EV’RY JOY THAT WISDOM KNOWS
WORKS BY HAENDEL ET MOZART
Elise Gäbele (soprano)
Pieter De Praetere (countertenor)
Mathias Lecomte (orguan)
Pieter De Praetere (countertenor)
Mathias Lecomte (orguan)
Following the success of last June's concerts in the beautiful church Notre-Dame de Finistère, this dream team will grace our 7th Midsummer Mozartade with a programme of works by Handel and Mozart, two of the greatest masters of 18th century music. As usual, this free event for all audiences is supported by the City of Brussels.
The first half will feature excerpts from Solomon and Theodora, two late oratorios by Handel. The second will present two early works by Mozart – an aria of Farnace from the opera Mitridate, re di Ponto and the famous motet Exultate, Jubilate – both written for star castrati. Complementing these vocal gems will be three organ highlights, including the famous coronation hymn Zadok the Priest.
But what links Mozart to Handel? We know that shortly after moving to Vienna in the spring of 1782, Mozart met Baron Gottfried van Swieten, a court official with a rare and eccentric love of 'early music' from some 50 years earlier, the high baroque. 'Every Sunday we go to the house of Baron von Suiten [sic],' Mozart wrote to his father in April 1782, 'and there we play only Handel and Bach.’
However, we should not assume that Mozart knew nothing of Handel before this date. During his stay in London in 1764-65, only a few years after Handel's death, he had encountered the great man's works at court and at pleasure gardens. There, the young prodigy heard several oratorios by the elder master and became acquainted with many musicians and others who had been in close contact with him.
However, it seems that the power of the Baroque style did not hit him hard until Vienna, after meeting Van Swieten. He once wrote to his father: 'He is the master of us all. Handel understands effect better than any of us – when he chooses to do so, he strikes like a thunderclap.’
The first half will feature excerpts from Solomon and Theodora, two late oratorios by Handel. The second will present two early works by Mozart – an aria of Farnace from the opera Mitridate, re di Ponto and the famous motet Exultate, Jubilate – both written for star castrati. Complementing these vocal gems will be three organ highlights, including the famous coronation hymn Zadok the Priest.
But what links Mozart to Handel? We know that shortly after moving to Vienna in the spring of 1782, Mozart met Baron Gottfried van Swieten, a court official with a rare and eccentric love of 'early music' from some 50 years earlier, the high baroque. 'Every Sunday we go to the house of Baron von Suiten [sic],' Mozart wrote to his father in April 1782, 'and there we play only Handel and Bach.’
However, we should not assume that Mozart knew nothing of Handel before this date. During his stay in London in 1764-65, only a few years after Handel's death, he had encountered the great man's works at court and at pleasure gardens. There, the young prodigy heard several oratorios by the elder master and became acquainted with many musicians and others who had been in close contact with him.
However, it seems that the power of the Baroque style did not hit him hard until Vienna, after meeting Van Swieten. He once wrote to his father: 'He is the master of us all. Handel understands effect better than any of us – when he chooses to do so, he strikes like a thunderclap.’
THE CHURCH
The present church of Notre-Dame de Finistère was built in the first quarter of the 18th century. It was the last church in Brussels to be built in the Baroque style. Yet it shows some elements of the neoclassical tendency prevalent in the last third of the century, especially in the lower part of the main façade (the upper part was not completed until the 19th century). The organ, built by the organ builder Hippolyte Loret in 1856, was modified several times, and then silenced due to water damage during a fire in the bell tower in 1970. Its restoration was entrusted to the Thomas factory and expert Jean Ferrard.
The present church of Notre-Dame de Finistère was built in the first quarter of the 18th century. It was the last church in Brussels to be built in the Baroque style. Yet it shows some elements of the neoclassical tendency prevalent in the last third of the century, especially in the lower part of the main façade (the upper part was not completed until the 19th century). The organ, built by the organ builder Hippolyte Loret in 1856, was modified several times, and then silenced due to water damage during a fire in the bell tower in 1970. Its restoration was entrusted to the Thomas factory and expert Jean Ferrard.
‘LUNDI D’ORGUE’
A series of concerts in May 2000 to inaugurate this beautiful, newly restored instrument led to the founding of the non-profit association 'Lundi d'Orgue'. Since then, every Monday at 1 pm (except on holidays or liturgical feasts), a free concert is given by the titular organists Momoyo Kokubu and Xavier Deprez or by a guest organist. The programme occasionally includes instrumental or vocal soloists and choirs. It was one of these concerts that gave us the idea of offering our own free concerts there as part of our festival in 2022. We are delighted to be able to do so again this year.
A series of concerts in May 2000 to inaugurate this beautiful, newly restored instrument led to the founding of the non-profit association 'Lundi d'Orgue'. Since then, every Monday at 1 pm (except on holidays or liturgical feasts), a free concert is given by the titular organists Momoyo Kokubu and Xavier Deprez or by a guest organist. The programme occasionally includes instrumental or vocal soloists and choirs. It was one of these concerts that gave us the idea of offering our own free concerts there as part of our festival in 2022. We are delighted to be able to do so again this year.
AN AMADEUS & CO PRODUCTION