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Karlsson Barock
Göran Karlsson

FR-076

An extraordinary orchestra using music to illustrate what life is all about – passion, love, hate, and extreme contrasts.

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Arcangelo Corelli: Concerto grosso, 6:8

(Sara Uneback, Per T Buhre, Kristina Lindgård)

-

Vivace - Grave

1:35

Allegro

2:08

Adagio

1:11

Allegro

0:26

Adagio

1:54

Vivace

0:57

Allegro

1:58

Largo

3:38

Jean-Féry Rebel: Les caractères de la danse

-

Prelude

0:24

Courante

0:26

Menuet

0:18

Bourrée

0:21

Chaconne

0:50

Sarabande

0:29

Gigue

0:27

Rigaudon

0:14

Passepied

0:32

Gavotte

0:40

Sonate

0:37

Loure

0:15

Musette

0:56

Sonate

1:23

Antonio Vivaldi: Concerto IX con Violino solo obligato, RV 230

(Sara Uneback)

-

Allegro

2:07

Larghetto

3:10

Allegro

2:19

Charles Avison: Concerto 5, after Domenico Scarlatti, Largo

(Karlsson Barock, Sara Uneback, Marie-Louise Marming, Kristina Lindgård)

2:38

Charles Avison: Concerto 5, after Domenico Scarlatti, Allegro

(Karlsson Barock, Sara Uneback, Marie-Louise Marming, Kristina Lindgård)

1:50

Charles Avison: Concerto 5, after Domenico Scarlatti, Andante moderato

(Karlsson Barock, Sara Uneback, Marie-Louise Marming, Kristina Lindgård)

3:53

Charles Avison: Concerto 5, after Domenico Scarlatti, Allegro

(Karlsson Barock, Sara Uneback, Marie-Louise Marming, Kristina Lindgård)

2:12

Antonio Vivaldi: Concerto XI con due Violini e Violoncello obligato, RV 565, Allegro

(Karlsson Barock, Sara Uneback, Per T Buhre, Ingrid Andersson)

0:43

Antonio Vivaldi: Concerto XI con due Violini e Violoncello obligato, RV 565, Adagio Spiccato

(Karlsson Barock, Sara Uneback, Per T Buhre, Ingrid Andersson)

0:26

Antonio Vivaldi: Concerto XI con due Violini e Violoncello obligato, RV 565, Allegro

(Karlsson Barock, Sara Uneback, Per T Buhre, Ingrid Andersson)

2:51

Antonio Vivaldi: Concerto XI con due Violini e Violoncello obligato, RV 565, Largo e Spiccato

(Karlsson Barock, Sara Uneback, Per T Buhre, Ingrid Andersson)

2:20

Antonio Vivaldi: Concerto XI con due Violini e Violoncello obligato, RV 565, Allegro

(Karlsson Barock, Sara Uneback, Per T Buhre, Ingrid Andersson)

2:25

Georg Philipp Telemann: Sinfonia spirituosa, TWV 44:1, Spirituoso

(Karlsson Barock)

2:48

Georg Philipp Telemann: Sinfonia spirituosa, TWV 44:1, Largo

(Karlsson Barock)

2:59

Georg Philipp Telemann: Sinfonia spirituosa, TWV 44:1, Vivace

(Karlsson Barock)

3:14

Arcangelo Corelli: Concerto grosso OP 6:10, Preludio (Andante largo)

(Karlsson Barock, Sara Uneback, Per T Buhre, Ingrid Andersson)

2:29

Arcangelo Corelli: Concerto grosso OP 6:10, Allemanda (Allegro)

(Karlsson Barock, Sara Uneback, Per T Buhre, Ingrid Andersson)

2:03

Arcangelo Corelli: Concerto grosso OP 6:10, Adagio

(Karlsson Barock, Sara Uneback, Per T Buhre, Ingrid Andersson)

0:44

Arcangelo Corelli: Concerto grosso OP 6:10, Corrente (Vivace)

(Karlsson Barock, Sara Uneback, Per T Buhre, Ingrid Andersson)

2:19

Arcangelo Corelli: Concerto grosso OP 6:10, Allegro

(Karlsson Barock, Sara Uneback, Per T Buhre, Ingrid Andersson)

2:34

Arcangelo Corelli: Concerto grosso OP 6:10, Minuetto (Vivace)

(Karlsson Barock, Sara Uneback, Per T Buhre, Ingrid Andersson)

2:05

In an age when many Swedes took fancy names like Tuveklev and Mjunstedt, Astrid Lindgren gave “Karlsson” a boost with her series about “Karlsson on the Roof”, that revolved around a quirky character who referred to himself as the “world’s best Karlsson”.

Only now, that fictional favourite may be knocked off his pinnacle by a very worthy contender, Göran Karlsson, director of Karlsson Barock: His extraordinary orchestra uses music to illustrate what life is all about – passion, love, hate, and extreme contrasts.

Period instruments are used, but not just for the sake of it, they are instrumental in exploring the essentials: What exactly does it mean to be human being? And a human by the name of Karlsson at that! A common name that possibly gifts its bearers with an appealing common touch. Though skilfully conceived and performed, this is not music reserved for connoisseurs and high-brows.
In the Baroque age, happiness was not assumed to be a baseline state. There was no “Unhappy? Then you’re a failure!” mindset. No flood of self-help manuals preaching that you yourself are the master of your destiny. Back then, Fate and God still held sway over humankind.

Poor hygiene, little access to efficient medical treatment and no concept whatsoever of the importance of a healthy diet meant that death was a constant companion, regardless of your social station. Only three of composer Charles Avison’s nine children survived childhood. An obligation to be happy was out of the question. Joy was for heaven. If you got there. The alternative was hell, and compared to that, the human condition was pretty trivial.
No one talked about “expressing emotions” in the Arts during the Baroque period – that is a construction of the Romantics – but obviously music, as always, had a therapeutic aspect. Musical instruments were found at mental institutions in the 17th century, so music was literally medicine to soothe a troubled soul.

This is where Karlsson Barock comes in, side-stepping the clinical 1950s approach that period Baroque instruments should be “objective” in tone. To authentically reflect an age where the majority believed in God, Satan and magic, its music must be played with fire and blood, and that is the driving force behindKarlsson Barock.
Katarina A Karlsson

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