Nieuwe cd’s met Oude Muziek. In deze eerste aflevering van 2024 aandacht voor de nieuwe cd’s ‘Postscript à Amsterdam’ en ‘The Queen’s Favourites’ van La Petite Écurie.

https://www.concertzender.nl/programma/nuove_musiche_747613/?fbclid=IwAR3d6fggI4CIg2Y_ksCHLj7cUAfc5nknVLnfuRDUxPdj6jHI8hjJHEEpDys

Op de eerste CD ‘Postscript à Amsterdam, live at the Waalse Kerk’ heeft het ensemble Postscript het idee uitgewerkt om een album geheel te wijden aan muziek uit het 17e en 18e-eeuwse Amsterdam.
Postscript is een jong ensemble gespecialiseerd in de historische uitvoering van muziek van Barok tot Romantiek. De vaste bezetting is Aysha Wills en David Westcombe, traverso. Octavie Dostaler-Lalande, cello en Artem Belogurov, clavecimbel.

De tweede CD ‘The Queen’s Favourite’ is gewijd aan muziek voor hobo-ensemble aan het hof van Mary Stuart. Uitvoerenden zijn leden van het ensemble La Petite Écurie.

Johann Christian Schickhardt (1682-1762)
1. Uit de bundel: ’12 sonates à une flute et une basse continue’, opus 23: Sonata IV
– Adagio
– Allemanda allegro
– Vivace
– Giga
– Gavotte Presto
Aysha Wills, traverso. Artem Belogurov, clavecimbel

Jacob Klein (1688-1748)
2. Uit de bundel: ‘VI sonata a violoncelle solo e basso continuo’, opus 4: Sonata 1
– Allegro
– Poco Adagio – Poco Allegro – Poco Adagio
– Allegro
Octavie Dostaler-Lalande, cello en Artem Belogurov, clavecimbel

Antoine Mahaut (1719-1785)
3. Uit de bundel: ‘Six Trio Sonatas voor twee fluiten en continuo’: Sonata VI
– Largo e cantabile
– Allegro
– Largo
– Presto
Postscript: Aysha Wills en David Westcombe, traverso. Octavie Dostaler-Lalande, cello en Artem Belogurov, clavecimbel
(CD Postscript à Amsterdam, live at the Waalse Kerk. TRPTK TTK 0097)

Sublimely Intimate: Opera in the Salon

Elisabeth Hetherington, soprano

​Aysha Wills, traverso
Cynthia Freivogel & Tomoe Badiarova, violins
Iteke Wijbenga, viola 
Octavie Dostaler-Lalonde, cello
Artem Belogurov, harpsichord

​Elisabeth Hetherington's star is rising fast. For both early music and new music, she is a dream interpreter, with a radiant voice and an equally lucid imagination. This opera gala takes us back to the eighteenth-century noble salon, where visitors loved to listen to the hits from the opera theatre in domestic settings. Many popular opera arias from that era were brilliantly arranged for smaller ensemble. These are brought to life by Postscript, one of the best baroque ensembles in our country. A programme with arias by Handel, Hasse, Bononcini and other grandmasters.

https://www.classicalnow.nl/en/Concerten/Herfst-2023/SUBLIEM-INTIEM.html

OVER DIT CONCERT

Zoals paradetoppers van nu werden ook hits van de achttiende-eeuwse operatheaters gepubliceerd in allerlei bewerkingen. Elke amateurmusicus vond wel zijn gading in het aanbod, van eenvoudig lied tot kunstig kleinood. Sopraan Elisabeth Hetherington voegt zich bij het ensemble Postscript voor een even subliem als intiem rondje applausaria’s van Johann Adolph Hasse, Georg Friedrich Händel en Giovanni Battista Bononcini.

