Carl Philipp Emanuel Bach (1714 -1788)
Quartour Wq95, Flute, viola,violoncello, piano

Georg Philipp Telemann (1681-1767)
Concerto for 2 Chalumeaux TWV 52:d1Strings and basso continuo

Antonio Vivaldi (1678 -1741)
Concerto di Parigi No 10 D-major RV121

Marc-Antoine Charpentier (1660 -1744)
Te Deum (prelude) H146 – D-major for trumpet and string orchestra

Workshops enhance playing skills into practice in small ensembles, working with world class teaching artists to unleash artistic potential while discovering the excitement of close interaction with other chamber musicians and unlocking the secrets of ensemble playing
For both transmission of important knowledge and skills they impart, art music is an important part of a complete education. As we work together to implement ART+ International Teacher Association Network for Cambodia, let's ensure that all young people have an opportunity to learn and grow in and through the music.

The unique curriculum of ensemble and orchestral playing let young Khmer musicians experience the joy of music-making, build their confidence and self-esteem, give them a sense of responsibility and self-discipline, and enhance their academic achievements. The magic of chamber music engages performers and audiences, building their knowledge and inspiring them with a new curiosity about the world of music.

Anton Isselhardt/workshop leader

Vivaldi: Concerti di Parigi – the Paris Concertos
                       
The works come from a manuscript in the library of the Paris Conservatory that is thought to have been originally presented to a French nobleman. It is thought that only two of the concertos were new, while the other 10 were chosen from those Vivaldi had on hand. Whatever the truth of this, this set of concertos represents a highly winning, perhaps more subtle aspect of Vivaldi's style than one usually comes in contact with. The works are scored for strings, although Standage doubles them with winds occasionally, as was period practice. The works represent an older style of the Italian Concerto, having something in common with Torelli. There is hardly any spotlighting of solo instruments--the argument is carried by the massed sections of strings.

Georg Philipp Telemann:  Concerto in D minor for Two Chalumeaux,

The chalumeau was a brief experiment that quickly evolved into the clarinet and basset horn of Mozart's time. It lacks much forte potential, and its range is less than two octaves, but it has a wonderful, broad, cello-like tone. That's what Telemann chose to exploit, that woody tone, by writing most of this concerto as an exposed duet for the chalumeaux, with the orchestra entering only at exclamation points.