At the beginning of the 18th century the concerto grosso was slowly losing ground. Composers – many of them virtuosos themselves – were eager to discover new ways of showing off with their instruments. Thus originated the solo concerto, a genre in which Vivaldi very rapidly outstripped all the others. Relying on the more than average quality of the female musicians at the Venetian Ospedale della Pietà he was in a position to experiment to his heart’s content, always searching for new instrumental combinations. Backed up by this experience Vivaldi wrote concertos for the top musicians of his days, often commissioned by prestigious patrons. The French-Canadian ensemble Arion with flautist Claire Guimond, bassoonist Mathieu Lussier and violoncellist Jaap ter Linden brings a colourful concert, including La Notte and Il Gardellino, two of Vivaldi’s most characteristic works.

During the Middle Ages the Italian cities groaned under the continuous, internal struggle between two politico-societal factions: the Guelphs (among them Dante Alighieri!) who supported the pope, and the Ghibellines who were loyal to the German emperor. This turbulent fratricide will be musically shaped by the young ensemble of Thomas Baeté, a Flemish musician of the highest calibre. Robert I of Naples, leader of the Guelphs, becomes the central figure: as supporter of pope Benedict XII and as Maecenas of numerous musicians from the latter’s entourage in Avignon, Robert I can be connected to the famous music codices of Apt and Ivrea, in which a motet by Philippe de Vitry dedicated to him has been found. Then the Ghibellines also appear on stage with compositions from the Holy Roman Empire. The result becomes an artistic joust, a quest for musical antitheses or hidden harmonies, brimming with top works from the Ars Nova. After last year’s success AMUZ and the Peace Centre Antwerp present a new edition of the Peace Concert. City poet Peter Holvoet-Hanssen moves like a troubadour between the two fighting factions.
 
Performers
Peter Holvoet-Hanssen, text | Thomas Baeté, artistic direction

Pieter Paul Rubens knew better than anybody else how to combine the realist Flemish tradition of painting with imaginative, classical themes from mythology. For Rubens’ musical contemporaries too – composers such as Monteverdi, Zamponi, Caccini, Cavalli and Frescobaldi – mythological stories were an exceedingly fertile source of inspiration. Ensemble Musica Favola compiled a wonderful concert programme with 17th-century Italian music, focusing on the epic voyages of Ulysses.The Brussels tenor Stephan Van Dyck studied with René Jacobs and William Christie, contributing to more than sixty recordings with music from the Middle Ages to the classical period. In this baroque repertoire his clear, expressive voice shows itself to best advantage.
 
This concert starts at 7 p.m. with an introduction dealing with Rubens and mythology (Dutch spoken). Your concert ticket also admits to the prestigious exhibition Palazzo Rubens: the Master as Architect (6 – 10 p.m.).
 
Performers
Hannelore De Vaere, harp | Frank Agsterribbe, organ & harpsichord | Wim Maseele, theorbo & guitar | Martin Bauer, viol | Adrien Mabire, cornett | Stephan Van Dyck, tenor & artistic direction

In the framework of the Moussem Festival AMUZ invites two Iraqi musicians for a concert with the maqamat as point of departure. Maqams are melodic modes that are used in traditional Arabic music. Both compositions and improvisations are based on maqam systems in traditional Arabic music. Maqams are used in the vocal as well as in the instrumental repertoire and do not feature rhythmical components. Since 2003 the maqam has been included in the list of immaterial world heritage of the UNESCO. Anwar Abudragh and Naseer Shama present at AMUZ a selection of their own compositions based on the maqam tradition of their country. That their well-founded cross-overs between old and new, between east and west have an inspiring impact transpires from their growing number of fans. AMUZ and Moussem take pride in presenting these passionate musicians to the Antwerp public. 

Also in Brussels

The Slow Lisztening weekend opens with a moving Liszt production by Cie. Bisschoff, already a favourite of the AMUZ audience with HMS Oriana before. In Via Crucis you will hear a composer who is the opposite of the lionized piano virtuoso that Liszt was once. In the last phase of his life it looked like Franz Liszt had radically gotten rid of all excess baggage that he had accumulated and dragged along as a traveling Bohemian. This seemed to him the only way to penetrate into the core of his spritual and musical essence. Via Crucis represents fourteen moments from the Stations of the Cross of Jesus, from his conviction till the dead Messiah’s entombment. The music is removed for miles and miles not only from the dashing pieces with which Liszt had enthralled the high society of all Europe, but also from the traditional church music of his days, which was mostly romantic and sometimes frivolous. Insistent, grating choral parts are accompanied by visionary, hushed piano sounds. The singers of Compagnie Bischoff turn Liszt’s Via Crucis into a modern liturgy by assembling the Stations of the Cross with pictures by Magnum photographer Carl de Keyzer, who offers a contemporary interpretation of the Passion.

Performers
NN, piano | Carl de Keyzer, photography | Jan Van den Bossche, stage direction | Mathieu Heinrichs, dramaturgy | Romain Bisschoff, artistic director

Programme
Franz Liszt: Via crucis, Il Pensieroso uit Années de Pèlerinage | Kasia Glowicka: La Notte

Amie d’AMUZ Claire Chevallier is in great demand all over Europe as a pianist for solo recitals, chamber music concerts and performances with orchestra. This versatile artist combines the creativity of a thoroughbred musician, the dedication of a born stayer and the charm of a real Française when speaking about her artistic track record as a pianist, as a collector of historical keyboards and as a teacher. Specialized in historically informed performance ranging from the classical period to the French 20th century, Chevallier has frequently borne the palm, both for her concerts and for her outstanding recordings. In the frame of Slow Lisztening Claire Chevallier guides some talented young musicians through Franz Liszt’s oeuvre for keyboard, evidently on a period grand piano. The public is welcome to attend this masterclass for free.

Professor
Claire Chevallier