François Fernandez

Total Page:16

File Type:pdf, Size:1020Kb

François Fernandez François Fernandez François Fernandez, whose parents were both musicians (Jazz and Classic), was born in Rouen in 1960. While pursuing classic modern violin studies, he took up the baroque violin at the age oF 11. He studied with Sigiswald KuiJken in The Hague (Soloist Diploma, Royal Conservatory 1980) and soon became his teacher’s closest collaborator. At the age of 17 he entered in La Petite Bande and became as concertmaster in 1986. At the same time, he worked with the best baroque orchestras oF the epoch, most oFten as leader or soloist: The Orchestra oF the 18th Century (Frans Brüggen), La Chapelle Royale (Philippe Herreweghe), Melante 81 (Bob van Asperen) and Les Arts Florissants (William Christie). For the last 20 years, François Fernandez has devoted himself to chamber music. Not only as a violinist but also on violino piccolo, viola, viola d’amore, viola da gamba and violoncello da spalla. As a chamber musician, he has participated worldwide at the most important Festivals with the Ricercar Consort, the KuiJken brothers, the Hantaï brothers, Ryo Terakado, Glen Wilson, Yves Rechstainer, Marcel Ponseele, Boyan Vodénitcharov, BenJamin Alard, Enrico Gatti, Rainer Zipperling, Sophie Gent, and many other prominent musicians. His solo recitals, most notably with the Sonatas and Partitas oF Bach, were heard by international public, through internet live broadcast. Moreover, he appears as a conductor; recently he was invited by Finnish Baroque Orchestra, Orquesta de Cámara Valdivia in Chile, Orchestre Baroque de Nice, Theater Aachen and Bremer Barockorchester in Germany. Under his baton, Ricercar Consort won the prize from « La Nouvelle Académie du Disque » in France 1994, on the recording of Terpsichore Musarum by Praetorius. His discography encompasses more than a 100 recordings, among them the complete oF Bach was selected as « Best Classical CD of 2003 » by Prelude Klassiek in Nederland and the Sonatas oF Leclair For Astrée-Auvidis-Naïve was rewarded « Editors Choice » by Grammophone, also « FFFF » by Télérama. On this CD, Diapason commented « Danse après danse, le violon hyper-sensible de François Fernandez maniFeste une vocalité exemplaire ». In 2002, François Fernandez founded the recording label FLORA with Philippe Pierlot and Rainer Zipperling. He had taught at Conservatoire Régional de Toulouse, Musikhochschule Trossingen, and several masterclasses in Santiago(Chile), in Taipei(Taiwan), and in Helsinki (Finland). Since 1998, he has been teaching at Conservatoire National Supérieur de Paris and in 2009 became the successor of Sigiswald KuiJken at KoninkliJk Conservatorium Brussel. And since 2018, he joined at IMEP. .
Recommended publications
  • Summer Academy Fee the Academy Fee Is 540 € for Each Participant
    9th edition of the LA PESTuITmE mBerA ANcaDdEemy FROM BACH TILL MOZART Italy, 2nd - 17th August 2020 SpeciIanstlr uBmenatarl woorqks ue edition! Orchestral and chamber music works by J.S.BACH, G.PH.TELEMANN, J.PH.RAMEAU AND F.COUPERIN for Flutes, Oboes, Bassoons, Horns, Violins, Violas, Violoncello & Violoncello da Spalla, Violone & Double bass, Harpsichord; W.A.MOZART Divertimento for 2 Horns, Violin, Viola and Double Bass Operatic work W.A.MOZART, selected scenes from IDOMENEO for 2 Sopranos, 1 Mezzosoprano, 2 Tenors & Orchestra (Flutes, Oboes, Horns, Bassoons, all Strings & Harpsichord) LA PESTuITmE mBerA ANcaDdEemy Since 2012, La Petite BandeA orgpanpizleis caa yetairolyn Susm mforer A c2ad0em2y 0in Itaalyr, ew hnicho wwith othpe eyenar! s has become a beloved international appointment for many musicians desiring to deepen their knowledge and practice of historically informed practice for the baroque and classical repertoire (especially Mozart & Haydn). Indeed, they have taken their chance to work with one of the pioneers of this field, violinist and leader of La Petite Bande, Sigiswald Kuijken. Each year, the Academy focuses both on instrumental and operatic works. Singers work with Marie Kuijken on a historically informed approach to the textual and scenical aspects of the score, and perform the opera with the orchestra. The 2020 edition is a special BAROQUE edition, in which the instrumental focus will be on orchestral and chamber music works of J.S.Bach, G.Telemann, J.Ph.Rameau aBnda F.rCooupqeruine. By choosing mostly to play one-to-a-part, for these works the difference between orchestral and chambermusic playing will be minimal.
