Marcel Ponseele and Bram Nolf present Obolution – Bucharest Early Music Festival
Marcel Ponseele and Bram Nolf present Obolution

Marcel Ponseele and Bram Nolf present Obolution

Starts from: November 1, 2016

Start Time 7:00 pm End Time8:00 pm

Palatul Bragadiru

Marcel Ponseele and Bram Nolf present Obolution together with “Il Gardellino” at Palatul Bragadiru, Tuesday, 1 November 2016,  19:00, within the first concert series entitled  Early Music Winds, which will open the current edition of the Early Music Festival in Bucharest.

Artists

Marcel Ponseele was born in the Belgian city of Kortrijk in 1957. He studied music at the major music conservatories in Brussels, Bruges, and Ghent. It was following these student years that he turned to the study of Baroque oboe. It paid off: Ponseele was a prizewinner in the 1981 Musica Antiqua Competition held in Bruges. Marcel Ponseele is generally considered one of the foremost Baroque oboists of his time: conductor Philippe Herreweghe has called him the finest Baroque oboist in the world. Ponseele is also a conductor of international renown. In the latter role he has led performances of mostly Baroque works with his own group, Ensemble Il Gardellino, and he has also regularly conducted the L’Harmonie des Champs-Elysses, another Baroque-performing group. Ponseele, like many talented instrumentalists from the latter half of the twentieth century, often conducts while performing as soloist in concert. He has made numerous recordings with Il Gardellino in these dual roles, particularly in the music of J.S. Bach. Ponseele’s repertory extends not only to other Baroque icons, like Vivaldi, Händel, andTelemann, but to lesser known figures like Johann Gottlieb Graun, Christoph Schaffrath, Ernst Eichner, and many others. But Ponseele’s repertory reaches beyond the Baroque, taking in works by Mozart, Beethoven, Reinecke, Piazzolla, and more. As an oboist Ponseele typically performs on historic instruments, playing eighteenth century models for Baroque works. He also plays Classical and Modern oboes. Ponseele’s discography is extensive, both as soloist and conductor, with numerous discs issued on a range of labels, including Passacaille, Erato, BIS, Harmonia Mundi, and Accent.

Bram Nolf was born in 1970. Only 16 years old he began his oboe training. He first studied with Paul Beelaerts at the Municipal Conservatory of Bruges and obtained the government medal for oboe. At the Royal Music Conservatory of Ghent, he then won five first prizes and at the Lemmens Institute in Leuven, the aggregate certificate for teaching. He then completed his training at Emanuel Abbühl at the Rotterdam Conservatory, where he graduated from Performing Musician diploma with honors. In between, he attended master classes with Lothar Koch, David Walter and Heinz Holliger. During his studies he was selected for several international youth orchestras: the Euro Youth Philharmonic, the World Youth Orchestra, the Schleswig Holstein Music Festival Orchestra and the Gustav Mahler Youth Orchestra. There, he played under the direction of Kurt Sanderling, Herbert Blomstedt, Pierre Boulez and Claudio Abbado. His professional career began orchestra in the Symphony Orchestra of Flanders where he was three years long solo cor anglais. End of ‘99, he made the transition to the National Orchestra of Belgium, where he holds the same position. As a soloist he was among others accompanied by the Collegium Instrumental Brugense, I Fiamminghi, Il Novecento, Dutch Ballet Orchestra, the New Flemish Symphony Orchestra, Prima la Musica and l’Orchestre Royal de Chambre de Wallonie. He not only performs the standard repertoire, but also programs often the work of current composers. So he created the oboe concerto Hans Van Daele wrote to him in 2004, he performed the concerto August Verbesselt in 2005. Together with harpist Eline Groslot he forms the duo Less is More, an ensemble that not only focuses on pure chamber music, but also seeks contact with other art forms like painting, theater or literature. Bram Nolf teaches oboe and English horn at the Conservatory of the University College Ghent.

