act III Tableau I: Scene 2: Psyche pauvre imprudente (Elsbeth)
Act III Tableau I: Scene 2: Est-ce un reve (, Elsbeth)
Act III Tableau I: Scene 2: Il n'est qu'un refrain a chanter (, Elsbeth)
Act III Tableau I: Scene 3-4: Princesse, on vous cherche (Flamel, Elsbeth)
Act III Tableau II: Entr'acte
Act III Tableau II: Scene 1: Calmez-vous, prince! Calmez-vous (Marinoni, Le Prince)
Act III Tableau II: Scene 1: Reprenez cet habit mon prince (Marinoni)
Act III Tableau II: Scene 1: Oui, oui, je connais ton devouement! (Le Prince)
Act III Tableau II: Scene 2: Ils sont entres dans le palais (Facio, Chorus, Sparck)
Act III Tableau II: Scene 3: Eh! bien! Le voila, ! (, Facio)
Act III Tableau II: Scene 4-5: Sous ta banniere on se rallie (Facio, Hartmann, Sparck, Le Prince, , Marinoni, Flamel, Le Roi, Elsbeth, Chorus)
Ballade a la Lune () (appendix)
Pleure, le ciel te voit () (appendix)
Requiem in D Minor, Op. 48: I. Introit (Ed. Marc Rigaudière)
Requiem in D Minor, Op. 48: Kyrie (Ed. Marc Rigaudière)
Requiem in D Minor, Op. 48: II. Offertoire (Ed. Marc Rigaudière)
Requiem in D Minor, Op. 48: III. Sanctus (Ed. Marc Rigaudière)
Requiem in D Minor, Op. 48: IV. Pie Jesu (Ed. Marc Rigaudière)
Requiem in D Minor, Op. 48: V. Agnus Dei (Ed. Marc Rigaudière)
Requiem in D Minor, Op. 48: VI. Libera Me (Ed. Marc Rigaudière)
Requiem in D Minor, Op. 48: VII. In Paradisum (Ed. Marc Rigaudière)
Requiem in D Minor, Op. 48: Offertoire (Ed. John Rutter)
Concerto No. 1 in E Major, Op. 8, RV. 269, ?La primavera?: I. Allegro
Concerto No. 1 in E Major, Op. 8, RV. 269, ?La primavera?: II. Largo e pianissimo sempre
Concerto No. 1 in E Major, Op. 8, RV. 269, ?La primavera?: III. Danza pastorale: Allegro
Concerto No. 2 in G Minor, Op. 8, RV. 315, ?L?estate?: I. Allegro non moto
Concerto No. 2 in G Minor, Op. 8, RV. 315, ?L?estate?: II. Adagio - Presto
Concerto No. 2 in G Minor, Op. 8, RV. 315, ?L?estate?: III. Presto
Concerto No. 3 in F Major, Op. 8, RV. 293, ?L?autunno?: I. Allegro
Concerto No. 3 in F Major, Op. 8, RV. 293, ?L?autunno?: II. Adagio molto
Concerto No. 3 in F Major, Op. 8, RV. 293, ?L?autunno?: III. Allegro
Concerto No. 4 in F Minor, Op. 8, RV. 297, ?L?inverno?: I. Allegro non molto
Concerto No. 4 in F Minor, Op. 8, RV. 297, ?L?inverno?: II. Largo
Concerto No. 4 in F Minor, Op. 8, RV. 297, ?L?inverno?: III. Allegro
Concerto in B flat major Op. 7 No. 1 (HWV 306): I. Andante (including fragment from Passacaille from Suite VII, Suites de pieces pour le clavecin)
Concerto in B flat major Op. 7 No. 1 (HWV 306): II. Largo e piano
Concerto in B flat major Op. 7 No. 1 (HWV 306): III. Fuga (Organo ad libitum after Concerto Grosso Op. 6 No. 11)
Concerto in B flat major Op. 7 No. 1 (HWV 306): IV. Adagio ad libitum (from Harpsichord Sonata in G minor HHA IV, 17 No. 22-Sonata, Larghetto)
Concerto in B flat major Op. 7 No. 1 (HWV 306): V. Bourrée
Concerto Op.7 No.3 HWV 308 in B Flat Major: I-Andante
Concerto Op.7 No.3 HWV 308 in B Flat Major: II-Adagio e Fuga ad libitum(from Suite VIII, Suites de pieces pour le clavecin)