MUSICI

Elisabeth Hetherington sopraan

Aysha Wills traverso
Cynthia Freivogel viool I 
Tomoe Badiarova viool II 
Iteke Wijbenga altviool
Octavie Dostaler-Lalonde cello 
Artem Belogurov klavecimbel

PROGRAMMA

Johann Adolph Hasse 1699-1783
Sinfonia
(uit: Enea in Caonia)

Georg Friederich Händel 1685-1759
Barbara io ben lo so
(uit: Alcina)

Giovanni Battista Bononcini 1670-1747
Preludio instrumentaal
(uit: Siedi Amarilli mia)

Anoniem 17de eeuw
Amo il regno et amo il figlio
(uit: Elvira regnante)

Francesco Ballarotti 1660-1712
Stelle avverse in cielo armatevi
(uit: Ottaviano in Sicilia)

Georg Friederich Händel
Tornami a vagheggiar from
(uit: Alcina)
Menuetto instrumentaal (uit: Rodelinda)

Johann Adolph Hasse
L'Augelletto in Lacci Stretta
(uit: La Didone abbandonata)

Georg Friedrich Händel / arr. William Babell 1690-1723
Lascia ch'io pianga instrumentaal

Georg Friedrich Händel
Lascia ch'io pianga
(uit: Rinlando)

Francesco Geminiani 1687-1762
Know, Madame I never was born (‘A Favourite Minuet by Mr. Geminiani’) (uit: British Musical Miscellany, Londen 1733-34)

Georg Friedrich Händel
Love thou great ruler (‘A favourite air by Mr. Handel’)

Anoniem 18de eeuw
A Scotch song
(uit: British Musical Miscellany)

More TBA soon!

Music by JS Bach, Schickhardt, de Fesch, Locatelli, Mahaut, de Konink and van Noordt

David Westcombe, Aysha Wills - traverso
Octavie Dostaler-Lalonde - cello
Artem Belogurov - organ

The scene is a warmly-lit house on the Grachtengordel in 18th-century Amsterdam: remnants of a hearty dinner remain on the table, but the guests have repaired to the salon, where the musicians among them have taken up their instruments or seated themselves before the harpsichord. As the musicians begin to play, you notice that the music was printed neither in London nor Leipzig but right here in Amsterdam.

This programme celebrates Amsterdam and its role as one of the main music-publishing centres in 18th-century Europe. Building on its success in book publishing in the previous century, Amsterdam became fertile ground for music as well: at one point in the 18th century, there were no fewer than 76 houses publishing music! Of special importance ar the firms of E. Roger and his daughter in the first half of the century and J. J. Hummel and J. Schmitt in the second half.

The music on this programme comes from the catalogues of these publishing firms. Among the most famous of Roger’s hundreds of publications are Corelli’s Concerti Grossi op. 6 and Vivaldi’s Four Seasons. Hummel and Schmitt popularised the music of Haydn, Mozart, C.P.E. Bach, and scores of other galant and Classical composers of note, both in the Netherlands and in northern Europe.

We have selected a variety of chamber works published in Amsterdam — beautiful, intriguing, and well-crafted works by both composers living and working in Amsterdam and foreigners who found fame here through the publishing industry.

Theater Evening: A Historically informed Extravaganza

ABOUT THE EVENT

The excitement of an historical evening in the theatre, set in the oldest theatre of the country. Our Saturday gala event in the Leidse Schouwburg will have no intermission, the lights will stay on in the auditorium, and the audience will come and go as they please. Three short one-act play – a drama, a tragedy and a comedy – will be performed with live music, singing and dancing. With 100-year-old theatrical decors from the Vanderberghe collection on stage, historically inspired costumes, and actors using historical gesture and declamation techniques, this will be a night to remember! The music will be performed by the young early music ensemble Postscript.

Texts in German, English, French and Dutch.

Pygmalion is a melodrama about an artist so love with his own creation that his obsession drives him close to madness His beautiful statue of Galatea is cold marble, …or does he see her breathing, can she come to life? With text by Jean-Jacques Rousseau, the version that actor João Luís Paixão and dancer Irène Feste will perform is in German, set to music by the Czech composer Jiri Benda.

