The deepest suffering often results in the most beautiful works of art … A theory that is certainly applicable to the repertoire for Holy Week. From polyphonic lamentations to baroque tenebrae: countless grippingly beautiful compositions break the darkness with musical splendour. Thus also Joseph Haydn’s Sieben letzte Worte and the new pieces that Frank Agsteribbe allowed to be breathed upon by this work.

Haydn composed his Musica instrumentale sopra le sette ultime parole initially for orchestra. Soon versions for smaller instrumental strengths originated, but also as an oratorio the composition was widely acclaimed. The music inspired Frank Agsteribbe to eight new songs of his own: Ernste Gesänge. Julian Prégardien – as talented as his father – will officiate in this highly individual meditation, with contemporary songs that reflect on, comment on and interpret Haydn’s original.

This concert was originally programmed on 20 March 2014, but was postponed to this new date.

Performers
Julian Prégardien, tenor | Frank Agsteribbe, forte piano

Programme
J. Haydn: Die Sieben letzten Worte unseres Erlösers am Kreuze (versie voor pianoforte) | F.
Agsteribbe: Ernste Gesänge

I.c.w. Klara Festival

26 February, 2015 20:00 -- AMUZ

The deepest suffering often results in the most beautiful works of art A theory that is certainly applicable to the repertoire for Holy Week. From polyphonic lamentations to baroque tenebrae: countless grippingly beautiful compositions break the darkness with musical splendour. Thus also Joseph Haydns Sieben letzte Worte and the new pieces that Frank Agsteribbe allowed to be breathed upon by this work.

Haydn composed his Musica instrumentale sopra le sette ultime parole initially for orchestra. Soon versions for smaller instrumental strengths originated, but also as an oratorio the composition was widely acclaimed. The music inspired Frank Agsteribbe to eight new songs of his own: Ernste Gesänge. Julian Prégardien as talented as his father will officiate in this highly individual meditation, with contemporary songs that reflect on, comment on and interpret Haydns original.

This concert was originally programmed on 20 March 2014, but was postponed to this new date.

26 February, 2015 21:00 -- amuz

On six Sundays during the season 14|15 AMUZ serves a lush brunch at its unique foyer. The marvelous 19th-century winter chapel, decorated with wall paintings in neo-Byzantine style, offers a perfect environment for a copious buffet. The brunches at AMUZ start at 11:30 a.m. If you feel like it, you can take in the matinee concert afterwards.

• When? Preceding the matinee concerts on Sunday 12 October, 26 October, 9 November, 21 December (Christmas brunch), 18 January, 22 February and 1 March, from 11:30 a.m. on.
• Where? AMUZ foyer, Kammenstraat 81, 2000 Antwerpen.
• A brunch consists of: welcome cava, fruit juice, coffee and tea| oven-fresh assortment of bread | selection of fine cheeses and cold cuts | sweet and salty sandwich filling | hot and cold seasonal dishes | choice of desserts.
• Price: a brunch costs € 29 for those who attend the concert and € 36 if you don’t have or buy a ticket. Groups of minimally 8 persons pay only € 32 each. Children from 3 to 13 can eat their fill for half the price. Concert tickets are not included in the price.
• Advance booking is imperative.

Do you want to offer someone a brunch and a concert in AMUZ? Then take a look at our gift vouchers.

Order online
12 October: order brunch
26 October: order brunch
9 November: order brunch
21 December: order brunch
18 January: order brunch
22 February: order brunch
1 March: order brunch

01 March, 2015 10:30 -- AMUZ

On six Sundays during the season 14|15 AMUZ serves a lush brunch at its unique foyer. The marvelous 19th-century winter chapel, decorated with wall paintings in neo-Byzantine style, offers a perfect environment for a copious buffet. The brunches at AMUZ start at 11:30 a.m. If you feel like it, you can take in the matinee concert afterwards: Reinoud Van Mechelen & LEscadron Volant de la Reine (22/02) and Tobias Koch & Hoffmeister Quartett (01/03).

A brunch consistsof: welcome cava, fruit juice, coffee and tea| oven-fresh assortment of bread | selection of fine cheeses and cold cuts | sweet and salty sandwich filling | hot and cold seasonal dishes | choice of desserts.

01 March, 2015 11:30 -- amuz

Tobias Koch and the Hoffmeister Quartett cast covetous eyes upon Beethoven as adapter of his own work. You will hear Beethoven’s piano sonata from 1789, followed by his own arrangement of that piece for string quartet, a composition that Beethoven was very proud of. Furthermore the programme features variations on a theme from the third symphony Eroica and Beethoven’s version for chamber music of his fourth piano concerto.

His arrangement of the fourth piano concerto was enriched with plenty of virtuoso elements. Tobias Koch restored the score on the basis of notes in Beethoven’s autographs. This process of discovery resulted for Koch in numerous aha-experiences. “At the same time it is a quasi improvisatory version of generally known works, enabling a fascinating scoop of Beethoven as pianist,” as Koch put it.

Performers
Ulla Bundies, violin | Christoph Heidemann, violin | Aino Hildebrandt, viola | Cosima Nieschlag, viola | Martin Seemann, cello | Tobias Koch, forte piano

Programme
L. van Beethoven: Klaviersonate in E, opus 14, nr. 1 | Strijkkwartet in F naar de Klaviersonate opus 14 nr. 1 | Klavierconcert nr. 4, opus 58 (versie voor pianoforte en strijkkwintet)

01 March, 2015 14:00 -- AMUZ

Tobias Koch and the Hoffmeister Quartett cast covetous eyes upon Beethoven as adapter of his own work. You will hear Beethovens piano sonata from 1789, followed by his own arrangement of that piece for string quartet, a composition that Beethoven was very proud of. Furthermore the programme features variations on a theme from the third symphony Eroica and Beethovens version for chamber music of his fourth piano concerto.

His arrangement of the fourth piano concerto was enriched with plenty of virtuoso elements. Tobias Koch restored the score on the basis of notes in Beethovens autographs. This process of discovery resulted for Koch in numerous aha-experiences. At the same time it is a quasi improvisatory version of generally known works, enabling a fascinating scoop of Beethoven as pianist, as Koch put it.

01 March, 2015 15:00 -- amuz