utrecht early music festival 2013 - brochure - english

Ciconia - Lassus - Froberger - Muffat
2 On the occasion of: the Treaty of Utrecht (1713)
4 Four Europeans in the spotlight
6 Paul Van Nevel: Artist in residence
8 1713 Dinner
16 STIMU-Symposium: Negotiating Music
20 Early Music Market
24 Early Music Carillon Festival
26 Festival schedule
28 Festival programme
120 Colofon
The Early Music Festival 2013
Carillon
Lute
This same sentiment was expressed in 1713 when diplomats from across Europe were received in Utrecht. Their goal was to restore European political equilibrium and establish peace – not through the clash of arms but by means of negotiations and even festivities.
2013 marks the third centenary of the Treaty of Utrecht. The Early Music Festival joins in the celebrations with a 10-day musical feast that reflects upon European issues in its own unique way.
Happily, during the upcoming Festival, Utrecht will be justified more than ever in presenting itself as the European and even the world capital of early music. The International Lute Days will attract devotees to the city from throughout the world. We will also host two major European professional conferences: REMA, the European network of early music festivals and concert organisers, and AEC, the representative body of the early music faculties of European conservatoires, will be brought into formal and informal contact with each other for the first time. It is no mere coincidence that this meeting will take place in Utrecht.
However, the Utrecht Early Music Festival wishes above all to meet its primary responsibility as the world’s largest early music festival; namely, bringing first rate artistic quality and content to a wide and enthusiastic public. With the programme that you are now holding, this is bound to succeed. Ciconia, Lassus, Froberger, Muffat and a legion of first-rate musicians with their hearts in the right place all join together to say:
Welcome to Utrecht!
Xavier Vandamme Director
Welcome to Utrecht!
on the occasion of: the treaty of utrecht
(1713) Precisely 300 years ago Utrecht was for a brief period the centre of the world. In 1713 the War of the Spanish Succession came to an end, and with it a century and a half of bloody religious wars. This was achieved exclusively by diplomatic not military means. The result: a new European equilibrium, with national borders that have remained recognisable up to the present day. Utrecht played the role of UN headquarters before this organisation ever came into being. All negotiations took place here, although a French diplomat could not resist ironically pointing out to the Dutch that the talking took place ‘chez vous, de vous et… sans vous’.
In 2013 Utrecht celebrates the third centenary of the Treaty of Utrecht. The 2013 Early Music Festival adopts this theme, while immediately broadening its perspective. 1713 is not the topic of this festival; rather, the underlying European problem of unity in diversity. Four composers guide us on our way – Ciconia, Lassus, Froberger and Muffat; all of them European travel- lers. However, this festival is also a tribute to the many other globetrotting musicians who wove a fascinating web of migrating musical styles, thus transforming the European map into a colourful swirl of shifting arrows.
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Johannes Ciconia (c. 1370-1412) was born in the environs of Leuven and ended up in Padua – probably after stopovers in Paris, Rome and Pavia. He lived at a time when the Catholic Church was torn by internal division, with two and ultimately even three popes reigning simultaneously; a situation creating tension throughout Europe. Ciconia was one of the great figures of late medieval music. He bridged the divide between the French Ars Nova and Ars Subtilior and the Northern Italian tradition.
The multi-talented Renaissance genius Orlandus Lassus (1532-1594) was in a unique category of his own. He was in effect the most celebrated composer of Europe around 1570. Lassus’s oeuvre is vast – no less than 79 volumes were published during his lifetime and he wrote more than 2,000 works encom- passing all the genres of his day. Strik- ingly, though, he did not combine the diverse national musical idioms that he had mastered.German songs, French chansons and Italian madrigals: Lassus kept them all neatly separated.
Four Europeans in the spotlight
Johannes C iconia Or landus Lassus
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bestelnummer 00
The keyboard giant Johann Jakob Froberger (1616-1667) brought together the great European styles of the early 17th century. The German studied with Frescobaldi in Rome and befriended the harpsichordist Louis Couperin and the French lutenists in Paris. Froberger inte- grated the diverse national keyboard idioms of Italy, France and Germany. The highly personal touch that he added to his compositions often turned them into unalloyed ego-documents. In this way Froberger paved the way for the keyboard to emerge as a solo instrument capable of the highest individual expression.
Georg Muffat (1653-1704) was born in Savoy and soon came into contact with the muscular chic of Lully in Paris, which he combined with the wealth of colours that he encountered in Pas- quini and Corelli in Rome. His resulting oeuvre includes extraordinary orches- tral music in which the cosmopolitan Muffat strove to create a musical idiom that would transcend national styles and, as he himself wrote in his Flori- legium primum, herald ‘the harmony between the nations; cherished Peace’.
Johann Jakob Froberger Georg Muffat
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boundless versatility
Lejeune: motets, Psalms, chansons
amateur singers (workshop)
Lassus: I Trionfi
paul van nevel
The Flemish Renaissance specialist and conductor Paul Van Nevel is artist in residence at this year’s Utrecht Early Music Festival. He gives three concerts with his Huelgas Ensemble, sketching the portrait of one of the most versatile and talented composers of the Renaissance: Orlandus Lassus (1532-1594).
‘Lassus was the standard-bearer of Franco-Flemish polyphony at the end of the Renaissance. He was virtuosic, versatile and had a great sense of feeling for what was happening around him, with regard to music, politics or general culture. I know of no greater melancholic than Lassus, however he combined this quality with an unprecedented sense of humour, which he never hesitated to express in his music.’
Founded in 1971 by Paul Van Nevel, the Huelgas Ensemble is among Eu- rope’s most illustrious performers of medieval and Renaissance polyphonic music. They are hailed for their clear, well-balanced sound and their interpretations based on extensive knowledge.
Menus
23 - 25 August Turnip and mushroom tart Roast saddle of ox with chard and raisins
26 - 29 August Venison pie Capon in pastry, with prunes, black cherries and verjuice
30 August - 1 September A princly tart with breast of pheasant and quail Stuffed breast of veal, with purée of peas and sauce Robbert
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Dining in the sty le of the Treaty of Utrecht
dinner 1713
Inspired by the Treaty of Utrecht the Utrecht Early Music Festival collabo- rates with one of Utrecht’s best restaurants, Huize Molenaar, to offer you the 1713 Dinner, based on historical recipes. The chef Pepijn Gilsing has drawn inspiration from historical cookbooks such as De Nieuwe, Welervarene Utrechtsche Keuken-meid (1771).
The 1713 Dinner will be on offer daily in the superbly restored Paushuize, close to the Pandhof Festival Centre.
1713 Dinner – every festival day from 18.00 to 19.30 18.00-18.30 Paushuize open to visitors 18.30-19.30 two-course dinner Price: € 49,50 incl. beverages, and coffee or tea after the meal
Paushuize Kromme Nieuwegracht 49 | 3512 HE Utrecht
Table reservations are possible for groups of four persons or more, smaller groups will be seated upon arrival.
Please make your reservation using the order form in this brochure or via www.oudemuziek.nl.
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10.00-12.00
passe-partout for four workshops
tue 27 aug / 15.00
baroque dance: the quintessential european language
Baroque dance was a language common to all of Europe. The dance was a means of communication for courtiers and diplomats as well as a structural prinicple for composers. France played a dominant role in this development: Louis XIV oversaw the development of a dance notation, which enabled the French dance to be easily disseminated throughout Europe. Has your love of Early music made you curious to know more about Baroque dance? Would you like to discover the effect that a practical Baroque dance workshop has on your listening experience? Or perhaps you are a musician and you would like to know the ideal tempo for those courantes and menuets.
Seize your chance: Rachel Farr will guide you in taking your first steps on the dance floor. Over four consecutive days she will deal with a single dance type at a time, so that you can really learn something. Notation and technique will be discussed and, naturally, everybody will dance together. These workshops will be complemented by dance performances featuring 17th- and 18th-century choreographies.
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Internat ional Ear ly Music Summit
utrecht: european capital of early music
Even more than usual, the Utrecht Early Music Festival will be a central meeting point for early music professionals from across Europe. During the closing weekend the Early Music Festival and the Utrecht Conservatoire will co-host two major international gatherings.
REMA, the European network of early music festivals and concert organisers, and AEC, with representatives of the early music faculties of the European conservatoires, will come into contact with each other on both a formal and informal basis for the first time.
The Early Music Festival is proud to be able to bring music educators and concert promotors together. It serves to underline Utrecht’s position as the undisputed European capital of early music.
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Young ta lent in the Ear ly Music Fest iva l
utrecht: discover the future of early music
The Utrecht Early Music Festival has been a springboard for young talent since the very first edition in 1982. Naturally, the main festival programme offers ample space for new ensembles each year, while the youngest generation of musicians who are still students can present themselves in the Festival Fringe concerts.The fringe programme presents around 70 ensembles and soloists in concerts with free admission: not infrequently, ex- ceptional talent of the future is discovered here. During their stay in Utrecht the musicians will receive extra guidance in the form of career advice given by professionals including concert programmers, impresarios, journalists and inspiring musicians.
