If you browse in the splendid collection of CD recordings by Hespèrion XXI, you will soon notice that the ensemble has frequently drawn on the famous Codex Las Huelgas. ThisMANU SCRIPTUM edition of Laus Polyphonae is for Jordi Savall and Montserrat Figueras therefore an ideal opportunity to devote a complete evening to that Spanish music collection. The female voices of Lux Feminae represent in a brilliant way the highly sophisticated nuns for whom the Codex Las Huelgas was written. The manuscript is famous for its early motets in Parisian Notre Dame style, but also for its marvellous medieval music with a local Spanish touch. The Iberian temperament of Savall and Figueras, the golden couple of early music, will be used with an edge of advantage here. A practical hint from AMUZ: be sure to order your tickets well in advance!

Performers
Jordi Savall & Montserrat Figueras, artistic direction

28 August, 2010 18:00 -- St.-Pauluskerk

The publications of the Venetian master printer Ottaviano Petrucci heralded in the early 16th century the new era of music printing and concurrently resulted in the democratisation and the exponential growth of the practice of polyphony. These editions contain a wide spectrum of compositions from the generation of Josquin des Prez: ranging from masses and motets to chansons, laude and frottole. This is the second successive year that singers of the Cappella Pratensis organize the international summer school for advanced and pre-professional choir or ensemble singers. During this public presentation you are invited to hear the result of this summer school.

Do you want to enrol for this singing course? More information on www.musica.be

Performers
Stratton Bull, Christopher Kale & Arnout Lems, artistic direction

29 August, 2010 09:00 -- Elzenveld

Many young musicians are looking for a niche on the international concert scene. There exist several initiatives to sustain their efforts. There are fringe concerts offering for free a stage to young ensembles, and several kinds of competitions try to engineer a future for groups. Is the creation and development of a professional network crucial to secure a niche in the musical landscape? And if so, how does one handle it in the most efficient way? Enough issues for a lively debate between managers, experienced musicians and young musicians, among them Jill Feldman (coach IYAP 2010), Delma Tomlin (Early Music Festival York), Nicolas Agten (Scherzi Musicali) and Sofie Vanden Eynde (Le Jardin Secret).

in collaboration with Musica, impulse centre for music

29 August, 2010 13:00 -- AMUZ

Many young musicians are looking for a niche on the international concert scene. There exist several initiatives to sustain their efforts. There are fringe concerts offering for free a stage to young ensembles, and several kinds of competitions try to engineer a future for groups. Is the creation and development of a professional network crucial to secure a niche in the musical landscape? And if so, how does one handle it in the most efficient way? Enough issues for a lively debate between managers, experienced musicians and young musicians, among them Jill Feldman (coach IYAP 2010), Delma Tomlin (Early Music Festival York), Nicolas Agten (Scherzi Musicali) and Sofie Vanden Eynde (Le Jardin Secret).

in collaboration with Musica, impulse centre for music

29 August, 2010 13:00 -- AMUZ

The Tallis Scholars and Peter Phillips probably need no introduction anymore. In the press they are hailed as the rock stars of vocal renaissance music and praised because of their crystal-clear sound, their emotional expressiveness and impeccable intonation. Entirely in their best English choir tradition they tackle the Eton Choir Book. On the programme there is music by, among others, John Nesbett, John Browne, William Cornysh and Robert Wylkynson. The latter became in 1500 informator choristarum (choir master) at Eton College.  Wylkynson’s Salve Regina belongs to the last pieces in the Eton Choir Book and was possibly penned into the manuscript by the composer himself.

Performers
Peter Phillips, artistic direction

29 August, 2010 18:00 -- St.-Carolus Borromeuskerk

After Laus Polyphoniae AMUZ lets the champagne bottles pop for the opening of its autumn season, on the rhythm of some masterpieces from the Italian high baroque. Instrumental and vocal works of Vivaldi and the Scarlattis will be reinvigorated through the expert offices of Ensemble 415 and the acclaimed counter tenor Carlos Mena. The pillars of this programme are two religious compositions dedicated to the Virgin Mary, on the one hand in her role as queen, on the other as mourning mother close to the dead Jesus. Domenico Scarlatti’s Salve Regina originated in the middle of the 18th century and is a moving synthesis of compositional mastery. Vivaldi, too, seems to have postponed the composition of his Stabat Mater to the moment when he was perfectly confident about his craftsmanship. The result is a subdued but intense story with a personal touch, due to a special choice of text and an unusual musical structure.

Performers
Carlos Mena, countertenor | Elisa Citterio, violin | Patricia Gagnon, viola | Gaetano Nasillo, violoncello | Pedro Vares, double bass  | Evangelina Mascardi, theorbo | Michele Barchi, harpsichord | Chiara Banchini, violin & artistic direction

Programme
Alessandro Scarlatti: Concerto nr. 1 in f | Domenico Scarlatti: Salve Regina in A | Antonio
Vivaldi: Concerto in d, RV 129 – Sonata a quattro ‘Al Santo Sepolcro’ in Eb, RV 130 – Introduzione al Miserere, RV 638 – Stabat Mater, RV 621

02 October, 2010 19:00 -- AMUZ