Might we have the pleasure of this dance? Let us whisk you away to an Edwardian garden party, where you will see and hear the pianola in its most authentic role as an instrument intended for musical entertainment among friends and family. From light music to Argentinean tangos from the 1910s and 1920s: enjoy an atmospheric Sunday afternoon filled with music, compiled and presented by Max Lakeman, Barbara Dehn and Yvo Verschoor.
Rumours that Mozart didnt much like the flute didnt stop him from writing inspired music for the instrument. His flute concertos, composed in about 1777, are works of uncomplicated beauty. The same applies to Haydn’s string quartet: it is deceptively simple, but very refined and mature. Joseph Martin Kraus (1756-1792) is sometimes called the ‘Swedish Mozart’. His flute quintet defies all the conventions of the age. Haydn said of him: “I own one of his symphonies, which I keep to remind me of one of the greatest geniuses I have ever met.” Jan De Winne (il Gardellino) is the perfect soloist for this repertoire. Driven by a fascination with early instruments, he has made his own copies of 18th and 19th century traversos. The young Consone Quartet, a finalist in the York Early Music International Young Artists Competition in 2015, has caused a sensation at AMUZ in the past.
In this programme, the musicians of Het Collectief return to their musical roots: the innovative music written in Vienna in the early 20th century by composers such as Schönberg, Berg and Webern. Their starting point is the private concerts that Schönberg himself organised at the time to present new work to interested audiences. For practical and financial reasons, adaptations for a small ensemble were played at these concerts. The musicians of Het Collectief combine these with highly inspired new arrangements by Reinbert de Leeuw, who also conducts the ensemble. They use the basic instrumentation available at the time: a few strings, wind instruments, piano and harmonium. The soprano Liesbeth Devos perfectly evokes the brooding, unheimlich atmosphere of turn-of-the-century Vienna.
For Music Academy Day, the Historic Instruments Department will be celebrating the 400th anniversary of Polyhymnia Caduceatrix et Panegyrica, a masterly work by Michael Praetorius, who composed more and more in the new Italian style after the death of his employer Duke Henry Julius. Praetorius’ works speak a musical language that immediately touches the listeners’ feelings. The arrangements are highly varied, including a rich array of instruments alongside vocal solos and choir. In his treatise Syntagma Musicum, Praetorius himself gives instructions as to how his pieces are to be performed.
Young composers between 12 and 20 years old get the chance to have their music performed by a professional ensemble on a concert stage at AMUZ. The most interesting pieces sent in will be performed by HERMESensemble at this closing concert. Previous editions of The Times They Are a-Changin’ have proved that an exercise of this kind can produce fantastic results. Come and witness it this year for yourself! Do you know talented young composers aged between 12 and 20? You will find all the information and conditions for participation and registration at www.hermesensemble.be.
In addition to The Times, HERMESensemble, AMUZ and De Veerman are also developing a separate trajectory for young composers (conservatory students) under the name THE TIMES ACADEMY. This is a co-creation trajectory, in which a new composition takes shape in close collaboration with the musicians of HERMESensemble and composer Wim Henderickx. During the concert of The Times 2019 you will also hear two compositions by students from THE TIMES ACADEMY.
Wim Henderickx coach Times Academy: www.wimhenderickx.com
With her versatility, fabulous technique and passionate playing, Olga Pashchenko is among the most exciting pianists of the younger generation. Instinct, intelligence, perfect technical skill and a healthy dose of originality are just a few of the characteristics with which her fellow pianist Alexander Melnikov grabs audiences attention. Two historic grand pianos await Liszt’s most substantial and ambitious work for two pianos: Concerto Pathétique. Together, Pashchenko and Melnikov also perfectly capture the shimmer of Debussy’s La mer and the almost picturesque beauty of his Trois Nocturnes.