Context

During a lecture-performance the hoboïsts Marcel Ponseele and Bram Nolf will bring you into the world of the double reed instrument “the oboe”. Marcel Ponseele is specialised in playing on historical oboes and is also a maker of the 18th century oboes. Bram Nolf is a modern oboeplayer and is the english horn soloist of the National Orchestra of Belgium. In a relaxed way they will tell you the story of their instrument starting with the experiments of shephards with cane, the open air instrument of the Medieval period, the chambermusic oboe of the baroque time till the modern oboe used in the symphony orchestra. The audience will also be introduced to other members of the oboefamily like the oboe d’amore, oboe da caccia, corno inglese… History: The regular oboe first appeared in the mid-17th century, when it was called a hautbois. This name was also used for its predecessor, the shawm, from which the basic form of the hautbois was derived. Major difference between the two instruments is that the shawm was used as an open-air instrument while the “hautbois” was made to be played inside together with stringinstruments. The exact date and place of origin of the hautbois are obscure, as are the individuals who were responsible. Circumstantial evidence, such as the statement by the flautist composer Michel de la Barre in his Memoire, points to members of the Philidor and Hotteterre families. The hautbois quickly spread throughout Europe, including Great Britain, where it was called “hautboy”, “hoboy”, “hautboit”, “howboye”, and similar variants of the French name. It was the main melody instrument in early military bands, until it was succeeded by the clarinet. The what we call now “the baroque oboe” is generally made of boxwood and has three keys: a “great” key and two side keys (the side key is often doubled to facilitate use of either the right or left hand on the bottom holes). In order to produce higher pitches, the player has to “overblow”, or increase the air stream to reach the next harmonic. The official pitch now a days is A= 440’. In the 17th. Century strings were playing at 465’. To get a softer sound, the makers of the baroque oboe had choosen for a lower pitch. A= 392’ …(this is one tone lower then what we use today.) the so called Tiefkammerton was ideal to play Chambermusic. They also started to build oboes at A=415’ ( half tone lower then 440’ ). This pitch made it possible to play with the churchorgan. In the second half of the 18th century the pitch was rising around A=430’. This obliged the makers of oboe to build new instruments with a smaller bore and more keys were added to ajust trills and making slurs possible. This oboe was developed further in the 19th century by the Triebert family of Paris. Using the Boehm flute as a source of ideas for key work, Guillaume Triebert and his sons, Charles and Frederic, devised a series of increasingly complex yet functional key systems. A variant form using large tone holes, the Boehm system oboe, was never in common use, though it was used in some military bands in Europe into the 20th century. F. Lorée of Paris made further developments to the modern instrument. Minor improvements to the bore and key work have continued through the 20th century, but there has been no fundamental change to the general characteristics of the instrument for several decades. The modern standard oboe has an extremely narrow conical bore and is most commonly made from grenadilla, also known as African blackwood, though some manufacturers also make oboes out of other members of the genus Dalbergia, which includes cocobolo, rosewood, and violetwood (also known as kingwood). Ebony (genus Diospyros) has also been used. Other members of the oboe family are the oboe d’amore, the english horn, the Heckelphone. (Marcel Ponseele).

Program

Traditional, 16th century, on Schalmey
Shawm Benjamin Britten (1913 – 1976) – „Pan” first metamorphose after Ovidius, for oboe solo
Georg Philipp Telemann (1681 – 1767) – Triosonata for Baroque oboe, obbligato harpsichord and continuo
Jacob ter Veldhuis (n. 1951) – „The Garden of Love” for oboe and recording
Georg Philipp Telemann (1681 – 1767) – from „Der getreue Musikmeister” – „Napolitana” for oboe d’amore and continuo
Georg Philipp Telemann (1681 – 1767) – „Triste” for oboe da caccia and continuo
Joseph Jongen (1873 – 1953) – „Mediation” for English horn and piano
Joseph Jongen (1873 – 1953) – from the 3rd Suite for cello: Bourrée 1 and 2
Steven Prengels (n. 1978) – “Nachtmusik”, an aforism for oboe d’amore, English horn, cello and piano

Il Gardellino:

Marcel Ponseele: Baroque oboe, oboe d’amore, oboe da caccia
Bram Nolf: oboe, English horn
Ira Givol: cello
Guy Penson: harpsichord, piano

Early Music Winds Concert Series propose the continuation of Early Music Strings mini-season in 2015. Known under the generic term “winds”, wind instruments have accompanied the musical practice since antiquity. In the European “Early music” they are protagonists in solo or chamber recitals, offering great sonority to a baroque orchestra.

Early Music Festival Bucharest takes place between 1 to 28 November and includes three series of concerts and other events: Early Music Winds, a collaboration project with the ensemble Il Gardellino and support from Koninklijk Conservatorium Brussel, Movie Gala and Clavecinissimo, a project dedicated to raising funds for the restoration of the harpsichord Ruckers – Taskin and the Baroque Concerts series consisting of six concerts, held in three concert halls.

Tickets and passes are available in Eventim network (online or in Germanos, Orange, Vodafone, Domo, Carturesti, Humanitas stores) MyTicket (online or in Diverta stores) and www.kompostor.ro.

Ticket Type Total Tickets Tickets Deadline Price
tes 20 5 55