Proserpina is a dark and powerfully tragic one-woman show, with a text by Johann Wolfgang von Goethe and music by Carl Eberwein. It paints the desperate situation of the young and innocent Proserpina, who was abducted and forced into marriage with Pluto, the God of Hades. Unlike the Greek myth, where Proserpina is allowed to return to the light for half the year as Goddess of Spring, Goethe’s heroine finds no escape from the horrors of the hell to which she is condemned.

The farcical comedy De Bruiloft van Kloris en Roosje (Kloris and Roosje’s Wedding)used to be enormously popular in the Netherlands. It was performed non-stop from the early 18th century into the 1970s. Although it is usually associated with Amsterdam, it was written by Jacob van Rijndorp, the founder of the Leidse Schouwburg, so that in reviving the piece we are also bringing it back home. The innovative performers of Theater Kwast will tear down the fourth wall and draw the audience into the show, reviving lost traditions and leading the evening to a joyous conclusion.

Postscript is:

Tomoe Badiarova & Emma Williams, violins
Aysha Wills, flute
Iteke Wijbenga, viola
Octavie Dostaler-Lalonde, cello
Jesse Solway, double bass
Artem Belogurov, fortepiano

Featuring:

Elisabeth Hetherington, soprano
João Luís Paixão, actor
Laila Cathleen Neuman, actress
Irène Feste, dancer
Theater Kwast

This event is part of the Theaterfestival OverActing in Leiden, which explores the power of the theatrical traditions of the past, from tragic Greek mythology to comic silent films.

https://overacting.nl/event-item/theatre-evening/

Programma

Mozart - Pianoconcert No. 9 in Es, KV 271
Mozart - Pianoconcert No. 13 in C, KV 415/387b
Mozart - Sonata in G, KV 379

Postscript o.l.v. Artem Belogurov
Artem Belogurov, Stein fortepiano
Rachael Beesley, concertmeester en solist in KV 379

Beschrijving

Vader Leopold hield z'n hart vast: hoe moest het nou met Wolfgang als hij niet meer voor hem kon zorgen en stopte met naar hem luisteren? Maar Mozart was 25, wilde zelfstandig zijn, trouwen en zijn eigen muzikale weg volgen; hij was geen kind meer maar een jonge man. Dus schreef hij zijn laatste pianoconcert in Salzburg, Jeunehomme, en stapte in de diligence naar Wenen.

In augustus 1782 trouwde hij Constanze en hij componeerde; een van de eerste in Wenen geschreven pianoconcerten was KV 415. Verder was het wennen. Hij moest publiek werven voor zijn muziek, en begon daarom met inschrijvingsconcerten: bij voldoende belangstelling vooraf ging het concert door. En hoe meer publiek er in de zaal zat, hoe beter het financieel uitpakte. In grote zalen gebruikte hij dus grotere bezettingen en instrumenten die goed te horen waren.

Mozarts eerste fortepiano kocht hij bij de Weense bouwer Stein. Die bouwde niet alleen instrumenten waarvan de hamertjes met leer bekleed waren (zoals de meeste moderne fortepiano's) maar ook piano's met houten hamers. De dynamische mogelijkheden en het spectrum van klankkleuren daarvan waren veel breder dan we van de huidige historische kopieën gewend zijn. Ze zijn relatief luid en doen soms denken aan een Hongaarse cimbalom.

Mozart heeft zeker beide soorten fortepiano's gekend. Aannemelijk is het dat hij in zalen met veel publiek de voorkeur gaf aan instrumenten met houten hamers. Dat willen we wel eens horen! En daarom klinkt in deze Mozartiade een heel nieuwe, authentieke interpretatie van werken uit deze periode. In combinatie met verschillende instrumentaties bespeelt fortepianist Artem Belogurov een speciale kopie van een instrument van Mozarts pianobouwer Stein. De fortepiano is gebouwd door Gerard Tuinman voor het Nationaal Muziekinstrumenten Fonds.