    [Show full text]
  • La Petite Bande Olv
    2007-2008 BLAUWE ZAAL DO 24 APRIL 2008 La Petite Bande olv. Sigiswald Kuijken 2007-2008 Bach wo 14 november 2007 KOOR & ORKEST COLLEGIUM VOCALE GENT OLV. PHILIppE HERREWEGHE za 15 december 2007 FREIBURGER BAROckORCHESTER & COLLEGIUM VOCALE GENT OLV. MASAAKI SUZUKI do 24 april 2008 LA PETITE BANDE OLV. SIGISWALD KUIJKEN Bach LA PETITE BANDE SIGISWALD KUIJKEN muzikale leiding SIRI THORNHILL sopraan PETRA NOskAIOVÁ mezzo CHRISTOPH GENZ tenor JAN VAN DER CRAbbEN bas JOHANN SEBASTIAN BACH (1685-1750) Cantate ‘Es ist euch gut, dass ich hingehe’, BWV108 20’ Pictogrammen DeSingel AUDIO gelieve uw GSM uit te schakelen Cantate ‘Wahrlich, wahrlich, ich sage euch’, BWV86 18’ Cantate ‘Sie werden euch in den Bann tun’, BWV44 22’ pauze De inleidingen kan u achteraf beluisteren via www.desingel.be Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze. Himmelfahrtsoratorium REAGEER ‘Lobet Gott in seinen Reichen’, BWV11 32’ & WIN Op www.desingel.be kan u uw visie, opinie, commentaar, appreciatie, … betreffende het programma van deSingel met andere toeschouwers delen. Selecteer hiervoor voorstelling/ concert/tentoonstelling van uw keuze. Neemt u deel aan dit forum, dan maakt u meteen kans om tickets te winnen. Bij elk concert worden cd’s te koop aangeboden door ’t KLAverVIER, Kasteeldreef 6, Schilde, 03 384 29 70 > www.tklavervier.be foyer deSingel enkel open bij avondvoorstellingen in rode en/of blauwe zaal open vanaf 18.40 uur kleine koude of warme gerechten te bestellen vóór 19.20 uur broodjes tot net vóór aanvang van de voorstellingen
    [Show full text]
  • Masaaki Suzuki Programme EDITED
    19 JANUARY | THURSDAY Bach Cantatas with Masaaki Suzuki MASAAKI SUZUKI conductor / organ RYO TERAKADO concertmaster ZHANG YUCHEN (B.Mus1) violin MASAMITSU SAN’NOMIYA oboe YST VOICE STUDENTS CONSERVATORY CHAMBER ENSEMBLE J.S. BACH (1685 – 1750) Violin Concerto in A minor, BWV1041 I. Allegro moderato II. Andante III. Allegro Assai J.S. BACH Cantata “Ach Gott, wie manches Herzeleid”, BWV3 I. Chorus (“Ach Gott, wie manches Herzeleid”) II. Recitative and Chorale (“Wie schwerlich läßt sich Fleisch und Blut”) III. Aria (“Empfind ich Höllenangst und Pein”) IV. Recitative (“Es mag mir Leib und Geist verschmachten”) V. Aria Duetto (“Wenn Sorgen auf mich dringen”) VI. Chorale (“Erhalt mein Herz im Glauben rein”) INTERMISSION 15 mins J.S. BACH Organ Concerto in D minor (from Cantata BWV35) arr. Masaaki Suzuki I. Sinfonia IV. Aria V. Sinfonia J.S. BACH Cantata “Alles nur nach Gottes Willen”, BWV72 I. Chorus (“Alles nur nach Gottes Willen”) II. Recitative and Arioso (“O selger Christ, der allzeit seinen Willen”) III. Recitative (“So glaube nun”) IV. Aria (“Mein Jesus will es tun, er will dein Kreuz versüßen”) V. Chorale (“Was mein Gott will, das g'scheh allzeit”) MASAAKI SUZUKI conductor / organ Since founding Bach Collegium Japan in 1990, Masaaki Suzuki has established himself as a leading authority on the works of Bach. He has remained their Music Director ever since, taking them regularly to major venues and festivals in Europe and the USA and building up an outstanding reputation for the expressive refinement and truth of his performances. In addition to working with renowned period ensembles, such as Collegium Vocale Gent and Philharmonia Baroque, he is invited to conduct repertoire as diverse as Britten, Beethoven, Fauré, Mahler, Mendelssohn, Mozart and Stravinsky, with orchestras such as the Baltimore Symphony, Danish National Radio Symphony, Deutsches Symphonie Orchester Berlin, Leipzig Gewandhausorchester, New York Philharmonic and the San Francisco Symphony Orchestra, amongst others.
    [Show full text]
  • Gioachino Rossini Frederico Mompou
    ÉTÉ/ZOMER 2021 09.07PROGRAMME DU JOUR PROGRAMMA VAN DE DAG ENSEMBLE RIPAILLES Gioachino Rossini (1792-1868) — Sonata a quattro prima in sol maggiore Ryo Terakado Moderato violon | viool Andante Allegro Marie Toriu alto | altviool Corentin Dellicour — violoncelle | cello Sonata a quattro terza in do maggiore Allegro Vivace Benoît Vanden Bemden Andante contrebasse | contrabas Allegretto — Sonata a quattro quarta in si bemol maggiore Allegro Andante Moderato PROCHAIN CONCERT VOLGEND CONCERT 12.07 — Julien Brocal piano — Frederico Mompou (1893-1987) Paisajes Variaciones Sobre un Tema de Chopin www.midis-minimes.be COMMENTAIRE BIOGRAPHIE « Ces six épouvantables sonates composées par moi, lors des Ripailles vacances près de Ravenne chez mon ami et mécène Agostino L’ensemble Ripailles a été créé en 2020 en pleine pandémie Triossi, à l’âge le plus enfantin, n’ayant même pas pris de cours dans le cadre de la série des Concerts déconfinés – Spontaan d’accompagnement, le tout composé et copié en trois jours et festival. exécuté sauvagement par Triossi à la contrebasse, Morini (son Ryo Terakado cousin) au premier violon, le frère de celui-ci au violoncelle, et le second violon par moi-même, qui était, à vrai dire, le moins Ryo Terakado, naît en 1961 à Santa Cruz en Bolivie et commence mauvais le violon à quatre ans. Après avoir gagné plusieurs prix au Ja- ». pon, il s’inscrit à la prestigieuse Toho Gakuen School of Music. C’est ainsi que Gioachino Rossini décrit avec sévérité ses six so- À dix-neuf ans, son intérêt pour la musique ancienne le conduit nates de jeunesse pour deux violons, violoncelle et contrebasse.
