Baroque Meets Bebop: Lhotzky’s ‘Eternal Baroque’ Dazzles Berlin Philharmonic
BERLIN – A unique collision of centuries captivated audiences at the Berlin Philharmonic this week as Bernd Lhotzky’s ’Eternal Baroque’ presented a thrilling reimagining of early music through a contemporary jazz lens. The sold-out event, featuring a stellar ensemble, seamlessly blended compositions by Vivaldi, Dowland, and Lully with arrangements of Dizzy Gillespie and original works, proving a resounding success.
The performance wasn’t simply a juxtaposition of styles, but a vibrant conversation between them. Lhotzky, on harpsichord, arrangement, composition, and as musical director, masterfully curated a programme that highlighted both the intricate beauty of Baroque forms and the improvisational spirit of jazz. Soloist Émile Parisien’s saxophone soared through both classical and modern pieces, demonstrating remarkable versatility, while flutist Frédéric Couderc added a touch of whimsy with his performance on traditional flutes, piccolo, and even animal horn flutes/ocarinas.
the ensemble’s dynamic range was on full display throughout the evening. Parisien delivered a “staggering and long solo/intensity build in 5/4” during Couperin’s “Chute fatale,” and later showcased his skill in a beautifully paced unaccompanied cadenza in “Pasquini’s Slow Drag.” Drummer Eric Schaefer proved notably noteworthy, transforming Dizzy Gillespie’s “Con Alma” into “a fantastic vehicle…to unfold the alternation of swing and straight eights, with an element of surprise at every switch.” Lhotzky himself observed, “I like to steal things” (“ich klau’ gern”), a philosophy evident in the program’s inventive arrangements.
Bassist henning sieverts enjoyed a moment in the spotlight during Dowland’s “Flow My Teares,” allowing the harmonic progression to “unfold with wonderful inevitability, and a beautifully placed set of arpeggios.” Lhotzky’s understated use of the harpsichord created space for the ensemble’s textures to breathe, fostering moments of both energy and grace.
The concert concluded with an encore of Charpentier’s “Sex Machine” (Lhotzky), leaving the audience eager for future installments of the Jazz at Berlin Philharmonic series. The next event, scheduled for October, will feature Nordic piano trios led by Lars Danielsson and Iiro Rantala.
BAND
bernd Lhotzky - Harpsichord/ arrangement / composition / MD
Émile Parisien – Soprano saxophone
Frédéric Couderc – Flutes
Henning Sieverts - Double bass/cello
Eric Schaefer – Drums
SET LIST
Vivaldi 156
Double Talk - A fugue (Louis C. Singer)
The Earl of Salisbury’s Pavane (William Byrd)
Alma’s Gavotte (Dizzy Gillespie / Lhotzky)
Gavotte en rondeau (Marin Marais/ ascribed to Lully)
Croc-en-jambe, chute fatale (Couperin/Lhotzky)
Flow my Teares (Dowland)/ Sieverts)
Ciacona, la roue du hamster (Johann Pachelbel / Bernd Lhotzky)
Pasquini’s Slow Drag (Pasquini/Lhotzky)
Affetuoso (Handel)
Fuge, Flucht und Bedrängnis (Fugue, flight and distress) / (Lhotzky)
canarie from Le Bourgeois Gentilhomme (Lully)
ENCORE: Charpentier’s Sex Machine (Lhotzky)
