Coda of the day: Gesualdo Consort Amsterdam
Ave regina caelorum – Andreas De Silva (c. 1475/80-c. 1530)
Laus Polyphoniae 2020 | Polyphony connects
Online from 22.00 p.m., with an impression by Bart Demuyt
Ave regina caelorum – Andreas De Silva (c. 1475/80-c. 1530)
Laus Polyphoniae 2020 | Polyphony connects
Online from 22.00 p.m., with an impression by Bart Demuyt
Johann Sebastian Bach. Actus tragicus
The funeral cantata Gottes Zeit ist die allerbeste Zeit from 1708 – better known as Actus Tragicus – is still deeply rooted in the old German style. It is an intimate, restrained contemplation of death, with quotations mainly from the Old Testament. The instrumentation is somewhat unusual: instead of violins, there are two recorders and two viols. The latter create a soft, comforting and sometimes almost celestial sound, with the recorders seeming to symbolise earthly suffering. Vox Luminis has been widely praised by the international press and awarded a whole array of prizes, including the Gramophone Music Award in the ‘Choral’ category.
Programme
J.M. Bach: Ach bleib bei uns, Herr Jesu Christ | J.C. Bach: Herr wende dich und sei mir gnädig | J.S. Bach: Actus tragicus, BWV 106 | Christ lag in Todesbanden, BWV 4
Performers
Vox Luminis | Lionel Meunier, artistic direction
When
Thursday 1 October 2020, 8 p.m.
Frédéric Chopin’s Last Recital
On Wednesday 4 October 1848, the Polish pianist and composer Frédéric Chopin gave his last public concert in Edinburgh. The Scotsman newspaper reported on “the infinite delicacy and finish of his playing, combined with great occasional energy never overdone.” Tobias Koch, whose refined concert at BEETHOVENinPRIMETIME met with great acclaim, has reconstructed Chopin’s only solo recital on an original Broadwood piano from 1847. Expect a historic look back in time, full of subtle nuance and expressive depth, over a full 90 minutes: just as it was 172 years ago. Unmissable!
Programme
F. Chopin: Grande valse brillante, opus 18 | Impromptu, opus 36 | Ballade, opus 47 | selection of waltzes, preludes, nocturnes and mazurkas
Performer
Tobias Koch, piano (Broadwood 1847)
When
Friday 16 October 2020, 8 p.m.
Flowers & folk songs
Air4Six, the new Belgian vocal sextet, is a collaboration between six famous soloists. They have delved into the vocal heritage of the English ensemble tradition, including great names such as Ralph Vaughan Williams, Edward Elgar, Benjamin Britten and Hubert Parry. However there is also a well-earned place in their programme for 20th century works. You will also be immersed in the melancholy of poignant folk songs from the British Isles. An exciting journey through Great Britain from Romanticism to the present day.
Programme
Will Todd (°1970)
Softly
Hubert Parry (1848-1918)
from: Songs of Farewell:
My soul, there is a country
There is an old belief
Benjamin Britten (1913-1976)
from: Flower Songs
To Daffodils
Edward Elgar (1875-1934)
The Prince of Sleep
Benjamin Britten (1913-1976)
from: Flower Songs
The Succession of the Four Sweet Months
Roger Quilter (1877-1953) / arr: Joris Derder
Fear no more the heat of the Sun
Benjamin Britten (1913-1976)
from: Flower Songs
Marsh Flowers
Ralph Vaughan Williams (1872-1958)
Come Away, Death
Benjamin Britten (1913-1976)
from: Flower Songs
The Evening Primrose
Arthur Sullivan (1842-1900)
The Long Day Closes
Billy Joel / arr: Bob Chilcott
And so it goes
Howard Goodall (°1958)
The Star of the County Down
Traditional / arr: Jonathan Rathbone
The Oak and the Ash
Traditional / arr: James E. Moore
An Irish Blessing
Performers
Liesbeth Devos & Astrid Stockman, soprano| Inez Carsauw, mezzo-soprano | Denzil Delaere, tenor | Charles Dekeyser, bass | Joris Derder, baritone & artistic direction
When
Concert without audience, livestreaming on Thursday 3 December at 8 p.m.
Wolfgang Amadeus Mozart. Piano concertos 9 & 17
The Russian piano marvel Olga Pashchenko and the Belgian orchestra il Gardellino are embarking upon an exciting and promising partnership here at AMUZ: a recording of all Mozart’s piano concertos. In the autumn of 2020, they would have performed live for you, but COVID-19 decided otherwise. Instead of a live concert open to the public, two concerts have been recorded. From Saturday 12th December you can listen to Piano Concerto no. 9 in E flat major, KV 271, which Mozart wrote in his youth for the gifted pianist Victoire Jenamy. From Saturday 19th December you will hear the clear and light-footed Piano Concerto no. 17 in G, KV 453 from 1784. Thanks to her versatility, fabulous technique and passionate playing, Pashchenko is one of the most exciting pianists of today’s generation.
