The Orquesta Baroque de Tenerife closes its second season paying a tribute to the most outstanding compositions in the History of Baroque Music: a selection of Handel’s and Telemann’s Water Suites.

The two collections of sixteen Baroque dances are composed in G major and C major. Handel’s was composed in 1717 to legitimise through music and propaganda, the power of King George I. Telemann’s celebrates the centenary of Hamburg Admiralty, in 1723. Both works tie together these two great composers forever, and this association would ultimately benefit opera as it was Telemann who, while in Halle, introduced Handel to the genre that was to give him international fame from London.

In the flowing of the Thames and the Elbe towards the North Sea, fantasy and metaphor allow to lucubrate music programmes based on myths, emblems and allegory. Handel takes motifs from Tafelmusik to build new sound universes and widen his catalogue; it is not difficult to imagine that the London lab of Water Music stimulated Telemann, as it is evident that the melodic motifs in Wassermusik, are inspired by the former, though Vivaldi’s programmatic music should not be overlooked. Just remember some of the passages of il Cimento dell'armonia e dell'inventione played by OBDT in these past two years on different occasions, which tonight will resound in your auditive memory specularly.

Listening to the Fantasia for Traverse Flute without Bass will connect with Euterpe, like ancestral aulos, who sends Thetis to sleep until after the break, to start with the Sarabande Die schlafende Thetis.

The prodigious water music, ut musica poesis, concludes with the elegant Canarie Die lustigen Boots, the culmination of this earthly amusement, after the gods dive into the lethargy of time as a repeated demonstration, genitrix of the concert title  modulated by Bruce Lee, of the Tao feeling life flowing, like water, with no human intervention.