This concert is part of the concert series Musica Antica da Camera in The Hague.

https://www.amare.nl/nl/agenda/1065/Musica_Antica_de_Camera/Mozartiade

Music by Schickhardt, de Fesch, Locatelli, Mahaut, Klein, de Konink and van Noordt

David Westcombe, Aysha Wills - traverso
Octavie Dostaler-Lalonde - cello
Artem Belogurov - harpsichord

The scene is a warmly-lit house on the Grachtengordel in 18th-century Amsterdam: remnants of a hearty dinner remain on the table, but the guests have repaired to the salon, where the musicians among them have taken up their instruments or seated themselves before the harpsichord. As the musicians begin to play, you notice that the music was printed neither in London nor Leipzig but right here in Amsterdam.

This programme celebrates Amsterdam and its role as one of the main music-publishing centres in 18th-century Europe. Building on its success in book publishing in the previous century, Amsterdam became fertile ground for music as well: at one point in the 18th century, there were no fewer than 76 houses publishing music! Of special importance ar the firms of E. Roger and his daughter in the first half of the century and J. J. Hummel and J. Schmitt in the second half.

The music on this programme comes from the catalogues of these publishing firms. Among the most famous of Roger’s hundreds of publications are Corelli’s Concerti Grossi op. 6 and Vivaldi’s Four Seasons. Hummel and Schmitt popularised the music of Haydn, Mozart, C.P.E. Bach, and scores of other galant and Classical composers of note, both in the Netherlands and in northern Europe.

We have selected a variety of chamber works published in Amsterdam — beautiful, intriguing, and well-crafted works by both composers living and working in Amsterdam and foreigners who found fame here through the publishing industry.

Music by Schickhardt, de Fesch, Locatelli, Mahaut, Klein, de Konink and van Noordt

David Westcombe, Aysha Wills - traverso
Octavie Dostaler-Lalonde - cello
Artem Belogurov - harpsichord

The scene is a warmly-lit house on the Grachtengordel in 18th-century Amsterdam: remnants of a hearty dinner remain on the table, but the guests have repaired to the salon, where the musicians among them have taken up their instruments or seated themselves before the harpsichord. As the musicians begin to play, you notice that the music was printed neither in London nor Leipzig but right here in Amsterdam.

This programme celebrates Amsterdam and its role as one of the main music-publishing centres in 18th-century Europe. Building on its success in book publishing in the previous century, Amsterdam became fertile ground for music as well: at one point in the 18th century, there were no fewer than 76 houses publishing music! Of special importance ar the firms of E. Roger and his daughter in the first half of the century and J. J. Hummel and J. Schmitt in the second half.

The music on this programme comes from the catalogues of these publishing firms. Among the most famous of Roger’s hundreds of publications are Corelli’s Concerti Grossi op. 6 and Vivaldi’s Four Seasons. Hummel and Schmitt popularised the music of Haydn, Mozart, C.P.E. Bach, and scores of other galant and Classical composers of note, both in the Netherlands and in northern Europe.

We have selected a variety of chamber works published in Amsterdam — beautiful, intriguing, and well-crafted works by both composers living and working in Amsterdam and foreigners who found fame here through the publishing industry.

In this program, Postscript takes the form of a flute & piano trio to explore the birth of Romanticism in music, through rarely heard works by Kozeluch, Hummel and Dussek.