Programme
Piano Concerto no. 9 in E flat major, KV 271 | W.A. Mozart: Piano Concerto n. 17 in G major, KV 453
Performers
Soloist:
Olga Pashchenko, fortepiano
il Gardellino:
Joanna Huszcza, Rossella Croce, Jacek Kurzydło, Madoka Nakamaru, Julie Rivest, violin 1
Laura Andriani, Lilia Slavny, Michiyo Kondo, Marleen Vandaele, violin 2
Raquel Massadas, Kaat De Cock, Amaryllis Bartholomeus, viola
Ira Givol, Phyllis Bartholomeus, cello
Love Persson, double bass
Jan De Winne, flute
Marcel Ponseele, Lidewei De Sterck, oboe
Eyal Street, Jean-François Carlier, bassoon
Bart Aerbeydt, Mark Demerlier, horn
Practical
Piano Concerto no. 9 was available online until 11 January 2021 and now online on Evil Penguin TV.
Piano Concerto n. 17 was available online until 18 January 2021and now online on Evil Penguin TV.
In Partnership with Il Gardellino & MotorMusic
German chamber music with a French twist
Piano music in a French style
Whilst today, George Friedrich Händel (1685-1759) is renowned for his operas and oratorios, during his own time, the cosmopolitan was also praised as a virtuoso improviser on the piano. In London 1720, he published the collection Suites de Pièces pour le Clavecin, Premier Volume, followed by a second volume in 1723. However, he did not issue many more of his works on piano. In his harpsichord suites, he follows the French pattern of stylised dance sequences. In the Suite nr. 3 in d (HWV 428), however, he breaks from the usual form. The Air et cinq doubles is an unusual series of variations on a melodious theme.
Solo works of Telemann
Not only are Händel’s harpsichord suits in the shadow of the instrumental works of his contemporary Johann Sebastian Bach, but Georg Philip Telemann (1681-1767) also has numerous solo works from his extensive oeuvre catalogues which deserve more attention. The Royal Library of Belgium has the only surviving edition of twelve Fantasie per il Violino, senza Basso. However, the attribution to violin is a mistake – these are indeed idiomatic works for flute, which were probably printed in the 1720s, and not as originally assumed around 1733. Telemann does indeed explore all avenues of the traverso flute. The keys are chosen so as best to display the qualities of the instrument. Telemann specifies different fingerings for certain notes, sometimes making the sound clear, and other times a more sombre tone. In addition, he creates a fictitious polyphony by playing with contrasts in pitch. As a result, the flautist is not only a soloist, but also an accompanist.
Between 1728 and 1729, Telemann published Der getrete music-meister, a series of vocal and instrumental works for educational purposes. Twenty five ‘Lectionen’ were sold at various times and contained works by Telemann himself, as well as by some other fellow musicians. Although they were intended for the emerging middle class who liked to play music at home, they were also performed at various German courts. The Suite TWV 41:g4 for oboe and basso continuo comprises six movements in total. Nele Vertommen plays the Overture, the light-hearted Sans Souci and the dancing Passepied.
The gallant style of Weiss
Nowadays, the brother of lutist Silvius Leopold, Johann Sigismund Weiss (1690-1737), is completely unknown. From 1708 until his death, Johann Sigismund worked as a lutist for the court of the Electoral Palatinate of the Rhine – initially in Düsseldorf, followed by Heidelberg and Mannheim. After the death of Johann Willem of the Palatinate in 1716, positions at the court were precarious and so Johann Sigismund took his chances for a while in London. He returned to the court and was promoted to director of instrumental music in 1732. In the archives of 1734, he appears as concertmaster and tenor player. The manuscript of his Sonate voor hobo is gallant in style and kept in the library of the Royal Conservatory of Brussels.
This project was created thanks to the donations of many music lovers to AMUZ’s ‘Support Fund for Young Belgian Artists’.
Programme
Georg Philipp Telemann (1681-1767). Suite in TWV 41:G4, from Der getreue Music -Meister
Ouverture – Très vite – Sans souci – Passepied
Georg Friedrich Händel (1685-1759). Recorder sonata in g, HWV 360, opus 1 nr. 2
Presto
Georg Friedrich Händel. Suite in d, HWV 428
Air met Doubles
Georg Philipp Telemann. Fantasie nr. 12 for flute solo, TWV 40:13
Grave – Allegro – Grave – Allegro – Dolce – Allegro – Presto
Johann Sigismund Weiss (1690-1737). Oboe sonata in g
Adagio – Rondeau – Sarabande – Gigue presto
Performers
Beniamino Paganini, harpsichord & traverso | Nele Vertommen, oboe & recorder