Concerto Op.7 No.3 HWV 308 in B Flat Major: III-Spiritoso
Concerto Op.7 No.3 HWV 308 in B Flat Major: IV-Menuet I & II
Concerto in D minor Op. 7 No. 4 (HWV 309): I. Adagio
Concerto in D minor Op. 7 No. 4 (HWV 309): II. Allegro così così
Concerto in D minor Op. 7 No. 4 (HWV 309): III. Ad libitum (Air from Suite III, Suites de pieces pour clavecin)
Concerto in D minor Op. 7 No. 4 (HWV 309): IV. Allegro
Concerto in G minor Op. 7 No. 5 (HWV 310) : I. Staccato ma non troppo allegro
Concerto in G minor Op. 7 No. 5 (HWV 310) : II. Adagio ad libitum
Concerto in G minor Op. 7 No. 5 (HWV 310) : III. Andante larghetto e staccato
Concerto in G minor Op. 7 No. 5 (HWV 310) : IV. Adagio ad libitum
Concerto in G minor Op. 7 No. 5 (HWV 310) : V. Menuet
Concerto in B flat major Op. 7 No. 6 (HWV 311): I. Pomposo
Concerto in B flat major Op. 7 No. 6 (HWV 311): II. Ad libitum (Adagio [3rd movt] from Suite II, Suites de pices pour le clavecin)
Concerto in B flat major Op. 7 No. 6 (HWV 311): III. Air
Concerto in A major Op. 7 No. 2 (HWV 307) : I. Ouverture
Concerto in A major Op. 7 No. 2 (HWV 307) : II. A tempo ordinario
Concerto in A major Op. 7 No. 2 (HWV 307) : III. Ad libitum (Gottlieb Moffat: Sarabande from Suite VI)
Concerto in A major Op. 7 No. 2 (HWV 307) : IV. Allegro
Act I: Sinfonia
Act I: Sinfonia: Allegro - Introduction (Chorus)
Act I Scene 1: Ed e ver? (Ladies, Lords, All)
Act I Scene 2: Cavatina: Non seguite la caccia (Chalais)
Act I Scene 2: Quando il cor da lei piagato (Chalais)
Act I Scene 3: Cavatina: Conte! (Maria, Chalais)
Act I Scene 3: Cavatina: Cupa fatal mestizia (Maria)
Act I Scene 4: Cavatina: Contessa! In tanto giubilo (Visconte, Ladies, Maria Fiesque, Lords, Courtiers)
Act I Scene 5: Finale: Cavalieri! (Gondi, Visconte, Courtiers, Fiesque, The Others, Chalais) - Scene 6: Amici ... (Chevreuse, Fiesque, Chalais, The Other, Gondi, Courtiers)
Act I Scene 6: Ma che! turbato sei? (Chevreuse, Chalais, Visconte, Gondi)
Act I Scene 7: Le dance (Maria, Fiesque, Gondi, Chevreuse, Courtiers, The Others, Chalais)
Act I Scene 8: Conte! (Visconte, Chalais, Fiesque, Chevreuse, Maria, Gondi, Courtiers)
Act II Scene 1: Nel fragor della festa, ahi! (Chalais, Aubry)
Act II Scene 2: Finale: Donna, che il volto d'una larva cinge (Aubry) - Scene 3: Maria! (Chalais, Maria, Chevreuse)
Act II Scene 4: Ch'ei dorma? (Chevreuse, Chalais)
Act II Scene 5: Sedete ... (Chalais, Maria) - Scene 6: Conte! (Visconte, Chalais, Maria)
Giunse al fin il momento...Al desio di chi t'adora
Giunse al fin il momento...Al desio di chi t'adora
Mozart: Così fan tutte ossia La scuola degli amanti, K.588 / Act 2 - "Ei parte...Per pietà"
Mozart: Così fan tutte ossia La scuola degli amanti, K.588 / Act 2 - "Ei parte...Per pietà"
Act I, Overture
Act I, Belinda "Shake the cloud"
Act I, Dido "Ah! Belinda, I am prest"
Act I, Belinda "Grief increase by concealing"
Act I, Chorus "When monarchs unite"
Act I, Dido "Whence could so much virtue spring?"