Two ensembles will have the opportunity to participate in a masterclass with Skip Sempé. He will coach them the finer points of ensemble playing in late Renaissance and Baroque repertoire. The masterclasses are open to the public, as is the final presentation given by the ensembles on 31 August at 15.30.
The fringe programme will be published in the third number of the Oude Muziek magazine, which will appear in mid August. From 1 August you will also find the fringe programme at www.oudemuziek.nl/fringe.
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negotiating music
The Treaty of Utrecht created a new European equilibrium by means of negotiation, not weapons. In the early 18th century a new, combined Euro- pean taste also emerged within music, uniting the national styles that had developed in the previous decades.
Music had been a crucial element of cultural diplomacy for centuries, whether as a symbol of the power of the state or as a lubricant smoothing the path for political negotiations. This symposium explores various kinds of musical negotiations, from the Thirty Years War to the Treaty of Utrecht. Musicians experienced the constant waging of war as extremely restrictive; however, diplomatic contact often enabled the exchange of new music and ideas.
Guest curator Rebekah Ahrendt (Yale University) has put together a programme focusing on the relationship between musicians and diplomats (with Constantijn Huygens serving as an example), European celebrations of the Treaty of Utrecht and musicians such as Atto Melani and Agosto Stef- fani, who also served as diplomats.
Official Language: English Speakers: Rebekah Ahrendt, David Irving, Fred Jacobs, Scott Edwards, Robert Rawson, Anna Tedesco, Luise Stein, Roger Freitas, Colin Timms, Dorothea Schröder, Peter Leech, Jennifer Thirope, Alison de Simone, Barbara Nestola
The definitive programme will available from 1 June at: www.oudemuziek.nl/symposium
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2013 international lute days in utrecht
The Utrecht Early Music Festival is proud to be the co-host of the 2013 Inter- national Lute Days, an initiative of the Dutch Lute Society. From 30 August to 1 September numerous lute recitals will take place in Utrecht, featuring renowned lutenists such as Paul O’Dette, Anthony Bailes and Fred Jacobs – as part of the main programme of the Early Music Festival.
Lute Symposium There will also be a lute symposium with a special focus on the lute in the Golden Age. The long-awaited, new facsimile edition of Nicolaes Vallet’s complete lute works will be presented in conjunction with this event.
Early Music Market It goes without saying that lute makers will also be substantially represented at the Early Music Market held on 30 and 31 August in the Nicolaïkerk.
The complete programme of the International Lute Days is available at www.luitdagen.nl.
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early music market
One of the cornerstones of the Utrecht Early Music Festival is the annual Early Music Market, hosting musical instrument makers, music publishers and CD labels from throughout the world.
These specialists will be keen to offer you advice or a demonstration of their instruments. It is the perfect opportunity for professionals and amateurs alike to try out and compare period stringed, plucked, keyboard and wind instruments for themselves.
On Friday 30 August the Market will have extended opening hours until 20.00.
In the afternoon children can make their own hummel. At 18.00 and 19.00 Sietze de Vries will improvise on the Marcussen organ in Baroque style. More than 75 exhibitors will gather in the Nicolaïkerk this year; a complete overview is available at www.oudemuziek.nl/markt and in the Festival booklet.
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listen to art
In Vredesnaam, an historical exhibition in the Centraal Museum about the Treaty of Utrecht, will be open to the public until 22 September.
On three evenings during the Festival a special musical guided tour will take place in the exhibition. Four musicians will be your guide; their music illustrating and commenting on the exhibits. In this way a visual experience also becomes a listening experience and vice versa. Advance reservations are advisable.
Listen to Art Wed 28, Thu 29 and Fri 30 Aug / 20.00 Centraal Museum € 26 / € 21
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early music carillon festival
The third edition of the Early Music Carillon Festival once again places the Dom carillon in the limelight. Every Festival day there will be a carillon concert that is thematically linked to the 2013 Early Music Festival – #Europe. Utrecht’s city carillonneur Malgosia Fiebig will play a leading role, however she has also invited several of her pre-eminent colleagues to participate. Up- and-coming talent will be showcased in the carillon fringe. Not for the faint-hearted: during the carillon concerts on 24 and 31 August fifteen persons will be admitted to make the ascent and enjoy a close-up view of the carillon, while on 25 August a guided tour for children will take place.
On 31 August at approximately 22.00 VJ on the Dom beats Baroque will begin: a magnificent open-air spectacle on the Domplein. This is the crown- ing event of the festivities surrounding the third centenary of the Treaty of Utrecht. The Dom carillon will be played live and combined with the sounds of five other European carillons. The Dom tower itself will be transformed into a gigantic projection screen upon which the new media collective Born Digital will give full rein to its creativity. Later that evening the concert will turn into a DJ mix featuring the DJs Kypski and Francesco Tristano. VJ on the Dom has been organised in a unique collaboration between the Utrecht Early Music Festival, the Gaudeamus Music Week, the Utrecht Carillon Society, the city carillonneurs Arie Abbenes (emeritus) and Malgosia Fiebig, the computer artists Born Digital and the Treaty of Utrecht.
Festival schedule
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daily rhythm 11.00: Summer School Lectures 13.00: Harpsichord and lute recitals 15.00 Mediaeval and dance 17.00 Lassus
18.30: 1713 Dinner 20.00: Large scale evening concerts 22.30: Vocal ensembles 24.00: Solo recitals
fr 23 aug sa 24 aug so 25 aug m0 26 aug tue 27 aug
naam van het concert
locatie van het concert
Dance
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wed 28 aug thu 29 aug fr 30 aug sa 31 aug so 1 sep
Dance Course
STIMU-symposium:
Lutherse Kerk
Fred Jacobs
St.-Willibrorduskerk
Pieterskerk
Domplein
20.00 Festive Opening Night Domtoren and city centre
22.30 Opening Festivalcentre Pandhof
Dozens of salon concerts Living rooms of central Utrecht
Muffat’s only surviving mass In labore requies is a typical example of the large-scale vocal and instrumental multichoral composition popular in Salzburg at the time. Together with his ensemble Ars Antiqua Austria, violin-
A € 35 / € 25 / € 10
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ist Gunar Letzbor is one of the main champions of Austrian Baroque repertoire, which has so far remained largely unexplored. Besides his orchestra of strings and winds he also brings the St Florian children’s choir – in which the young Bruckner used to sing – to Utre- cht for the Festival’s opening concert.
During the other half of this dubble concert you will be treated to a concert of intimate chamber music, given by Festival musicians at a unique location you would be unlikely to visit otherwise. What’s on the programme? A surprise awaits you!
Tip: today also 1713 Dinner, please see p. 8
(order number 01)
Domkerk & l iv ing rooms of centra l Ut recht
opening concert In 2013 the Utrecht Early Music Festival once again opens with a double concert: Muffat’s festive, monumental Missa in labore requies in the Domkerk and an intimate chamber music concert at a unique location in the centre of Utrecht. You will receive your personal evening programme on location.
18.00-19.45 redeem your vouchers at the Domplein. At this point you will receive the address of your salon concert and you will be informed whether your evening begins in the Domkerk or at a salon concert 18.45-19.00 bell-ringing (Dom Tower) 19.00 carillon concert with Malgosia Fiebig (Dom Tower) 20.00-20.45 Domkerk or salon concert 20.45-21.30 audience changes location; the walk to and from the Domkerk is accompanied by the sounds of the carillon played by Malgosia Fiebig 21.30-22.15 Domkerk or salon concert 22.30 opening gathering in Pandhof Festival Centre (free admittance for Friends)
This opening night is realised with the support of the K.F. Hein Fonds.
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Senaatszaal
11.00 Malgosia Fiebig Domtoren, Pandhof
12.00 Bell ringing & church bell guided walks Church towers of central Utrecht
13.00 Jos van Immerseel Academiegebouw, Aula
14.00 Fringe Multiple locations
15.00 Sequentia Vredenburg Leeuwenbergh
17.00 Egidius Kwartet Pieterskerk
17.00 Les Muffatti Geertekerk
18.30 1713 Dinner Paushuize
20.00 Cantica Symphonia Domkerk
22.30 Mala Punica Geertekerk
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Summer School: Peter Van Heyghen Muffat: the European
Georg Muffat was born in Savoy, a region noted for cultural exchange. This may explain why he had such an open attitude towards diverse international styles and influences. He travelled to Rome to become acquainted with Corelli’s music and worked with the great master Lully in Paris. Peter van Heyghen is the artistic director of the Brussels Baroque orchestra Les Muffatti. He presents Muffat in an international context and talks about the concert that he will conduct later in the day.
