Beethoven was commissioned to compose Piano sonatas no. 30-32 by the Berlin music publisher Schlesinger. In these, his last piano sonatas, we find a less heroic and turbulent Beethoven: instead we hear an older composer who has raised the piano sonata to more exalted heights. Ronald Brautigam plays the fortepiano with fiery passion and poetic intimacy in equal measure.
Following the French Sun Kings example, the Prussian King Frederick the Great also showed off his wealth and power in support of the arts. His court orchestra included the best musicians and composers of the age. Refined compositions by Janitsch, Graun, Müthel and Quantz allow the musicians to dazzle in elegant dialogues and lively interaction. Notturna, led by Baroque oboist Christopher Palameta, brings together some of the best musicians from major ensembles such as Collegium Vocale. It makes a successful plea in favour of these forgotten Late Baroque compositions that deserve to be far better known. Rediscover them at AMUZ!
VivaBiancaLuna Biffi focuses on unhappy love in his programme, in three acts as if it were a mini opera itself. From evening until morning, love is presented as an incomprehensible journey, a
mystery. The Italian singer and vielle player takes a fresh look at the repertoire of frottolas, particularly refined polyphonic chansons typical of the 15th century. Their portrayal of human emotions reveals unexpected similarities with the great solos of later operas.
Immerse children in their third year of primary school in music for a week and let them create
and perform their own compositions. The musical project weeks organised by AMUZ and De Veerman is a formula that results in enriching experiences time and time again. Purcells King Arthur is the starting point for the children to come up with songs about brave knights, sneaky wood nymphs and exciting adventures this week: just like the composer Purcell himself.
Then this is the deciding day, to fix Great Britains sceptre in great Arthurs hand or put it in the bold invaders gripe. With these words, the first act of King Arthur begins, telling the story of the fight between the British King Arthur and his enemy Oswald, King of the Saxons, for the hand of the beautiful blind Emmeline. King Arthur is one of Henry Purcells five semi-operas: theatre plays with singing. His score contains the most beautiful of his arias and duets, such as Fairest isle and the Cold Genius aria. Vox Luminis, which has also recorded some of Purcells stunning religious music, has made its own adaptation of the text (English spoken).
Humans have the greatest aptitude for music in very early childhood. This makes it a wonderful experience to sing simple songs with babies and toddlers, experimenting with rhythm and sound. Come and find out about musicality with your child at four short sessions in the AMUZ foyer. Klankenbad is based on The Music Learning Theory by the renowned educationalist Edwin E. Gordon, which states that musicality is acquired in the same way as language. Gordons theory demonstrates that coming into contact with music at a very early age has a significant influence on future musical development. So it is a great idea to stimulate your child and bring them into contact with music through play, especially because it is so much fun for both the children and their parents! We work in five age categories. Babies are stimulated to explore their own musical gurgling and cooing. New for this year is a programme for toddlers, who get to work with melody, rhythm and movement. As a parent or guardian, you will discover how you can make music with your child at home as well.
Categories: 9.00: babys & toddlers from 0 to 18 months 10.00: toddlers from 18 to 24 months (fully booked) 11.00: toddlers from 24 months until they start nursery (fully bookend) 13.00: young children who already go to nursery (reception or first year) 14.00: young children who already go to nursery (second or third year)