    [Show full text]
  • Música Barroca: En Nombre De Bach
    Música Barroca: en nombre de Bach LA PETITE BANDE - Bélgica Ensemble barroco y coro Sigiswald Kuijken, director TEATRO JORGE ELIECER GAITÁN Viernes 5 y Sábado 6 de marzo de 1999 • 8:00 p.m. BIBLIOTECA LUIS ÁNGELARANGO S A N T A F É D E B O G O T Á D. C. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. LA PETITE BAND La Petite Band (Bélgica) fue fundada en 1972 por Sigiswald Kuijken por solicitud de la compañía Deutsche Harmonia Mundi para la grabación de la obra de Jean-Baptiste Lully (1632-1687) El burgués gentilhombre, bajo la dirección de Gustav Leonhardt. La orquesta tomó su nombre y estructura de la agrupación musical que dirigió Lully en la corte de Luis XIV. Todos sus miembros son reconocidos especialistas en el campo de la música antigua. Aunque originalmente La Petite Band no tenía la intención de llegar a ser un ensemble permanente, el éxito de las grabaciones hizo que comenzara a ofrecer conciertos regularmente. El grupo concentró su repertorio fundamentalmente en música francesa, pero con el paso del tiempo lo amplió con la inclusión de obras de Bach Handel Gluck Haydn y Mozart entre otros compositores. Desde la fundación del grupo, Gustav Leonhardt y Sigiswald Kuijken se han alternado en su dirección, siendo Kuijken su director permanente. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. La Petite Band ha grabado tanto música instrumental como ocal incluyendo ópera y oratorios de los períodos Clásico y Barroco: óperas de Rameau Hiindel y Haydn' Conciertos para violín, Suites orquestales, Conciertos brandenburgueses, Misa en Sí menor, Magnificat y las Pasiones de San Juan y de San Mateo de J.S.
    [Show full text]
  • J.S. Bach Musikalisches Opfer Bach Collegium Japan Masaaki Suzuki
    J.S. BACH MUSIKALISCHES OPFER BACH COLLEGIUM JAPAN MASAAKI SUZUKI BIS-2151 BACH, Johann Sebastian (1685–1750) Musikalisches Opfer, BWV1079 52'49 Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta Canones diversi super Thema Regium 1 Canon 1 a 2 cancrizans harpsichord solo 1'55 2 Canon 2 a 2 Violini in unisono 2 violins, cello, harpsichord 0'53 3 Canon 3 a 2 per Motum contrarium flute, violin, viola 0'55 4 Canon 4 a 2 per Augmentationem, contrario Motu 2 violins, cello, harpsichord 1'44 5 Canon 5 a 2 per Tonos flute, violin, viola, cello, harpsichord 5'55 6 Fuga canonica in Epidiapente violin, viola, cello, harpsichord 2'27 7 Ricercar a 3 harpsichord solo 6'09 8 Canon perpetuus super thema Regium flute, violin, cello, harpsichord 0'58 9 Ricercar a 6 harpsichord solo 7'23 Quaerendo invenietis 10 Canon a 2 harpsichord solo 1'17 11 Canon a 4 2 violins, harpsichord 2'22 3 Sonata sopr’il soggetto Reale flute, violin, cello, harpsichord 18'15 12 I. Largo 5'48 13 II. Allegro 5'55 14 III. Andante 3'26 15 IV. Allegro 3'02 16 Canon perpetuus flute, violin, cello, harpsichord 2'32 17 Aria from the Goldberg Variations, BWV988 harpsichord solo 2'23 XIV Canons on the Goldberg ground, BWV1087 8'29 ‘Verschiedene Canones über die ersteren acht Fundamental-Noten vorheriger Arie’ [aus den Goldberg-Variationen] harpsichord solo 18 I. Canon simplex 0'31 19 II. All’ roverscio 0'33 20 III. Beede vorigen Canones zugleich, motu recto e contrario 0'33 21 IV.