Made possible with support of Provinciaal Utrechts Genootschap van Kunsten en Wetenschappen.
sa 24 aug / 10.00-24.00 Pandhof
Pandhof Festival Centre
This year the Pandhof on the Domplein is once again the perfect place to enjoy a drink and a snack between the festival activities, to browse in the Festival CD shop or to swap experiences with other festival visitors. Here you can pick up your concert tickets or free fringe tickets from the Festival Box Office. You can also listen to carillon and fringe concerts every day. The Pandhof Festi- val Centre is located on the Domplein and will be open every day from 10.00 a.m. until late in the evening. The Box Office and CD shop are open from 10.00 to 18.00.
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free
Malgosia Fiebig Muffat on the carillon
Malgosia Fiebig will perform music by Georg Muffat, one of the four festival composers, on the carillon of the Dom Tower. She and the former city carillonneur Arie Abbenes have made arrangements of the Suite in G ‘Laeta Poesis’, the Sonata no. 5 in G and the (probably spurious) Harpsichord Suite no. 2.
11.00: A close-up look at the carillon (max. 15 standing places with the carillonneur during the concert), €10, order number 03
sa 24 aug / 12.00 Church towers of central Utrecht
free
Bell ringing & church bell guided walks
Throughout the city centre of Utrecht, members of the Utrecht Bell Ringers Guild will present a church bell concert, starting with the bells of the Dom Tower and gradually building up to the imposing sound of all 13 bells ringing at once. Afterwards the other church bells in the city will be added to the concert until church bell music echoes across the entire city. At 12.15 p.m. two guided church bell walks will commence from the Domplein: a western and a southern route that follow the bell ringing relay on foot.
12.15: church bell walk led by a guide, western and southern route. Free of charge, but due to limited capacity it is necessary to collect a ticket, available from 10.00 in the Pandhof.
A € 21 / € 19 / € 10 order number 06
sa 24 aug / 15.00 Vredenburg Leeuwenbergh
Sequentia / Benjamin Bagby Charlemagne: King and Emperor
In the year 800 Charlemagne became emperor of a realm that encompassed almost the whole of Western Europe, thus earning the enduring honorary title Father of Europe. More than 350 years after his death he was elevated to sainthood. Political opportunism was perhaps the greatest motivating factor behind his canonisation: the Emperor Frederick Barbarossa exploited his historical predecessor in order to bolster his own stature and claim direct lineage from the Roman emperors. Sequentia creates a trait d’union linking both these aspects of Charlemagne, juxtaposing early Latin songs from Charlemagne’s court with 12th-century masses.
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sa 24 aug / 13.00 Academiegebouw, Aula
Jos van Immerseel Froberger & Byrd on harpsichord
The harpsichordist Jos van Immerseel focuses on the Italian inspired composer Froberger with his capriccios, toccatas and canzonas. The source of this influence is unmistakeable: Froberger studied in Rome with the other great master of 17th-century keyboard music, Girolamo Frescobaldi. In this recital Van Immerseel places Froberger alongside his much older, but similarly Catholic colleague: William Byrd, juxtaposing the Italian polyphonic tradition with the expressive music of the English virginalists.
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sa 24 aug / 17.00 Pieterskerk
Egidius Kwartet / Peter de Groot Lassus in time of crisis
Orlando di Lasso saw his carefree exist- ence come to an end as the imperium of his employer Duke Albrecht of Bavaria collapsed between 1575 and 1580. This left its mark on Lassus’s work. An edition issued by the publisher Berg in 1577 reveals the effects of the necessary cutbacks, featuring two-part motets, in a period when five- and six- voice motets were the norm. However, Lassus would not be Lassus if the quality of his music were to suffer as a result. The Egidius Kwartet presents chansons, German songs, madrigals and motets, all dating from around 1577.
Le Jardin Secret Musical solace for a king in exile
Following the invasion by William of Orange the English king James II lost his throne, although it was said that he regained his soul in doing so. He no doubt suffered great humiliation living in exile as a guest of the French King Louis XIV; however, music may have brought him some solace. Le Jardin Se- cret plays the Italian music familiar to the Stuarts in Saint-Germain-en-Laye, as well as the newly composed French repertoire of the period. Thus Campra, Visée, Charpentier and Carissimi will join forces in this concert.
A € 21 / € 19 / € 10
sa 24 aug / 15.00 Lutherse Kerk
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€ 49,50 order number 10
1713 Dinner Dining in Treaty style
In collaboration with one of Utrecht’s best restaurants, Huize Molenaar, the Early Music Festival offers the unique 1713 Dinner, based on historical recipes. You may choose from three different tables d’hôte, for which the chef Pepijn Gilsing drew his inspiration from historical cookbooks such as De Nieuwe, Welervarene Utrechtsche Keuken-meid (1771). On offer daily in the charming Paushuize, nearby the Pandhof Festival Centre. (see p. 8-9)
18.00 possible to visit Paushuize 18.30-19.30 two course dinner
Today: Pie with turnip and mushrooms Roast of ox with chard and raisins
A € 21 / € 19 / € 10
sa 24aug / 17.00 Geertekerk
Les Muffatti / Peter Van Heyghen Muffat, Pez, Corelli and the concerto grosso
Les Muffatti’s star is on the ascendant: they made an ambitious recording of Pez, Bononcini and Leclair and last year they astounded the Utrecht Festival public with an unknown but extraordinarily dramatic St Matthew Passion by Bach’s contemporary Reinhard Keiser. The Baroque orchestra was a definite must for this year’s festival, since its namesake features so prominently in the programming. The concert is based on the concerto grosso, a genre that spread from Rome to the north. Corelli’s rarely heard Sinfonia in D minor will also be performed.
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sa 24 aug / 20.00 Dom Church
may have composed his mass after returning to Cambrai, where he spent his final years, lauded as the most influential European composer of his day. In the mid-fifteenth century the theme of L’homme armé was strikingly common in mass settings: possibly a reference to the fall of Constantinople following the Turkish siege, a traumatic event for Western Europe.
Cantica Symphonia / Giuseppe Maletto L’homme armé: war and peace in the
15th century
The Italian specialist ensemble Cantica Symphonia presents Dufay’s four-voice Missa L’homme armé, alternating with instrumental mass movements attrib- uted to Antoine Busnois. Dufay
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Le Parnasse français / Louis Castelain The grand motet: a journey through Europe
Under the fiery leadership of Louis Castelain, Le Parnasse français was the revelatory highlight of the 2010 Utrecht Early Music Festival. The ensemble spe- cialises in the grand motet: sacred music on a monumental scale with choir,
A € 35 / € 32 / € 10
sa 24 aug / 20.00 Jacobikerk
orchestra and soloists. An exclusively French genre? In fact, not! Le Parnasse français demonstrates how Lully’s model was disseminated: from Cléram- bault in Paris, via Purcell in London (My beloved spake) and Biffi in Venice, to Telemann in Hamburg. The ensemble takes us on a European journey, on the trail of a riveting musical genre charac- terised by pomp and splendour.
Solisten o.a.: Eugénie Warnier, soprano / Jeffrey Thompson, haute-contre / Arnaud Richard, bass
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sa 24 aug / 22.30 Geertekerk
Mala Punica / Pedro Memelsdorff Ciconia: motets
Johannes Ciconia started out as a choir boy in Leuven, and soon made his way to Italy, where he blended the northern style with elements of the local tradition. Whether Ciconia ever actually worked in the papal city of Rome is uncertain, however we do know that he arrived in the university city of Padua around the age of thirty. By then he was already a respected composer. The eight motets that can definitely be ascribed to him date from this period: the majority being dedicated to notable figures from Padua and Venice. Mala Punica presents their core repertoire: the unprecedented, nearly exotic re- finement of the Italian fourteenth and fifteenth centuries.
Bertrand Cuiller Froberger & and the Blow-manuscript
The young French harpsichordist Bertrand Cuiller bases his homage to Froberger on a manuscript currently housed in Brussels, a compilation of keyboard works put together by the English composer John Blow in his final years – possibly for his own use. These include toccatas by Froberger, Fischer and Strungk. Cuiller adds music by Blow himself to create an original and richly diverse midnight recital.
€ 12 / € 10 / € 7 order number 14
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11.00 Summer School: Pedro Memelsdorff Academiegebouw, Senaatszaal
13.00 Bob van Asperen Academiegebouw, Aula
15.00 Ordo Virtutum St.-Willibrorduskerk
15.30 Fringe & Fabulous Fringe Multiple locations
17.00 Capilla Flamenca Pieterskerk
17.00 B’Rock St.-Augustinuskerk
19.30 Festival bulletin AVRO/Radio4
20.00 La Risonanza Geertekerk
sunday 25 august
free Summer School: Pedro Memelsdorff Ciconia, the European
Like so many of his colleagues, the Leuven-born composer Ciconia was drawn to sunny Italy. After presumably stopping over in Rome and Pavia he arrived in Padua around 1400. Ciconia’s music combines styles: he was familiar with the late northern Ars Nova, but he adopted the local Italian style with equal assurance. Pedro Memelsdorff, leader of Mala Punica and recently ap- pointed director of the Schola Canto- rum in Basel, obtained his doctorate at the University of Utrecht several years ago. He elaborates on a subject that has become his life’s work: the study of Ciconia and his contemporaries..