Act I, Belinda, Second Woman "Fear no danger to ensue"
Act I, Belinda "See, your Royal Guest appears"
Act I, Chorus "Cupid only throws the dart"
Act I, Aeneas "If not for mine"
Act I, Belinda "Pursue thy conquest"
Act I, Chorus "To the hills and the vales"
Act I, The Triumphing Dance
Act II, Prelude for the Witches
Act II, Chorus "Harm's our delight"
Act II, Sorceress "The Queen of Carthage"
Act II, Chorus "Ho ho ho, ho ho ho!"
Act II, Two Witches "But ere we this perform"
Act II, Chorus "In our deep vaulted cell"
Act II, Echo Dance of Furies
Act II, Ritornelle
Act II, Belinda "Thanks to these lovesome vales"
Act II, Second Woman "Oft she visits this lov'd mountain"
Act II, Aeneas "Behold, upon my bending spear"
Act II, Belinda "Haste, haste to town"
Act II, Spirit "Stay, Prince and hear great Jove's command"
Act II, Chorus "Then since our Charmse have Sped"
Act II, The Groves Dance
Act III, Prelude
Act III, Chorus "Come away, fellow sailors"
Act III, Sorceress "See the flags and streamers curling
Act III, Sorceress "Our next Motion"
Act III, Chorus "Destruction's our delight"
Act III, The Witches's Dance
Act III, Dido "Your counsel all is urged in vain"
Act III, Chorus "Great minds against themselves conspire"
Act III, Dido "Thy hand, Belinda"
Act III, Chorus "With dropping wings ye Cupids come"
Act III, "When I am laid in earth" (Dido's lament)
Mozart: Violin Concerto No.3 in G, K.216 - 1. Allegro
Mozart: Violin Concerto No.3 in G, K.216 - 2. Adagio
Mozart: Violin Concerto No.3 in G, K.216 - 3. Rondeau - Allegro
Mozart: Violin Concerto No.4 in D, K.218 - 1. Allegro
Mozart: Violin Concerto No.4 in D, K.218 - 2. Andante cantabile
Mozart: Violin Concerto No.4 in D, K.218 - 3. Rondeau (Andante grazioso - Allegro ma non troppo)
Mozart: Violin Concerto No.1 in B flat, K.207 - 1. Allegro moderato
Mozart: Violin Concerto No.1 in B flat, K.207 - 2. Adagio
Mozart: Violin Concerto No.1 in B flat, K.207 - 3. Presto
Symphony No. 4 in A major Op. 90, 'Italian': I. Allegro vivace - Più animato
Symphony No. 4 in A major Op. 90, 'Italian': II. Andante con moto
Symphony No. 4 in A major Op. 90, 'Italian': III. Con moto oderato
Symphony No. 4 in A major Op. 90, 'Italian': IV. Saltarello (Presto)
Symphony No. 1 in D Wq 183 (H663): I. Allegro di molto
Symphony No. 1 in D Wq 183 (H663): II. Largo
Symphony No. 1 in D Wq 183 (H663): III. Presto
Symphony No. 2 in E flat Wq183 (H664): I. Allegro di molto
Symphony No. 2 in E flat Wq183 (H664): II. Larghetto
Symphony No. 2 in E flat Wq183 (H664): III. Allegretto
Symphony No. 3 in F Wq183 (H665): I. Allegro di molto
Symphony No. 3 in F Wq183 (H665): II. Larghetto
Symphony No. 3 in F Wq183 (H665): III. Presto
Symphony No. 4 in G Wq183 (H666): I. Allegro assai
Symphony No. 4 in G Wq183 (H666): II. Poco andante
Symphony No. 4 in G Wq183 (H666): III. Presto
Symphony No.5 in B minor Wq182 (H661): Allegretto
Symphony No.5 in B minor Wq182 (H661): Larghetto
Symphony No.5 in B minor Wq182 (H661): Presto
Cello Concerto in A major Wq.172 / H.439 (Cadenzas: Anner Bylsma): I. Allegro
Cello Concerto in A major Wq.172 / H.439 (Cadenzas: Anner Bylsma): II. Largo con sordini, mesto
Cello Concerto in A major Wq.172 / H.439 (Cadenzas: Anner Bylsma): III. Allegro assai


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