    [Show full text]
  • Indianapolis Baroque Orchestra Barthold Kuijken, Artistic Director & Conductor Toma Iliev, Maria Romero, Stephanie Raby, Violins ______
    Three Hundred Ninety-Eighth Program of the 2012-13 Season _______________________ Early Music Institute IndyBaroque Music The Allen Whitehill Clowes Series Indianapolis Baroque Orchestra Barthold Kuijken, Artistic Director & Conductor Toma Iliev, Maria Romero, Stephanie Raby, Violins _______________________ The Colorful Telemann From Armide (1686) . Jean-Baptiste Lully Ouverture (1632-1687) Passacaille Overture in E Minor, TWV 55:e3 .......... Georg Philipp Telemann Ouverture (1681-1767) Les Cyclopes Menuet Galimatias en rondeaux Hornpipe _________________ Auer Concert Hall Saturday Afternoon January Nineteenth Four O’Clock music.indiana.edu Concerto in F Major, RV 551 ................... Antonio Vivaldi Allegro (1678-1741) Andante Allegro Toma Iliev, Maria Romero, Stephanie Raby, Violins Malin Sandell, Cello Bernard Gordillo, Harpsichord Intermission Suite from Dardanus (1739) ................ Jean-Philippe Rameau Ouverture (1683-1764) Air pour les Plaisirs I Air pour les Plaisirs II Air gracieux Tambourins I and II Air vif Rigaudons I and II Air gay en rondeau Menuets I and II Tambourins I and II Sommeil: Rondeau tendre Air très vif Calme des Sens: Air tendre Gavotte vive Chaconne ___________________ Barthold Kuijken is the world’s leading performer on the Baroque flute. He regularly appears with such early music specialists as his brothers, Sigiswald Kuijken, violin, and Wieland Kuijken, viol, as well as with Paul Dombrecht, oboe, and harpsichordist Bob van Asperen. He performed frequently with the late harpsichordist Gustav Leonhardt. Born in Belgium in 1949, Kuijken began his conservatory studies on the modern flute in Bruges and Brussels, where he played with the contemporary music ensemble Musiques Nouvelles. He discovered the Baroque flute on his own while a student in Brussels.
    [Show full text]
  • Historical Performance Practice at the Beginning of the New Millennium
    Historical Performance Practice at the beginning of the new millennium Dorottya Fabian An interest in early music and performing practices of the past has a long history by now. Its characteristics in the nineteenth century have been mapped by several authors, especially in relation to the revival of Johann Sebastian Bach’s music, the Cecilian Movement and various musical developments in England. Even more pub- lications are available on its twentieth-century history.1 The initiatives during the early decades (e.g. the organ and recorder movements of the 1920s, the establish- ing of the Schola Cantorum in Basel in 1933) and the contribution of pioneers like Wanda Landowska and Arnold Dolmetsch have been extensively studied togeth- er with lesser-known figures, places and institutions.2 But as is well-known, it was during the second half of the twentieth century that the Early Music or Historically Informed Performance Movement has truly taken off, becoming a major force in the world of classical music. Many books and papers have been dedicated to the history of this development, its various phases, musical characteristics, key figures, aesthetic outlook and philosophical assumptions, and its achievements. There was a burgeon- ing of such literature and heated debates during the 1980s and 1990s followed by more comprehensive and ‘corrective’ analyses published during the early years of the 2000s, most focussing on the second half of the twentieth century.3 Much less has 1 Harry Haskell, The Early Music Revival – A History, London 1988; George B. Stauffer, Changing Issues of Performance Practice, in: John Butt (Hg.), Cambridge Companion to Bach, Cambridge 1997, S.