Language: English. Made possible with support of Provinciaal Utrechts Genootschap van Kunsten en Wetenschappen.
su 25 aug / 11.00 Academiegebouw, Senaatszaal
€ 5 order number 15
Malgosia Fiebig Froberger and Muffat on the carillon
While Froberger’s keyboard oeuvre is primarily intended for harpsichord or organ, his toccatas, suites and fan- tasias are also particularly convincing when performed on the carillon. Mal- gosia Fiebig also plays an arrangement of Georg Muffat’s second sonata for strings and continuo from his compilation Armonico Tributo, which clearly reflects the influence of both the Italian and French styles.
+ Children’s tour of carillon playing 5+ Children must be accompanied by an adult In collaboration with Toerisme Utrecht Starting time: 11.30, duration: 75 minutes Meeting point: entrance to the Dom Tower, Domplein 21 € 5 pp, order number 16
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su 25 aug / 15.00 St.-Willibrorduskerk
A € 18 / € 16 / € 10 order number 17
su 25 aug / 13.00 Academiegebouw, Aula
Bob van Asperen Froberger: on the organ and harpsichord
Clearly, a substantial portion of Fro- berger’s keyboard oeuvre was intended to be performed on the organ. Bob van Asperen performs several Italian- inspired toccatas, a ricercare, a fantasia and capriccio on the organ, followed by the suite XV and the superb La- mentation on the death of Froberger’s employer Ferdinand III: music that was unmistakably composed for the harpsichord. He completes the programme with an allemande by Henri Dumont.
Ordo Virtutum / Stefan Morent Hermannus Contractur: a genius from
the musical centre of Europe
The monastery on the island of Rei- chenau in Lake Boden has been called the cradle of European musical culture: Abbot Berno was the great reformer of Gregorian chant in the eleventh century, with its division into eight modes. His most important student was Hermannus, born exactly 1000 years ago this year: a medieval homo universalis. We will hear antiphonies, responsories and hymns from his hand, performed by the nine singers of the German ensemble Ordo Virtutum directed by Stefan Morent, an authority on medieval music.
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su 25 aug / 17.00 Pieterskerk
Le Parlement de Musique / Martin Gester & Aline Zylberajch Chamber music from Froberger’s day
Hailing from Strasbourg, Le Parlement de Musique sheds light on a particular musical tradition from its own region. Since ancient times the Alsace has acted as a transitional zone on the crossroad of the routes linking the Habsburg Empire, Germany, France and Italy. This also holds true for the two Strasbourg manuscripts that provide the starting point for this concert, in which, in which solo keyboard works by Froberger are juxtaposed with the exceptionally international chamber music of Krieger, Rosenmüller, Böd- decker and Schmelzer.
Capilla Flamenca / Dirk Snellings Lassus: Bonjour mon coeur
Lassus was exceptionally versatile within the secular chanson genre. His emotional and musical palette of colours is inexhaustible, whether expres- sing humour, melancholy or the joys and sorrows of love. This is evident in his translation of Bonjour mon coeur, a refined love poem by Ronsard, into an equally captivating musical equivalent. The four singers of Capilla Flamenca refer to this aspect of Lassus’s oeuvre as cabaret, but of the most alluring variety. Supported by lute, flute and gambas, they also present instrumental arrangements of the vocal originals.
A € 21 / € 19 / € 10 order number 19
su 25 aug / 15.00 Vredenburg Leeuwenbergh
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su 25 aug / 17.00 St.-Augustinuskerk
B’Rock / David Van Bouwel Tears of Melancoly: Muffat, Dowland,
Britten, Hindemith
B’Rock and viola player Dmitry Sinkovsky demonstrate – on Baroque instruments – how 20th-century composers found their inspiration in the old masters. Thus, alongside the ‘real works’ by Muffat and Dowland we also hear Benjamin Britten’s cycle based on Dowland’s Lachrimae or Seven Tears composed in 1604. In the subsequent variations Britten used fragments of Dowland’s melodies, which only appear in their complete form at the end of the cycle. The dark tones of the viola dominate here, as is the case in the Trauermusik composed by Paul Hin- demith in 1936 on the occasion of the death of the English King George V.
In collaboration with one of Utrecht’s best restaurants, Huize Molenaar, the Early Music Festival offers the unique 1713 Dinner, based on historical recipes. You may choose from three different tables d’hôte, for which the chef Pepijn Gilsing drew his inspiration from historical cookbooks such as De Nieuwe, Welervarene Utrechtsche Keuken-meid (1771). On offer daily in the charming Paushuize, nearby the Pandhof Festival Centre (see p. 8-9).
Today: Pie with turnips and mushrooms Roast of ox with chards and raisins
su 25 aug / 18.30-19.30 Paushuize
su 25 aug / 21.00 Domkerk
A € 35 / € 32 / € 10
su 25 aug / 20.00 Geertekerk
La Risonanza / Fabio Bonizzoni Vivaldi: La Senna festeggiante
Vivaldi’s serenata La Senna festeggiante (The Seine Rejoicing) is a tribute to the French King Louis XV. It contains many French elements – but perhaps it above all reveals how Vivaldi viewed the French style. The libretto is built around three characters and is somewhat static; however, this in no way spoils the pleasure: every page of the music displays the rich inventiveness so typical of Vivaldi. It is the ideal work for Fabio Bonizzoni’s energetic chamber orchestra, bolstered by festive winds for the occasion.
Soloists: Yetzabel Arias Fernandez, soprano / Elena Biscuola, alto / Sergio Foresti, bass
Graindelavoix / Björn Schmelzer Ossuaires: a cinema concert
The multitalented Björn Schmelzer transforms the Dom into a cinema, with live polyphony performed by his musicians resounding beneath its vaulted arches. The film, a contemporary road movie under his own direction featuring the choreographer Anne Teresa De Keersmaeker in a leading role, was inspired by the unique sketchbook created by the 13th-century architect Villard de Honnecourt while travelling throughout medieval Europe on a cathedral tour. The office for Saint Elizabeth of Hungary provides the soundtrack for Schmelzer’s ironic exploration of the film genre.
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su 25 aug / 22.30 Pieterskerk
Daedalus / Roberto Festa Lassus: Oracula
The nine singers of Daedalus tackle one of Lassus’s most mysterious cycles: the Prophetiae Sibyllarum. Lassus expe- riments freely with expressive text settings and pronounced chromaticism. It might seem like music for the initiated, however this powerful repertoire is so compelling that it totally captivates 21st-century audiences. The Lassus authority Roberto Festa opens the concert with the equally colourful Lectiones Sacrae Novem from 1582.
Pierre Hantaï Froberger and the German lineage on
harpsichord
Keyboard giant Pierre Hantaï is well- known to Utrecht audiences, and rightly so: this former Leonhardt student is one of the most fascinating and original harpsichordist on the current scene. In this midnight recital he places Froberger – including his suites XVIII and XIX – in perspective, performing him alongside Bach’s Lautenwerk suite and Handel’s Sarabande in D minor. He also makes an excursion over the Channel, with William Byrd’s impressive series of variations The Woods so wilde.
su 25 aug / 24.00 Lutherse Kerk
€ 12 / € 10 / € 7 order number 26
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11.00 Summer School: Renger de Bruin Vredenburg Leeuwenbergh
13.00 David Van Bouwel Lutherse Kerk
17.00 Huelgas Ensemble
22.30 Cinquecento Pieterskerk
monday 26 august
Rachel Farr Baroque Dance Workshop: menuet
For those who always wanted to know more about the mysteries of Baroque dance, the Baroque dance specialist Rachel Farr will enlighten you on this elegant blend of sound and movement from the perspective of both dancer and musician. Naturally you will also be invited to take to the dancefloor.
mo 26 aug: menuet / tue 27 aug: bourrée / wed 28 aug: gavotte / thu 29 aug: courante
With the Scroll Ensemble
Summer School: Renger de Bruin 1713: The Treaty of Utrecht
The Treaty of Utrecht is little known in the Netherlands, yet in many schools abroad 1713 is one of the most signifi- cant dates taught in history class. This is not without reason: the Treaty of Utrecht ended centuries-long religious disputes and redrew the map of Eu- rope. But what was it actually all about and what was really at stake? Renger de Bruin, a historian and curator of the exhibition In Vredesnaam (For Peace’s Sake) which will run at the Central Mu- seum until 22 September, fills us in on the facts during a lively presentation.
Made possible with support of Provinciaal Utrechts Genootschap van Kunsten en Wetenschappen
mo 26 aug / 10.00-12.00 Utrechts Centrum voor de Kunsten
mo 26 aug / 13.00 Lutherse Kerk
Wim Van den Broeck Carillon fringe
Five years ago Wim Van den Broeck began studying the carillon with Teun Michiels at the Royal Carillon School in Mechelen from which he will graduate this year. Van den Broek is assistant city carillonneur in Diest, Belgium. He will perform arrangements of Tele- mann sonatas and Campra’s suite Les Fêtes Venitiénnes on the carillon of the Utrecht Dom Tower.
