Evil Penguin TV

Schauet doch und sehet - J.S. Bach’s early Leipzig Cantatas *𝐸𝑛𝑔𝑙𝑖𝑠ℎ 𝑏𝑒𝑙𝑜𝑤* Toen Bach in 1723 aantrad als cantor aan de Thomasschool in Leipzig, kreeg hij ook de verantwoordelijkheid voor het muzikale leven in de vier grote kerken van de stad. Met een vijftigtal zangers verdeeld over drie koren, enkele organisten en een orkest van studenten en stadsmuzikanten bediende hij de gelovige gemeente een kwart eeuw lang op alle zon- en feestdagen met muziek: motetten, koren, orgelwerken en honderden cantates. Uit deze muzikale schatkamer selecteerde Philippe Herreweghe drie prachtige cantates uit Bachs beginjaren in Leipzig. Het is stuk voor stuk een muzikaal meesterwerk dat getuigt van zijn feilloze gevoel voor dramaturgie, afwisseling en diepgaande tekst uitdrukking. 𝗔𝗥𝗧𝗜𝗘𝗦𝗧𝗘𝗡 Dorothee Mields | sopraan Alex Potter | countertenor Guy Cutting | tenor Peter Kooij | bas Collegium Vocale Gent | koor & orkest Philippe Herreweghe | dirigent *** When Bach took up his position as cantor at the Thomas School in Leipzig in 1723, he was also given responsibility for the musical life in the city's four main churches. With about fifty singers divided into three choirs, a few organists and an orchestra of students and city musicians, he served the faithful congregation on all Sundays and holidays for a quarter of a century with music: motets, chorales, organ works and hundreds of cantatas. From this musical treasure trove, Philippe Herreweghe has selected three magnificent cantatas from Bach's early years in Leipzig. Each one is a musical masterpiece that testifies to his unfailing sense of dramaturgy, variety and profound text expression. 𝗣𝗘𝗥𝗙𝗢𝗥𝗠𝗘𝗥𝗦 Dorothee Mields | soprano Alex Potter | countertenor Guy Cutting | tenor Peter Kooij | bass Collegium Vocale Gent | choir & orchestra Philippe Herreweghe | conductor 𝗣𝗥𝗢𝗚𝗥𝗔𝗠𝗠𝗔 | 𝗣𝗥𝗢𝗚𝗥𝗔𝗠 J.S.Bach (1685-1750): Cantata BWV 39 – Brich den Hungrigen dein Brot Cantata BWV 46 – Schauet doch und sehet Cantata BWV 93 – Wer nur den lieben Gott lässt walten

In the Vienna of 1786, Mozart writes works that continue to inspire us centuries later: so it was that Toshio Hosokawa wrote Lotus Under the Moonlight in 2006 as an homage to Mozart and his Piano Concerto No. 23. And he is not the only fan! For the piano concerto is a beautiful work: a scintillating dialogue between the piano and the orchestra, brisk and melancholic in turns, and a rollicking finale. PROGRAM Toshio Hosokawa Lotus Under the Moonlight ‘Hommage à Mozart’ (2006) Wolfgang Amadeus Mozart Konzert Nr. 23 A-Dur KV 488 - für Klavier und Orchester Wolfgang Amadeus Mozart Le nozze di Figaro: Overture Concert recorded on December 11, 2020 in Flagey

Air4Six is a new vocal ensemble with sopranos Liesbeth Devos and Astrid Stockman, mezzosoprano Inez Carsauw, tenore Denzil Delaere, baritone and conductor Joris Derder and basso Charles Dekeyser. For their premiere at AMUZ they dove into the vocal heritage of the English ensembletradition. We hear names like Ralph Vaughan Williams, Edward Elgar, Benjamin Britten, Hubert Parry, but also moving folksongs of the Britisch Isles. PROGRAM B. Britten: selection from Flower songs H. Parry: selection from Songs of farewell Arrangements of Irish, English and Scottish folk song. Recorded on December 3th at AMUZ, Antwerp