Aysha Wills, flute
Artem Belogurov, 1823 Graf pianoforte, collection Chris Maene
Octavie Dostaler-Lalonde, cello by Thomas Dodd 1800

Kozeluch, Trio for flute, cello and piano in E minor Op.40 P IX:33 (16 min)
Hummel, Adagio, Variations and Rondo on a Russian Theme Op.78 - 1818 (17 min)
Dussek, Sonata for Flute, Cello and Piano Op.35 (25 min)

Wat hebben Koželuch, Hummel en Dussek met elkaar gemeen? Ze delen de liefde voor de piano, werden in hun eigen tijd geroemd én flirten met de grens tussen klassiek en vroeg-romantiek. Jammer genoeg staan ze vandaag ook eerder in de schaduw. Onbekend is onbemind en dus besloten de jonge musici van ensemble Postscript daar verandering in te brengen.

Met dit charmante en lyrische programma halen ze het vroeg-romantische repertoire van deze drie musici vanonder het stof en onttrekken het zo aan de vergetelheid. Ensemble Postscript is nog een nobele onbekende in Brugge, maar met dit bekoorlijke programma weten ze zich ongetwijfeld in je oren te nestelen! Om nooit meer te vergeten!

https://mafestival.be/programma/koželuch-hummel-dussek

This event is a live CD recording of our Amsterdam program. Audience members are welcome, to fuel our performative energy!

Music by Schickhardt, de Fesch, Locatelli, Mahaut, Klein, de Konink and van Noordt

David Westcombe, Aysha Wills - traverso
Octavie Dostaler-Lalonde - cello
Artem Belogurov - harpsichord

The scene is a warmly-lit house on the Grachtengordel in 18th-century Amsterdam: remnants of a hearty dinner remain on the table, but the guests have repaired to the salon, where the musicians among them have taken up their instruments or seated themselves before the harpsichord. As the musicians begin to play, you notice that the music was printed neither in London nor Leipzig but right here in Amsterdam.

This programme celebrates Amsterdam and its role as one of the main music-publishing centres in 18th-century Europe. Building on its success in book publishing in the previous century, Amsterdam became fertile ground for music as well: at one point in the 18th century, there were no fewer than 76 houses publishing music! Of special importance ar the firms of E. Roger and his daughter in the first half of the century and J. J. Hummel and J. Schmitt in the second half.

The music on this programme comes from the catalogues of these publishing firms. Among the most famous of Roger’s hundreds of publications are Corelli’s Concerti Grossi op. 6 and Vivaldi’s Four Seasons. Hummel and Schmitt popularised the music of Haydn, Mozart, C.P.E. Bach, and scores of other galant and Classical composers of note, both in the Netherlands and in northern Europe.

We have selected a variety of chamber works published in Amsterdam — beautiful, intriguing, and well-crafted works by both composers living and working in Amsterdam and foreigners who found fame here through the publishing industry.

Tune in to NPO Radio4 to hear excerpts from our upcoming Live CD recording, all music from 18th century Amsterdam!

Music by Schickhardt, de Fesch, Locatelli, Mahaut, Klein, de Konink and van Noordt

David Westcombe, Aysha Wills - traverso
Octavie Dostaler-Lalonde - cello
Artem Belogurov - harpsichord

The scene is a warmly-lit house on the Grachtengordel in 18th-century Amsterdam: remnants of a hearty dinner remain on the table, but the guests have repaired to the salon, where the musicians among them have taken up their instruments or seated themselves before the harpsichord. As the musicians begin to play, you notice that the music was printed neither in London nor Leipzig but right here in Amsterdam.

This programme celebrates Amsterdam and its role as one of the main music-publishing centres in 18th-century Europe. Building on its success in book publishing in the previous century, Amsterdam became fertile ground for music as well: at one point in the 18th century, there were no fewer than 76 houses publishing music! Of special importance ar the firms of E. Roger and his daughter in the first half of the century and J. J. Hummel and J. Schmitt in the second half.

The music on this programme comes from the catalogues of these publishing firms. Among the most famous of Roger’s hundreds of publications are Corelli’s Concerti Grossi op. 6 and Vivaldi’s Four Seasons. Hummel and Schmitt popularised the music of Haydn, Mozart, C.P.E. Bach, and scores of other galant and Classical composers of note, both in the Netherlands and in northern Europe.