David Van Bouwel Froberger & Rossi on harpsichord
Froberger directly incorporated the Italian innovations of his teacher Frescobaldi into the German tradition, employing typical genres such as the toccata and capriccio. The Flemish harpsichordist David Van Bouwel focuses on Froberger’s Italian-inspired works and juxtaposes these with the highly chromatic music of Michelan- gelo Rossi. In this way we hear two Frescobaldi students side by side: there can be no doubt that Rossi served as a source of inspiration for Froberger.
mo 26 aug / 11.30 Domtoren, Pandhof
free
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mo 26 aug / 17.00 Domkerk
A € 21 / € 19 / € 10 order number 30
mo 26 aug / 15.00 Theater Kikker
Dance Company Linda Tomko & Utrecht Festival Baroque Dance Band / Jed Wentz 1713 in sound and movement
An international cast including Linda Tomko, Jennifer Thorp, Olsi Gjeci and Ricardo Barros presents dances from Nouveau recüeil de dance de bal et celle de ballet, a major collection published in 1713. The choreographies are by the celebrated dance master Louis-Guillau- me Pecour, who created these for the greatest dancers of his day.
Huelgas Ensemble / Paul Van Nevel Lassus: boundless versatility
Artist in residence Paul Van Nevel af- firms his love of the leading figure of 16th-century musical Europe. In the first part of the Lassus triptych presented by the Huelgas ensemble at this year’s festival he explores Lassus’s extremely complex, capricious and versatile personality. All facets of this Renaissance genius are revealed: the melancholic, the architect, the pious, the humorist, the humanist, the lover. We hear musical settings of Italian sonnets, poems by Ronsard and texts by Virgil. The high point is the humorous motet SUPER, which lingers for minutes on a single psalm verse.
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AVRO Festival bulletin
On eight evenings from 23 August to 1 September inclusive, Dutch radio AVRO/Radio4 will broadcast a special Festival bulletin, in which the presenter Mark Brouwers will introduce his guests and their music to you on location. These daily, live impressions of the Fes- tival will precede the Radio4 broadcast of the evening concert.
Fri 23 Aug 19.30-20.00 Su 25 Aug 19.30-20.00 Mo 26 Aug 19.30-20.00 Tue 27 Aug 19.30-20.00 Wed 28 Aug 19.30-20.00 Thu 29 Aug 19.30-20.00 Fri 30 Aug 19.30-20.00 Sa 31 Aug 19.00-20.00
mo 26 aug / 18.30-19.30 Paushuize
€ 49,50 order number 32 mo 26 aug / 19.30-20.00 Jacobikerk
Today: Venison pie Capon in pastry with prunes, cherries and verjus
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Lassus for amateur singers Workshop with Paul Van Nevel
Have you ever wanted to sing Lassus’s music yourself? Artist in residence Paul Van Nevel will take you through chansons, madrigals and motets of this great master in high tempo. If you are a singer of modest talents don’t count on making it through to the end of the workshop. Register at your own risk.
Ghislieri Choir & Consort / Giulio Prandi D’Astorga: Stabat Mater; Perez:
Mattutino de’Morti
Davide Perez and Emanuele d’Astorga left their Neapolitan home land to work in other parts of Europe. The French Fondation Royaumont has given the young conductor Giulio Prandi the opportunity to set up an extensive musicological project based on the Matuttino de’Morti published by Davide Perez in Lisbon. With fifty performers on the stage, this late 18th-century funeral mass is sure to be one of the most memorable events of the Festival. The Mattutino is performed alongside the Baroque Stabat Mater by Emanuel Rincon Barone d’Astorga.
Soloists: Roberta Invernizzi, soprano Salvo Vitale, bass
A € 35 / € 32 / € 10
mo 26 aug / 20.00 Jacobikerk
mo 26 aug / 19.30-22.00 St.-Willibrorduskerk
€ 35 incl. koffie/thee
mo 26 aug / 22.30 Pieterskerk
Cinquecento Lassus & De Monte: ein Leben in der Fremde
Most Renaissance composers led a turbulent life of constant travel. Or- landus Lassus and Philippus de Monte were no exception. Both composers were born in Northern Europe, travelled throughout Europe and subsequently settled down for a long period; the former in Munich and the latter in Vienna and Prague. The Austrian Renais- sance collective Cinquecento makes its Utrecht debut with a combination of de Monte’s six-voice Missa Ultimi miei Sospiri, a parody mass to a madrigal by Verdelot, and motets and Magnificat settings by Lassus.
Emma Kirkby & Jakob Lindberg In darkness let me dwell
The grand dame of early music will finally visit Utrecht again. Emma Kirkby and lutenist Jakob Lindberg present this mid-night concert as a journey through Europe in the 16th and 17th centuries. The darkness, representing loneliness but also a need for silence and contemplation, serves as a guide in a recital that takes us from Moulinié, via D’India, Coprario and Ferbosco, to Buxtehude and Schimmelpfenninck.
mo 26 aug / 24.00 Academiegebouw, Aula
€ 12 / € 10 / € 7 order number 35
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11.00 Summer School: Anne Smith Vredenburg Leeuwenbergh
15.00 Les Corps Éloquents
17.00 Oratori Pieterskerk
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Rachel Farr Baroque Dance Workshop: gavotte
mo 26 aug: menuet /tue 27aug: bourrée / wed 28aug: gavotte /thu 29 aug: courante
Summer School: Anne Smith Lassus: the European
Anne Smith, a teacher at the Schola Cantorum in Basel, is a leading authority on Renaissance music. She wrote the standard work The Performance of 16th-Century Music, in which she at- tempted to bridge the gap between the source text and actual performance. Smith is convinced that the music of the late Renaissance is fundamentally concerned with textual expression, with musical colour and ornamenta- tion employed to reinforce the desired expression. In her lecture she elaborates on the principles underlying the concert that she will later present on that day.
Language: English. Made possible with support of Provinciaal Utrechts Genootschap van Kunsten en Wetenschappen
tue 27 aug / 10.00-12.00 Utrechts Centrum voor de Kunsten
tue 27 aug / 13.00 Lutherse Kerk
Gijsbert Kok Rosenmüller on the carillon
Gijsbert Kok is carillonneur of The Hague, Scheveningen, Voorschoten and Zoetermeer and teaches in Amers- foort and Rotterdam. He will perform arrangements of concertos, suites and sonatas by the great Italians such as Vivaldi and Corelli as well as keyboard works by Frescobaldi and Muffat.
Jean-Marc Aymes Froberger & Frescobaldi on harpsichord
Froberger studied with the organist of St. Peter’s Girolamo Frescobaldi in Rome. The clarity and flexibility of Frescobaldi’s keyboard idiom appealed to him: the typically polyphonic structures, his virtuosity and inventiveness, his uninhibited pursuit of a given musical idea. Jean-Marc Aymes has recorded Frescobaldi’s entire keyboard oeuvre and he approaches Froberger from the perspective of his teacher. In doing so, he seeks out explicit refer- ences and corresponding elements.
tue 27 aug / 11.30 Domtoren, Pandhof
free
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tue 27 aug / 15.00 Theater Kikker
A € 21 / € 19 / € 10
tue 27 aug / 17.00 Pieterskerk
Danscompagnie Les Corps Éloquents / Hubert Hazebroucq Utrecht Festival Baroque Dance Band / Jed Wentz War in the Ballroom
Les Corps éloquents has created a programme with texts and historical dances associated with the War of the Spanish Succession and the treaty that was ultimately concluded. Some of the most colourful personages of the period appear on stage.
With Irène Ginger
Oratori / Anne Smith Lassus: Sacrae Cantiones (1562)
Music should resemble a good oration: it must move the listener, otherwise it has no effect. In order to achieve this the music must be well-constructed, but above all the performer needs to have mastered the technique of dec- lamation and to possess the requisite elegance and power of persuasion. Anne Smith, a teacher at the Schola Cantorum in Basel and specialist in 16th-century performance practice, coaches five of her best students performing motets from Lassus’s compilation Sacrae Cantiones. Young talent meets cutting-edge research in concert.
Language: English
Today: Venison pie Capon in pastry with prunes, cherries and verjus
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tue 27 aug / 20.00 Geertekerk
Capriccio Stravagante / Skip Sempé Campra: L’Europe galante (scenes)
The title of Campra’s L’Europa galante possibly enjoys greater renown than the superb music itself; however, Skip Sempé and his fellow performers will change all of this. Premièred in 1697 under the direction of Marin Marais, L’Europa galante is the first opéra-ballet in which the various scènes share a single unifying theme. Thus, we will be presented with amorous scenes from four different countries: France, Spain, Italy and Turkey. These provide the ingredients for an imaginary European journey, in this case one with a French flavour.