    [Show full text]
  • Sigiswald Kuijken La Petite Bande . Collegium Vocale Haydn, Sieben Letzte Worte, HXX/2 Bach En Hoogdagen
    m u z ie k Sigiswald Kuijken La Petite Bande . Collegium Vocale Haydn, Sieben letzte Worte, HXX/2 Bach en Hoogdagen Philippe Herreweghe Koor en Orkest Collegium Vocale Bach Cantates BWV39 en 131, Missa BWV236 woensdag 29 september 1999 Andreas Scholl Akademie für Alte Musik Bach Altcantates BWV35 en 170 woensdag 3 november 1999 Frans Brüggen Orkest van de XVIIIe Eeuw Nederlands Kamerkoor Bach Weihnachtsoratorium BWV248 donderdag 9 december 1999 Philippe Herreweghe Koor en Orkest Collegium Vocale Bach Johannes-Passie BWV245 woensdag 16 februari 2000 Sigiswald Kuijken La Petite Bande. Collegium Vocale Haydn, Sieben letzte Worte, HXX/2 dinsdag 11 april 2000 La Petite Bande. Koor van Collegium Vocale Sigiswald Kuijken muzikale leiding Nancy Argenta sopraan Petra Noskaiovä alt Yves Saelens tenor Jan Van der Crabben bas Wolfgang Amadeus Mozart Ave Verum Corpus KV618 4’ Kyrie KV341 8’ Josef Haydn Die Sieben letzte Worte unseres Erlösers am Kreuze, Hob.XX/2 • Introduzione (Maestoso ed Adagio) 35’ • Sonata I : (Largo) Pater dimitte ülis; non enim sciunt, quid faciunt • Sonata II: (Grave & Cantabile) Amen dico tibi; hodie mecum eris in pardiso • Sonata III: (Grave) Mulier, ecce filius tuus, et tu ecce mater tua • Sonata IV: (Largo) Eli, Eli, lamma sabacthami pauze • Introduzione (Largo et Amabile) 30’ inleiding Nicole van Opstal. 19.15 uur. Foyer • Sonata V: (Adagio) Sitio • Sonata VI: (Lento) Consummatum est aanvang concert 20.00 uur • Sonata VII: (Largo) Pater, in manus tuas commendo spiritum meum pauze omstreeks 20.50 uur • II terremoto (Presto et con tutta la forza) einde concert omstreeks 21.40 uur tekst programmaboekje Nicole van Opstal coördinatie programmaboekje deSingel druk programmaboekje Tegendruk Gelieve uw GSM uit te schakelen! Wolfgang Amadeus Mozart Motet Ave verum Corpus KV618 In juni 1791 bracht Mozart een bezoek aan zijn vrouw Constanze, die in het kuuroord Baden een behandeling volgde.
    [Show full text]
  • A1ib000000d8pljaaz.Pdf
    La Petite Bande Lully . Charpentier . Rebel . Delalande . Rameau 1 7 FEBRUARI 95 La Petite Bande La Petite Bande muzikale leiding Sigiswald Kuijken solist Stephan Van Dyck, contratenor Programma Jean-Baptiste Lully (1632-1687) Armide: Ouverture Acis & Galatée: Air d'Acis 'C'est en vain...' Armide: Passacaille Marc-Antoine Charpentier (1645/50-1704) Médée: Air de Jason 'Que me peut demander la Gloire' Jean-Féry Rebel (1666-1747) La Fantaisie: Grave - Chaconne - Loure - Tambourin - Chaconne Michel-Richard Delalande (1657-1726) L'amour, fléchy par la constance: Air de Tirsis Jean-Féry Rebel Les Plaisirs champêtres: Musette - Gavotte - Chaconne - Passepied - Bourrée - Rigaudon - Bourrée Pauze Jean-Philippe Rameau (1683-1764) Daphnis et Eglé: Ouverture - Rondeau tendre 'Dieu de l'Amitié' Sarabande - Gavottes 1 & 2 - Passepieds 1 & 2 La Guirlande: Ariette vive 'Ranimez-vous' inleidend gesprek door Magda De Meester Daphnis et Eglé: Entréz - Gigue - Gavotte - Musette 19.15 uur . Foyer Rode Zaal Ariette vive 'Oiseaux, chantez...' Pantomime - Menuets 1 & 2 aanvang concert om 20.00 uur pauze om 20.45 uur Les Fêtes d'Hébé: Ariette vive 'L'objet qui règne...' einde concert 21.45 uur Daphnis et Eglé: Tambourins 1 & 2 - Contredanse La Petite Bande La Petite Bande Het barokorkest 'La Petite Bande' werd in 1972 opgericht eerste violen Ryo Terakado Makoto Akatsu door Sigiswald Kuijken, op verzoek van de Duitse platenfirma Jean-Paul Burgos Harmonia Mundi, om Lully's 'Le Bourgeois Gentilhomme' op Catherine Girard te nemen onder leiding van Gustav Leonhardt. De orkestbe­ Michiyo Kondo zetting en de naam werden ontleend aan het orkest van Lully Marie-Hélène Landreau zelf aan het hof van Lodewijk XIV.