We have selected a variety of chamber works published in Amsterdam — beautiful, intriguing, and well-crafted works by both composers living and working in Amsterdam and foreigners who found fame here through the publishing industry.

David Westcombe, traverso
Aysha Wills, traverso
Artem Belogurov, hapsichord
Octavie Dostaler Lalonde, baroque cello 

Music by de Fesch, Locatelli, Mahaut, Rosière and Wendling

The scene is a warmly-lit house on the Grachtengordel in 18th-century Amsterdam: remnants of a hearty dinner remain on the table, but the guests have repaired to the salon, where the musicians among them have taken up their instruments or seated themselves before the harpsichord. As the musicians begin to play, you notice that the music was printed neither in London nor Leipzig but right here in Amsterdam.

This programme celebrates Amsterdam and its role as one of the main music-publishing centres in 18th-century Europe. Building on its success in book publishing in the previous century, Amsterdam became fertile ground for music as well: at one point in the 18th century, there were no fewer than 76 houses publishing music! Of special importance ar the firms of E. Roger and his daughter in the first half of the century and J. J. Hummel and J. Schmitt in the second half.

The music on this programme comes from the catalogues of these publishing firms. Among the most famous of Roger’s hundreds of publications are Corelli’s Concerti Grossi op. 6 and Vivaldi’s Four Seasons. Hummel and Schmitt popularised the music of Haydn, Mozart, C.P.E. Bach, and scores of other galant and Classical composers of note, both in the Netherlands and in northern Europe.

We have selected a variety of chamber works published in Amsterdam — beautiful, intriguing, and well-crafted works by both composers living and working in Amsterdam and foreigners who found fame here through the publishing industry.

—

Het decor is een warm verlicht huis aan een gracht in het 18e-eeuwse Amsterdam: restanten van een stevig diner staan nog op tafel, maar de gasten hebben zich teruggetrokken in de salon, waar de musici onder hen hun instrumenten ter hand hebben genomen en zich verzamelen rond het klavecimbel. De muziek die zij spelen is niet in Londen of Leipzig gedrukt, maar hier in Amsterdam.

Dit programma is een eerbetoon aan Amsterdam, in de 18e eeuw behorend tot de belangrijkste centra van muziekuitgeverijen in Europa. Voortbouwend op het succes van de boekuitgeverij in de voorafgaande eeuw, werd Amsterdam ook een vruchtbare bodem voor muziek: op een bepaald moment waren er niet minder dan 76 muziekuitgeverijen gevestigd! Van bijzonder belang zijn de firma’s van Roger in de eerste helft van de eeuw en Hummel en Schmitt in de tweede helft.

De muziek op dit programma komt uit de catalogi van deze uitgeverijen. Tot de bekendste van Roger’s uitgaven behoren Corelli’s Concerti Grossi en Vivaldi’s Vier Jaargetijden. Hummel en Schmitt populariseerden de muziek van Haydn, Mozart, C.P.E. Bach zowel in Nederland als in Noord-Europa.

Er is een selectie gemaakt van in Amsterdam uitgegeven kamermuziek – mooie, intrigerende en goed geschreven werken van zowel in Amsterdam wonende en werkende componisten als van buitenlanders die hier via de uitgeverij bekendheid verwierven.

Artem, Octavie and Aysha ontmoetten elkaar in 2014 tijdens hun studie aan het Conservatorium van Amsterdam.
Postscript werd opgericht in 2018 toen David zich bij hen voegde. In datzelfde jaar wonnen ze de eerste prijs tijdens het Graun Wettbewerb in Duitsland.

In juni 2019 kwam hun eerste CD uit bij het label TRPTK en werd in recensies beschreven als ‘een sublieme ontdekkingsreis’.