Soloists: Hana Blaziková, soprano / Judith van Wanroij, soprano / Reinoud Van Mechelen, haut-contre / Lisandro Abadie, bass-baritone
A € 35 / € 32 / € 10
tue 27 aug / 20.00 Domkerk
Stile Antico Lassus & Gombert: Principes musicorum
Like so many of the best 16th-century Flemish musicians, Gombert obtained a position at the prestigious Capilla Flamenca of Emperor Charles. He travelled throughout Europe in the Emperor’s wake. The younger Lassus ended up in Italy; he was one of the few Flemish composers not to be employed by Charles or his son Philip. The leading British ensemble Stile An- tico unites these two figures around the Song of Songs, with motets by Lassus and Gombert’s Missa Quam Pulchra es. The concert opens and concludes with two different settings of the Magnificat.
tue 27 aug / 24.00 Academiegebouw, Aula
€ 12 / € 10 / € 7 order number 45
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tue 27 aug / 22.30 Pieterskerk
Huelgas Ensemble / Paul van Nevel Lassus & Lejeune: motetten, psalmen,
chansons
Paul Van Nevel unequivocally views Claude Lejeune as the French Lassus. Both composers were closely acquainted with each others’ works and they held each other in high regard. There was one marked difference: Lejeune found a secure niche working for the European Hugenots, where he ultimately developed into the musical figurehead of the French Reformation. This was also a determining factor regarding his choice of repertoire. The supreme all-rounder Lassus is sur- passed by Lejeune in two genres: the chanson, which Lejeune approached with unprecedented freshness and, naturally, the psalm setting.
Eduardo Egüez The travels of Santiago de Murcia
Santiago de Murcia was guitar teacher to the Spanish Queen Maria Luisa, who was married to Louis XIV’s grandson, who became king after the Treaty of Utrecht. It has long been thought that De Murcia met Corelli and Scarla- tti in Rome prior to departing for the Southern Netherlands and even South America. While these tales remain unverified, it is clear that his oeuvre displays the influence of Spanish, French and Italian music – Corelli, Visée and Corbetta – as well as of popular dances such as the tarantella and fandango. Consequently, his work is a true pano- rama of European guitar music.
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11.00 Summer School: Bob van Asperen Lutherse Kerk
13.00 Bob van Asperen Lutherse Kerk
17.00 The Brabant Ensemble
20.00 Listen to Art Centraal Museum
20.15 Currende Domkerk
wednesday 28 august
Rachel Farr Baroque Dance Workshop: gavotte
Summer School: Bob van Asperen Froberger: de Europeaan
Bob van Asperen recently recorded Froberger’s entire keyboard oeuvre (re- leasing seven CDs between 2000 and 2010). Due to his intensive research in this context –almost an entire life’s work – he has become an absolute authority in the field of Frobergeriana. During his lecture Bob van Asperen ex- pounds on Froberger’s international career and also discusses the programme that he will perform several hours later in the Lutheran church.
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wed 28 aug / 13.00 Lutherse Kerk
wed 28 aug / 11.30 Domtoren, Pandhof
free
Malgosia Fiebig Rosenmüller on the carillon
Johann Rosenmüller was among the German composers who sought refuge in Italy. In doing so, he became a sig- nificant link between the musical styles of the north and south. Malgosia Fiebig plays arrangements of his sonatas and of suites from the compilation Studen- tenmusik (1654).
Bob van Asperen Froberger: a personal selection
In his second recital at this year’s Fes- tival, Bob van Asperen brings together several of Froberger’s most personal compositions in a programme suffused with melancholy. We hear the Médita- tion sur ma mort future, composed in Paris, alongside the celebrated lamento on the death of Ferdinand IV and a programmatic musical depiction of Froberger’s perilous and near fatal crossing of the turbulent Rhine by boat. The programme would be incomplete without the superb tombeau that he dedicated to his friend the lute composer Blancrocher, who died in 1652: this is perhaps Froberger’s best known composition.
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wed 28 aug / 17.00 Pieterskerk
A € 21 / € 19 / € 10
wed 28 aug / 15.00 St.-Willibrorduskerk
Les Haulz et les Bas Ciconia: music and politics in the late
Middle Ages
At the Council of Constance (1414- 1418), which was intended to bring an end to the schism dividing the Catholic Church with no less than three rival popes, reference was made to multiple-voiced wind music that sounded ‘as one is accustomed to singing’. Apparently music and politics make good bedfellows. Taking this singular fact as their point of departure the four alta capella wind players comprising Les Haulz et les Bas have devised a programme featuring music by Dufay, Ciconia, Busnois and Dunstaple and concluding with Mille Regretz, the song of Emperor Charles V.
The Brabant Ensemble / Stephen Rice Lassus & de Rore: sacred music
Both Lassus and Cipriano de Rore, seventeen years his senior, bore the nickname of Il divino. This was not so unusual, considering that it was in the publishers’ interests to extol ‘their’ composers’ virtues. However, theoreti- cians and experts also shared their opinion. These days De Rore is less well known; however, he also made a crucial contribution – for instance with his Missa super Doulce mémoire selected by the British singers of The Brabant Ensemble – towards achieving a closer intertwining of text and music in the sixteenth century, thus preparing the way for the ensuing Baroque period.
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wed 28 aug / 20.00 Stadsschouwburg
L’Éventail Dance Company / Marie-Geneviève Massé Les Folies Françoises / Patrick Cohën-Akenine Voyage en Europe
Guide by the music of Campra, Destouches, Lully, Purcell, Rosenmüller and Vivaldi, the seven French Baroque dancers of L’éventail invite us on a journey through 18th-century Europe. Dance, also referred to as la belle danse – comparable with belles lettres and beaux-arts – formed an international language understood throughout the world. In four scenes we travel from France to England and Germany, concluding with a Venetian carnival. Les Folies Françoises perform live on stage.
No intermission
Today: Venison pie Capon in pastry with prunes, cherries and verjuice
wed 28 aug / 18.30-19.30 Paushuize
wed 28 aug / 20.15 Domkerk
Currende / Erik Van Nevel Lassus, Le Febure, Utendal, Hassler
The late 16th century saw the eventual demise of a polyphonic tradition that had existed for almost 250 years. In Italy a new expressive style arose that was to set the tone in the Baroque period. The nine singers and five instru- mentalists of Currende pay tribute to the last generation of polyphonists in Germany and Austria, performing mas- terly music by Lassus, Le Febure, Uten- dal and Hassler. They were primarily active in the field of pure polyphony; however, they too embarked upon the new path of greater expressivity and direct emotional expression.
Listen to Art A musical walk through the museum
This is an experience experiment: on three Festival nights you can take a special tour with music through the exhibition In Vredesnaam [For Peace’s Sake] in the Centraal Museum. Four musicians are your guide, and their music illustrates and comments on the paintings and objects. This way, viewing art will be an auditory experience as well, and vise versa.
In co-op with Centraal Museum / with support of Rabobank Utrecht
Also on 29 and 30 August
wed 28 aug / 20.00 Centraal Museum
€ 26 / € 21 / € 21 order number 54
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wed 28 aug / 22.30 Pieterskerk
Les Cyclopes / Bibiane Lapointe & Thierry Maeder Froberger’s motets in context
In 1649 the Elector of Dresden organised a musical duel between his organist Matthias Weckmann and the Emperor’s emissary Froberger. This was to result in a lifelong friendship between the two musicians. This concert programme is said to have been performed at one of Weckmann’s Abendmusicken in Hamburg, featuring Venetian and Viennese music by Rosenmüller and Bertali. The core works are Froberger’s only two surviving vocal compositions: Alleluia Absorpta est mors and Apparuerunt apostolis, two motets that display a striking affinity with the Venetian concertante style.
Soloists: Eugénie Warnier, soprano / Robert Getchell, tenor / Andreas Wolff, bass
Jan Van Elsacker & Thor-Harald Johnsen The library of Constantijn Huygens
As a child Constantijn Huygens once performed with Sweelinck in a house concert. Much later he met Froberger as a diplomat and heard Claudio Mon- teverdi performing in Venice. The tenor Jan Van Elsacker and lutenist Thor- Harald Johnsen browse through music that certainly would have been part of Huygens’s collection: Boësset, Lanier, Foscarini, Pesenti and, naturally, airs by Huygens himself. Enjoy an intimate evening of song and lute music in the footsteps of the celebrated Dutch 17th- century cosmopolitan.
wed 28 aug / 24.00 Academiegebouw, Aula
€ 12 / € 10 / € 7 order number 56
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11.00 Summer School: Jordi Savall Instituto Cervantes
13.00 Early Music: the guide Multiple locations
17.00 Le Concert Spirituel Domkerk
20.00 Pratum Integrum Geertekerk
Pieterskerk
thursday 29 august
Rachel Farr Baroque Dance Workshop: courante
Summer School: inter- view with Jordi Savall War and Peace: on the 3rd centenary of the
Treaty of Utrecht
Jordi Savall will speak this morning in his capacity as a United Nations Artist for Peace. He will elaborate on the concert programme that he will present at a later date in Vredenburg Leidsche Rijn based on the theme of war and peace. Can art save the world? Savall does not consider this a naive question by any means and he is keen to expound on the humanistic ideals that inspire him.