Ludwig van Beethoven - Symphony no. 9 in d minor - 'Ode an die Freude' in an arrangement for wind ensemble from Alessandro Bombonati With his ninth symphony, after all the innovations that he had introduced the indefatigable Beethoven once again succeeds in injecting a revolutionary twist into musical history. The dimensions of the work, especially the spectacular final part with the famous Ode to Joy with lyrics by Schiller, permanently shift the goalposts of the genre. In a recent arrangement created by the Italian Alessandro Bombonati for an extensive wind ensemble. PERFORMERS Wim Vandenbossche, flute Veerle Huskens, oboe Dymphna Vandenabeele, oboe Eva Salien, clarinet Bart Watté, clarinet Katrien Noel, bassethorn Johan Schols, bassethorn Marc Peremans, horn Marc Weyers, horn Thomas Gustin, horn Peter Van Montfort, horn Gerrit Peeten, horn Bruno Ricci, bassoon Jean-François Carlier, bassoon Eva Bekaert, double bass Yves Segers, conductor

An endless source of beauty J.H.Schein’s 1623 madrigal collection ‘Israelis Brünnlein’ Like Samuel Scheidt and Heinrich Schütz, Johann Hermann Schein (1586-1630) was also able to capture the emotional power of modern Italian music in his works. Schein had not been to Italy himself, but had made the style his own by reading Ludovico Viadana's famous collection Cento concerti ecclesiastici and transferring it to his own German mother tongue. PERFORMERS Soprano I, Dorothee Mields Soprano II, Barbora Kabátková Alto, Robert Getchell Tenore, Tore Tom Denys Basso, Wolf Matthias Friedrich Organ, Bart Naessens Cello, Ageet Zweistra Artistic Director, Philippe Herreweghe

Gent Festival van Vlaanderen invited all the large Belgian orchestras to perform all nine symphonies by Ludwig van Beethoven at the Festival with an adapted line-up. With his Eighth Symphony, after the violence of numbers three to seven Beethoven seems to briefly turn back to the enlightened eighteenth century, as if he wished to linger for a while in the musical landscape in which he grew up before his groundbreaking final contribution to the genre. In this series, the extremely charming work is performed by musicians from the Belgian National Orchestra in an anonymous arrangement for string quartet. PROGRAM Ludwig van Beethoven – String quintet in C Major: part 3 and 4 Ludwig van Beethoven - Symphony no. 8 in F Major (arr. for quintet) PERFORMERS Alexei Moshkov, violin Filip Suys, violin Dmitri Ryabinin, viola Mihoko Kusama, viola Olsi Leka, cello

'𝑳𝒊𝒗𝒆 𝒇𝒓𝒆𝒆 𝒐𝒓 𝒅𝒊𝒆' This motto, made famous by the Jacobins, could also be used to describe the character of Coriolanus and that of Beethoven. For the Roman hero and the composer were equally complex, beings between virtue and pride, freedom and misanthropy – to an extent that was incomprehensible to their contemporaries. Another, more reflective facet of Beethoven emerges in his Romance in F major , with its lyrical and dramatic outbursts. The intimate spirit of this rondo contrasts with the symphonic character of the Triple Concerto, a work at the crossroads of the trio, concerto grosso and solo concerto. PROGRAM Ludwig van Beethoven Coriolanus Ouverture, op. 62 Ludwig van Beethoven Romance No. 2, op. 50 Ludwig van Beethoven Triple Concerto in C major, op. 56 PERFORMERS Brussels Philharmonic Júlia Pusker Trio Zadig

Ludwig van Beethoven - Symphony no. 7 in A Major (arr. J. Reyes for nonet) Gent Festival van Vlaanderen invited all the large Belgian orchestras to perform all nine symphonies by Ludwig van Beethoven at the Festival with an adapted line-up. The exuberant seventh symphony – described by Richard Wagner as ‘the apotheosis of the dance’ – is performed by members of Opera Ballet Vlaanderen Symphonic Orchestra. This is a sparkling version for nonet arranged by their own double bassist José Andrés Reyes. At the premiere of the work, in 1813, the second part (Allegretto) was so popular that it had to be repeated. It has also been used in numerous films, including recently in The King’s Speech. PERFORMERS Melanie Roosken | flute Arie van der Beek | oboe Fang Song | klarinet Rémy Roux | bassoon Bart Cypers | horn Maximilian Lohse | violin Beatrice Derolez | viola Jadranka Gasparovic | cello José Reyes | double bass