Concert presented by MouseEar Concerts

Music by Schmitt, de Fesch, Locatelli, Mahaut and Wendling

The scene is a warmly-lit house on the Grachtengordel in 18th-century Amsterdam: remnants of a hearty dinner remain on the table, but the guests have repaired to the salon, where the musicians among them have taken up their instruments or seated themselves before the harpsichord. As the musicians begin to play, you notice that the music was printed neither in London nor Leipzig but right here in Amsterdam.

This programme celebrates Amsterdam and its role as one of the main music-publishing centres in 18th-century Europe. Building on its success in book publishing in the previous century, Amsterdam became fertile ground for music as well: at one point in the 18th century, there were no fewer than 76 houses publishing music! Of special importance ar the firms of E. Roger and his daughter in the first half of the century and J. J. Hummel and J. Schmitt in the second half.

The music on this programme comes from the catalogues of these publishing firms. Among the most famous of Roger’s hundreds of publications are Corelli’s Concerti Grossi op. 6 and Vivaldi’s Four Seasons. Hummel and Schmitt popularised the music of Haydn, Mozart, C.P.E. Bach, and scores of other galant and Classical composers of note, both in the Netherlands and in northern Europe.

We have selected a variety of chamber works published in Amsterdam — beautiful, intriguing, and well-crafted works by both composers living and working in Amsterdam and foreigners who found fame here through the publishing industry.

Concert presented by MouseEar Concerts

Music by Schmitt, de Fesch, Locatelli, Mahaut and Wendling

The scene is a warmly-lit house on the Grachtengordel in 18th-century Amsterdam: remnants of a hearty dinner remain on the table, but the guests have repaired to the salon, where the musicians among them have taken up their instruments or seated themselves before the harpsichord. As the musicians begin to play, you notice that the music was printed neither in London nor Leipzig but right here in Amsterdam.

This programme celebrates Amsterdam and its role as one of the main music-publishing centres in 18th-century Europe. Building on its success in book publishing in the previous century, Amsterdam became fertile ground for music as well: at one point in the 18th century, there were no fewer than 76 houses publishing music! Of special importance ar the firms of E. Roger and his daughter in the first half of the century and J. J. Hummel and J. Schmitt in the second half.

The music on this programme comes from the catalogues of these publishing firms. Among the most famous of Roger’s hundreds of publications are Corelli’s Concerti Grossi op. 6 and Vivaldi’s Four Seasons. Hummel and Schmitt popularised the music of Haydn, Mozart, C.P.E. Bach, and scores of other galant and Classical composers of note, both in the Netherlands and in northern Europe.

We have selected a variety of chamber works published in Amsterdam — beautiful, intriguing, and well-crafted works by both composers living and working in Amsterdam and foreigners who found fame here through the publishing industry.

Concert presented by MouseEar Concerts

Music by Schmitt, de Fesch, Locatelli, Mahaut and Wendling

The scene is a warmly-lit house on the Grachtengordel in 18th-century Amsterdam: remnants of a hearty dinner remain on the table, but the guests have repaired to the salon, where the musicians among them have taken up their instruments or seated themselves before the harpsichord. As the musicians begin to play, you notice that the music was printed neither in London nor Leipzig but right here in Amsterdam.

This programme celebrates Amsterdam and its role as one of the main music-publishing centres in 18th-century Europe. Building on its success in book publishing in the previous century, Amsterdam became fertile ground for music as well: at one point in the 18th century, there were no fewer than 76 houses publishing music! Of special importance ar the firms of E. Roger and his daughter in the first half of the century and J. J. Hummel and J. Schmitt in the second half.

The music on this programme comes from the catalogues of these publishing firms. Among the most famous of Roger’s hundreds of publications are Corelli’s Concerti Grossi op. 6 and Vivaldi’s Four Seasons. Hummel and Schmitt popularised the music of Haydn, Mozart, C.P.E. Bach, and scores of other galant and Classical composers of note, both in the Netherlands and in northern Europe.