Language: Spanish with simultaneous interpreta tion (Dutch). Advance reservations are advisable
Made possible with support of Provinciaal Utrechts Genootschap van Kunsten en Weten- schappen
thu 29 aug / 11.30 Thumtoren, Pandhof
free
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thu 29 aug / 13.00 Lutherse Kerk
Jasper Stam Couperin, Froberger, Frescobaldi on
the carillon
The Kampen carillonneur Jasper Stam plays works by three of the great Ba- roque keyboard composers: Couperin, Frescobaldi and, naturally, the Festival composer Froberger. Both Louis Cou- perin and Froberger wrote aTombeau sur la mort de Monsieur Blancheroche to commemorate the death of Charles Fleury, Sieur de Blancrocher. He was one of the greatest lutenists of his time and died suddenly after falling down a flight of stairs.
Laurent Stewart Froberger & Louis Couperin on harpsichord
Every note is pure poetry under the fingers of the French harpsichordist Laurent Stewart. His secret is difficult to divine, however, it is clear that Stewart combines a flawless sense of style with a touch that is refined and yet masculine. These are exactly the qualities needed to unlock the musical universe of Froberger and his Parisian friend and kindred spirit Louis Couperin.
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thu 29 aug / 15.00 Vredenburg Leeuwenbergh
Tasto Solo / Guillermo Pérez Ciconia: instrumental arrangements from
the 15th century
In the space of just a few years Tasto Solo has emerged as one of the foremost groups specialising in late mediaeval music. Their arsenal of Gothic instruments continues to grow and their research into playing tech- niques for organetto, harps, medieval fiddle and a hammer-clavisimbalum (a type of mediaeval piano) is truly riveting. This completely instrumental programme focuses on Ciconia, Dufay, Binchois and 15th-century instrumental arrangements of their music.
Early Music: the guide With Erik Van Nevel
With music specialist Erik Van Nevel you will explore the performance practises of mediaeval, renaissance and baroque music. Van Nevel will show you the musical characteristics of each period, and in the following concerts you can apply this knowledge. During the walks to the concert locations and the historical Diner 1713, there will be time to discuss your experiences with Van Nevel and each other.
13.00 introduction - Utrechts Centrum voor de Kunsten 15.00 concert Tasto Solo - VB Leeuwenbergh 17.00uur concert Le Concert Spirituel - Domkerk 18.30 Diner 1713 - Paushuize 20.00 concert Pratum Integrum - Geertekerk
max. 40 participants voucher for a free programme book inclusive (in Dutch, with English summaries), worth € 10 Diner 1713 inclusive, worth € 49,50
thu 29 aug / 13.00-22.00 Multiple locations
Today: Venison pie Capon in pastry with prunes, cherries and verjuice
thu 29 aug / 18.30-19.30 Paushuize
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Str iggio ’s Missa sopra Ecco si beato g iorno
forty-part masterpiece Traditionally Florence was the cultural centre of Italy, even so dominant that the Florentine dialect of its great poets Dante, Petrarch and Boccaccio became the national language of the whole peninsula. With their almost infinite wealth the city and its Medici princes could afford anything in the area of art and music. Rulers of all times had always used culture to emphasize how viable was their (little) empire was. In the Florence cathedral, Brunelleschi’s giant dome from 1436 is in that respect of the same importance as the equally impressive multi-choral music that sounded underneath it. From 1559, Alessandro Striggio (ca. 1536-1592) contributed his bit to the grandeur of Florence. For the Medici court he created numerous large-scale choral works. The masterpiece in his oeuvre is the forty-part Missa sopra Ecco si beato giorno.
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thu 29 aug / 20.00 Domkerk
A € 35 / € 32 / € 10
thu 29 aug / 17.00 Domkerk
Le Concert Spirituel / Hervé Niquet Striggio: 40-voice mass
The Missa sopra Ecco si beato giorno for 40 voices composed by Alessandro Striggio (the father of the librettist of Monteverdi’s Orfeo) in Florence, is the most extravagant Renaissance composition ever written. The mass was heard throughout Europe and was played at the court of Maximilian II of
Habsburg, Albert V the Duke of Bavaria and Charles IX of France. The music was used as a showpiece and copies circulated among the courts. Lassus heard the work in Munich and the jeal- ous Thomas Tallis composed his own 40-voice Spem in alium in response. Almost five centuries down the track a live performance of Striggio’s mass continues to be an unforgettable experience.
This concert is of 75 minutes’ duration / no intermission With support of the Turing Foundation
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thu 29 aug / 20.00 Geertekerk
Pratum Integrum / Pavel Serbin Muffat, Schwartzkopf, Telemann: the
harmony of styles
The Russian Baroque orchestra Pratum Integrum bases their first concert in the Netherlands on Muffat’s international style. French, Italian and German: in his delightful compilation Armonico Tributo Muffat unites all of Europe, capping it all off with an explicit wish for peace. The German Theodor Schwartzkopf, represented in the programme by a colourful concerto with trumpet, oboes, gambas and violins, likewise sought inspiration in France. Somewhat later, Telemann was to become the reigning champion of the goûts reunis.
This concert is realised with the assistance of the Ministry of Culture of the Russian Federation in the context of the Dutch-Russian year of 2013
thu 29 aug / 20.00 Centraal Museum
€ 26 / € 21 / € 21 order number 66
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thu 29 aug / 22.30 Pieterskerk
Los Músicos de Su Alteza / Luis Antonio González Music from the time of the Spanish
Succession Wars and the Treaty of Utrecht
The Treaty of Utrecht determined the successor to the Spanish throne, thus restoring European equilibrium at long last.These were turbulent times for many Spanish composers. For instance, Sebastián Durón and Francisco Walls would have preferred to see Austria claim the throne, so when Louis XIV’s grandson came to power they experienced hard times. Others, such as José de Torres, Antonio Literes and the much younger José de Nebra went on to enjoy a successful career under the Bourbons.
Soloists: Olalla Alemán, soprano / José Pizarro, tenor
Hopkinson Smith Dowland’s Europe
The master lutenist Hopkinson Smith devotes his midnight concert to the British lute composer John Dowland. He places him in an international context by means of three lute publications that appeared within the space of two years: Varietie of Lute Lessons, the most important printed source of Dowland’s music (London, 1610), Robert Bal- lard’s Premier Livre de Tablature (Paris, 1611) and Kapsberger’s Libro Primo d’Intavolatura de Lauto (Rome,1611).
thu 29 aug / 24.00 Academiegebouw, Aula
€ 12 / € 10 / € 7 order number 68
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11.00 Summer School: Rebekah Ahrendt Academiegebouw, Aula
13.00 Kate Clark & Paul O’Dette Lutherse Kerk
17.00 Concerto Italiano Domkerk
20.00 Cappella Reial de Catalunya, Hespérion XXI, Le Concert des Nations Vredenburg Leidsche Rijn
20.00 Listen to Art
friday 30 august
Festival centre Pandhof
This year the Pandhof on the Domplein is once again the perfect place to enjoy a drink and a snack between the festival activities, to browse in the Festival CD shop or to swap experiences with other festival visitors. Here you can pick up your concert tickets or free fringe tickets from the Festival Box Office. You can also listen to carillon and fringe concerts every day. The Pandhof Festi- val Centre is located on the Domplein and will be open every day from 10.00 a.m. until late in the evening. The Box Office and CD shop are open from 10.00 to 18.00.
Summer School: Rebekah Ahrendt Music at Huygens’ home
Rebekah Ahrendt (Yale University) is curator of this year’s STIMU-Symposium Negotiating Music. Als researcher she is specialised in Dutch political-cultural relations in the 17th and 18th centuries. Her research focussed on how diplomat and musicican Constantijn Huygens used music as a diplomatic tool. With the help of diary notes describing concerts at his home, Ahrendt reconstructs one of these remarkable evenings. With ensemble Bella Discordia.
Made possible with support of Provinciaal Utre- chts Genootschap van Kunsten en Wetenschappen
fr 30 aug / 10.00-20.00 Pandhof
free
Wilbert Berendsen Carillon fringe
Wilbert Berendsen is cantor-organist of the Grote Kerk or Martinikerk in Does- burg. He has been studying the carillon with Frans Haagen at the Utrecht School of the Arts since 2012. In this carillon fringe he performs works by Lasceux, Telemann and Froberger, as well as by Nicolas Vallet, the composer who assumes a major role in the Lute Festival held during the Utrecht Early Music Festival.
fr 30 aug / 11.30 Domtoren, Pandhof
free
fr 30 aug / 13.00 Lutherse Kerk
Kate Clark & Paul O’Dette Three contemporaries of Ciconia
Melodic instruments had no individual place within the Renaissance musical culture: music for solo instruments did not exist. However, there was one development in the 16th century that pointed to the future: the improvisation of virtuosic diminutions (ornamenta- tions) on the melody line of a multiple- voiced work. Clarck (flutes) and O’Dette (lute) investigate this movement towards instrumental emancipation by means of popular works from Italy, France and England: from Anchor che col partire, via Doulce Memoire to Dow- land’s Pavan Lachrimae.
