Peter Van Heyghen: The Elequent Recorder – Bucharest Early Music Festival
Peter Van Heyghen: The Elequent Recorder

Peter Van Heyghen: The Elequent Recorder

Starts from: November 3, 2016

Start Time 7:00 pm

Palatul Bragadiru

Peter Van Heyghen presents the secrets of the recorder together with “Il Gardellino”, on Thursday, 3 November 2016,  19:00, at Palatul Bragadiru, within the first concert series, entitled  Early Music Winds, which will open the current edition of the Early Music Festival in Bucharest.

Artist

The Belgian recorder player and conductor Peter van Heyghen was trained as a recorder player and singer at the Royal Conservatory in Ghent (Belgium). Through the years he developed into an internationally acknowledged specialist in the field of historical performance practice of both Renaissance and Baroque music. Peter van Heyghen performs worldwide as a soloist, with the recorder consort Mezzaluna, with the chamber music ensemble More Maiorum, as the co-director of the Dutch vocal Renaissance ensemble Capella Pratensis and as the conductor and artistic director of the Brussels Baroque orchestra Les Muffatti. He is a regularly guest of the early music festivals of Bruges, Antewrp, Utrecht and St. Petersburg, among others. Peter Van Heyghen is also active as a researcher, publicist and teacher. He is professor of Historical Performance Practice at the Early Music Departments of the Royal Conservatories in Brussels and The Hague, and is also regularly invited to give master-classes, lectures and conduct workshops throughout the world.

Context

“The recorder was known as the English Flute in the 16th, 17th, and 18th centuries when it enjoyed tremendous popularity. Played by kings and queens and country gentlemen as well as by the common man, used by the major composers of the day (such as Bach, Telemann, and Händel), and featured in the plays of Shakespeare, the recorder flourished. The oldest surviving recorder dates from about 1400 A.D. Early paintings show the recorder in use during the Middle Ages and Crusades. In the 19th and early 20th century, the recorder was all but forgotten as our modern flute grew in importance. In recent years, the recorder has experienced a great revival. Though usually heard as a somewhat shrill instrument in the hands of the young school child, the recorder when properly mastered has a superbly beautiful, singing tone. It is played by professional musicians in the best ensembles throughout the world as an equal partner with more commonly known instruments. There are seven different sizes of recorder being used today, the smallest being the sopranino about nine inches in length, the largest the contra-bass about eight feet in length. The tiny garklein recorder, higher in pitch than the sopranino, is seldom heard. Most popular are the soprano and alto recorders. Recorders are typically handmade using a variety of beautiful hardwoods such as maple, rosewood, or ebony. In historical times, recorders were most often made of boxwood, often decorated with ivory, or even made completely from ivory. No king was without his set of handcrafted recorders. King Henry VIII of England owned a collection of 47 recorders and himself composed music for the recorder. Today, recorders of quite excellent quality are also made in plastic as well as wood. The recorder has a full chromatic range of over two octaves. It is most often played with guitar, piano, harpsichord, or with a group (called a “consort”) of other recorders. There is considerable music written for the recorder including songs and dances of the Medieval and Renaissance periods (1100-1600 A.D.), more elaborate works with strings and harpsichord of the Baroque period (1600-1750 A.D.), and serious 20th century compositions. Much folk music and popular music is suited to the versatile recorder. In the hands of the skilled player, even light jazz comes to life in a very special way. The 30 31 recorder has come into its own once again in history, no longer an instrument of antiquity, but an important part of today’s music.” (Jim Phypers).

Program

Giovanni Bassano (1558 – 1617) – Ricercata Terza (1585) for recorder solo
Giovanni Battista Fontana (1571 – 1630) – Sonata Terza (1641) for recorder and continuo
Anon. (from the „Camphuysen” Manuscript c. 1655) – „Daphne” for solo harpsichord
Jacob van Eyck (1590 – 1657) – „Doen Daphne d’over schoone Maeght” (1649) for recorder solo
Dario Castello (1621 – 1658) – Sonata Prima (1629) for recorder and continuo
Antonio Vivaldi (1678 – 1741) – Concerto in d major, RV 92 (c. 1720) for recorder, violon and cello: Allegro – [Largo] – Allegro
Anne Danican Philidor (1681 – 1728) – Sonata in d minor (1712) for recorder and continuo: Lentement – Fugue – Courante – Les notes égales et détachez –Fugue
Hans Ulrich Staeps (1909 – 1988) – Sonata in e flat major (1951) for recorder and piano: Ruhig bewegt – Lebhaft – Langsam – Sehr Schnell (Gigua)
Ryōhei Hirose (1930 – 2008): Meditation (1975) for recorder solo

Il Gardellino:

Peter van Heyghen – recorders
Dirk Vandaele – violin
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.

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