We have selected a variety of chamber works published in Amsterdam — beautiful, intriguing, and well-crafted works by both composers living and working in Amsterdam and foreigners who found fame here through the publishing industry.

The final solo works of our program in De Waag were performed back to back – firstly Telemann’s Fantasy in D Major for solo harpsichord performed by Artem, followed immediately by his Cello Sonata in D major from music periodical Der Getreue Musikmeister, performed by Artem and Octavie.

Telemann’s D Major fantasy is a gorgeous work with two very distinct characters: a joyful major section with which it both begins and ends, and, framed by these major sections, a more pensive, thoughtful and melancholy minor section. Just like in the traverso fantasies, the challenge falls to the performer to play these different characters and to make the most of these contrasting roles. It was so enjoyable for us to be able to listen to Artem perform this work, which is so full of personality.

This work leads seamlessly into Telemann’s Cello Sonata, which was published in Der Getreue Musikmeister, a music periodical through which Telemann published more than 70 works. Telemann was an exceptional businessman as well as being a fantastic composer, after all! This work highlights the capabilities of both instrument and player, requiring exceptional agility, expressive qualities, and control of sound. It is very elegant, and a real treat to listen to!

Sit back and enjoy these wonderful works by Telemann by following the link:

Saturday, November 28th, 20:15 (CET)
Fantasia No.1 in D Major for Harpsichord Solo & Sonata in D Major for Violoncello Solo and Basso Continuo – G.P. Telemann
https://youtu.be/8nhpygmlgbU

We are excited to be presenting a lovely, short programme for the REMA (European Early Music Network, or rather Réseau European de Musique Ancienne) showcase for young artists, which takes place every two years during the international Early Music summit in BOZAR in Brussels.

However, due to the pandemic, this year’s summit will be taking place both at BOZAR and online between November 20th and 22nd: ensembles are presenting videos, and several events such as keynote speeches, panel debates and masterclasses will take place online (to see the full schedule of the summit and to register to some of those exciting activities, visit http://www.earlymusic.eu)

Our program for the video will feature some playful improvisation as well as pieces we know and love. We are looking forward to sharing the final product with you all soon!

For today’s Live Premiere, we continue with our LIVE in De Waag series with a video of Telemann’s solo flute fantasia in e minor, performed by David Westcombe.

As beautiful as it is, this piece is very short (even for our standards), so we had the idea to segue into a Zoom conversation. You are all very welcome to join and don't forget to bring a drink! We’ll be happy to talk about our first CD, current activities, future plans and anything else you fancy.

20:15 (CET) - Fantasia No.8 in E Minor for Traverso Solo – G.P. Telemann https://youtu.be/wHwRuItfHP4
20:30 (CET) - Zoom Q&A - https://us02web.zoom.us/j/81088066037


Don’t forget to subscribe to our YouTube channel.

This week’s YouTube premiere consists of a trio sonata for the whole group, by Joseph Bodin de Boismortier. A highly talented multi-instrumentalist and composer, Boismortier deserves even more attention from musicians and music lovers of today.

Come to watch it “Live” on YouTube, from wherever you are in the world. We will be there to interact with you in the chat!

Sunday, November 1st, 20:15 (CET)
Sonata No.2 in G Minor for 2 Traversi and Basso Continuo – J.B. de Boismortier
https://youtu.be/rr3Njd6Shdg

This week’s YouTube premiere consists of a Concerto for traverso and obbligato cembalo. This piece also exists in a trio sonata version, for two solo instruments and basso continuo. Artem Belogurov is on the harpsichord, and Aysha Wills is on the traverso.

Come to watch it “Live” on YouTube, from wherever you are in the world. We will be there to interact with you in the chat!

Sunday, October 18th, 20:15 (CEST)
Concerto in G minor for Traverso and Obbligato Cembalo – G.P Telemann
https://youtu.be/8MoP4_C5OvM