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Early Music Market
This year in the Nicolaïkerk: more than 75 makers of musical instruments, music publishers and CD producers will be present to demonstrate their wares or give advice. This is the ultimate opportunity for professionals and amateurs alike to try out and compare period stringed, plucked, keyboard and wind instruments. A complete overview of the exhibitors will be available from 1 August at www.oudemuziek.nl/markt and in the Festival programme book.
fr 30 aug / 12.00-20.00 Nicolaïkerk
€ 5, free for Friends
This Friday the Markt will be open extra late: until 20.00.
15.00 -17.00: children’s hummel- making workshop. Make your own plucked instrument! The hummel is an ancient instrument with just one string. You will also learn to play a tune on it in no time. 6 -12 years, €10. Order number 70
18.00-18.15 & 19.00-19.15: Sietze de Vries improvises in baroque style on the Marcussen-organ of the Nicolaïkerk.
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fr 30 aug / 15.00 St.-Willibrorduskerk
Tetraktys / Kees Boeke Three contemporaries of Ciconia
The Dutch recorder player and medieval specialist Kees Boeke brings the singers Carlos Mena and Julia von Landsberg to Utrecht for a musical survey of Johannes Ciconia’s times. He places the main spotlight on Ciconia’s Italian colleagues: Magister Dominus Paulus Abbas de Fiorentia, Magister Frater Bartolinus de Padua and Magis- ter Frater Andreas Organista de Floren- tia. A true feast for the connoisseur.
A € 21 / € 19 / € 10
fr 30 aug / 17.00 Domkerk
Concerto Italiano / Rinaldo Alessandrini Lassus: Missa Surge propera
The six-voice Missa Surge propera follows the principle of parody or imita- tion, in which the composer further elaborates on material taken from other compositions – a motet in this case. Concerto Italiano impressed with their revolutionary interpretations of Monteverdi-madrigals, but they also excel in the earlier, polyphonic style with their dynamic and text-driven approach.
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Dining in Treaty style
Today: A royal pie with breast meat of pheasant and quail Stuffed roast of veal with pea-puree and sauce Robbert
vr 30 aug / 18.30-19.30 Paushuize
A € 35 / € 32 / € 10 order number 75
fr 30 aug / 20.00 Vredenburg Leidsche Rijn
Cappella Reial de Catalunya, Hespérion XXI, Le Concert des Nations / Jordi Savall War and Peace: from the Union of Utrecht
(1579) to the Treaty of Utrecht (1713)
Jordi Savall has created a tailor-made programme for the Early Music Festival, for the occasion of the 3rd centenary of the Treaty of Utrecht. The soloists, choir and orchestra are poised to tell a musical tale of war and peace in Baroque Europe. One hundred and fifty years of drastic events occurring in and beyond continental Europe provide the unifying theme: the Union of Utrecht against the Spanish Crown, the defeat
of the Armada, the Edict of Nantes that advocated tolerance towards the Prot- estants, the Thirty Years War, the siege of Breda, the English Civil War, the colo- nisation of Ireland, the independence of Portugal, the Treaty of Nijmegen and finally the War of the Spanish Succes- sion and the Treaty of Utrecht.
With works by composers such as Gesualdo, de Victoria, Gabrieli, Lawes, Cabanilles, Sweelinck, Charpentier, Lully, Fux, Bach and Händel alongside Jewish, Ottoman, Hungarian and Polish music, this will be an evening concert to remember, with peace as its dominant theme.
Jordi Savall is a United Nations Artist for Peace.
This concert can’t be combined with Odhecaton.
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fr 30 aug / 22.30 Pieterskerk
Odhecaton / Paolo Da Col Lassus: Missa Super Dixit Joseph
Many of Lassus’ sixty-six masses are inspired by existing polyphonic compositions such as motets, chansons and madrigals from other Franco-Flemish and Italian composers. For his Missa super Dixit Joseph (1607) Lassus however used his own six-part motet Dixit Joseph undecim fratribus from 1564. The rhetorical elements which are so characteristic for his later works are present. Lassus divided his six voices into two ‘choirs’, who, with sharp contrasts in tessitura, ‘battle’ with each other. Perfect for Paolo Da Col and his Odhecaton.
This concert can’t be combined with Hespérion XXI
fr 30 aug / 20.00 Centraal Museum
€ 26 / € 21 / € 21 order number 76
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fr 30 aug / 24.00 Academiegebouw, Aula
Eugène Ferré, luit French lute music in the early seventeenth
century
When Frenchman Nicolas Vallet settled in Amsterdam, he quickly got to know the local musical scene: he heard Sweelinck play in the Oude kerk, as well as music by expatriate English composers. Vallet was very open-minded, and influences from all over Europe can be heard in his compositions. But above all, we meet, through his music, an unusual artistic personality. This is the rich legacy that Eugène Ferré wants to promote.
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10.00 Masterclass Skip Sempé Lutherse Kerk
10.00 Early Music Market Nicolaïkerk
11.00 Summer School: Fred Jacobs Academiegebouw, Aula
13.00 Frank Groothof: Ridder Florian Theater Kikker
13.00 Fred Jacobs Academiegebouw, Aula
15.00 La Morra St.-Willibrorduskerk
15.00 Ludovice Ensemble Geertekerk
16.00 Frank Groothof: Ridder Florian Theater Kikker
17.00 Latvian Radio Choir St.-Augustinuskerk
17.00 FLUX
Vredenburg Leeuwenbergh
20.00 European Union Baroque Orchestra & Choir of Clare College Domkerk
20.00 Vox Luminis Jacobikerk
ca. 21.45 (following on the Domkerk-concert) VJ op de Dom Beats Barok Domplein
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€ 5, free for Friends
Masterclass Skip Sempé
During his masterclass the early music specialist Skip Sempé reveals reveals the secrets of ensemble playing to two up-and-coming ensembles. In the space of two hours he will teach these young musicians the finer points of instrumental and vocal ensemble playing in music from the period 1550 to 1750. You may witness the entire process or listen to the concluding presentation given by both ensembles at 15.30.
Oude Muziek Markt
More than 75 makers of musical instruments, music publishers and CD producers will be present to demonstrate their wares or give advice. This is the ultimate opportunity for professionals and amateurs alike to try out and compare period stringed, plucked, keyboard and wind instruments. A complete overview of the exhibitors is available from 1 August at www.oudemuziek.nl/markt and in the Festival programme book..
10-16.15 / presentation 15.30 Lutherse Kerk
Summer School: Fred Jacobs Constantijn Huygens: the European
The Dutch diplomat, poet and musician Constantijn Huygens became acquainted with ‘l’illustre Monsieur Du Faut’ in Paris in 1662 and performed his own lute compositions for him. He may well have met the celebrated lutenists Germain Pinel and Denis Gaultier there as well. We also know that Huy- gens corresponded with Froberger, who was in turn a friend of the famed Paris- ian lutenist Monsieur de Blancrocher. Fred Jacobs gives an introduction to the recital that he will perform at 13.00 and gives us insight into Huygens’s musical tastes and knowledge.
Malgosia Fiebig Lassus, Froberger, Muffat and Huygens on
Carillon
Three of the four Festival composers will be performed on the Dom Tower carillon in this concert: Lassus, Frob- erger and Muffat. The city carillonneur Malgosia Fiebig will also play a number of works by the Dutchman Constantijn Huygens.
10.30: A close-up look at the carillon (max. 15 standing places), €10, order number 80
free
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Frank Groothof Children’s Performance: : Ridder Florian (4+)
Ridder Florian is a new performance by Frank Groothof based on Marjet Huib- erts’s popular book. It is a wonderful opportunity for tod- dlers, parents and grandparents alike to experience a music theatre adventure. In collaboration with the papercut artist José Vingerling, who brings Florian’s adventures to life on the backdrop using shadow play, the children will be challenged to actively experience the magic that each person has inside. The tale will be accompanied by Italian early music played on the viola da gamba, theorbo and Baroque guitar. After the performance there will be opportunity to meet the performers.
Fred Jacobs 17th-century French lute music from the
time of Constantijn Huygens
Fred Jacobs reconstructs a unique period of lute history in his recital. Constantijn Huygens is known to have been an extraordinarily talented lutenist and composer for the lute. He travelled throughout Europe and became acquainted with the eminent musicians of his day. He counted Du Faut among his friends and corresponded with Froberger. Huygens was thus completely in touch with the latest musical developments and trends. Since few of Huygens’s works have survived to the present day, this programme features works by composers who served as his major models – Du Faut, Pinel and Gaultier.
sa 31 aug / 1

utrecht early music festival 2013 - brochure - english

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