    [Show full text]
  • 573899 Itunes Grand Mogul
    THE GRAND MOGUL Virtuosic Baroque Flute Concertos Blavet Leclair Pergolesi Telemann Vivaldi Barthold Kuijken, Baroque Flute Indianapolis Baroque Orchestra The Grand Mogul The Grand Mogul Virtuosic Baroque Flute Concertos The solo concerto as an instrumental genre emerged in this can be partially borrowed from RV 431 , but at some Virtuosic Baroque Flute Concertos Northern Italy in the first quarter of the 18th century, not places (and in the complete second movement) it needs to long after the concerto grosso, in which several be newly composed. This is not such a difficult task, when all Antonio Vivaldi (1678–1741) instruments, typically two violins and violoncello, take the other parts are extant. We want to thank the publisher, 1Flute Concerto in D minor ‘Il Gran Mogol’, RV 431a xx:xx solo roles. Antonio Vivaldi (1678–1741) was one of the Edition HH (Launton, United Kingdom), to have granted us 2 Allegro non molto x:xx most influential composers of concertos. Most of his the permission to make use of their reconstruction. In the Larghetto x:xx concertos feature the violin as a solo instrument, no doubt Larghetto , Vivaldi lets the flute float over a simple chordal 3 because he was a great violin virtuoso himself. However, accompaniment of the strings. This is the type of writing that Allegro x:xx he also wrote a fair number of concertos for other strongly invites the soloist to add a layer of ornamentation Giovanni Battista Pergolesi (1710–1736) instruments: violoncello, oboe, recorder, bassoon, flute, onto the quite bare melody. I do hope that Vivaldi would have viola d’amore, mandolin, and harpsichord.
    [Show full text]
  • Guide to Early Music in Flanders
    GUIDE TO EARLY MUSIC IN FLANDERS SECOND EDITION 2009 CONTENTS 6 PREFACE 7 INTRODUCTION: A Devil and a Pederast: On historical performance practice in Flanders and its international ramifications PART 1 ARTISTS 14 Ensembles 30 Orchestras 34 Conductors 41 Soloists Singers 42 Sopranos 45 Tenors / Countertenors 47 Baritones / Bass Instrumentalist 50 Players of Keyboard Instruments 56 Players of String Instruments 60 Players of Wind Instruments PART 2 ORGANISATIONS AND STRUCTURES 68 Concert Organisations 69 Arts Centres and Concert Halls 71 Festivals 73 Research Institutions, Documentation Centres and Libraries 79 Music Education 80 Conservatories 81 Postgraduate Education 81 Universities 82 Media 85 Booking Agencies 86 Publishers 87 Record Companies 88 Instrument Makers PART 3 ADDITIONAL INFORMATION 93 ‘Flemish’ Music from the Middle Ages until circa 1750 97 On Cultural Policy in Flanders 4 FLANDERS? GATEWAY TO EUROPE Belgium is a federal state in the heart of Europe. Flanders is the northern, Dutch-speaking part of Belgium. The Flemish Community counts more than 6 million inhabitants and is run by a government of its own with a number of specific competences, such as culture, education, media… Brussels, capital of Belgium and of Flanders as well, is home to the European Commission and many international cultural institutions. 5 PREFACE Smaller than a postage stamp! That’s how minute Flanders looks on a map of the world, if you can discover it at all. However, a felicitous turn of his- tory has made this region into an exciting crossroads of different cultures. This is why Flanders is so rich in creative talent and abundant with cultural activities.
    [Show full text]