HANDEL IN ITALY
Italy, the birthplace of the opera, the oratorio and the cantata (not to mention the concerto and the sonata), was the country every civilised man had to visit in the 18th century. Not surprisingly, Handel, in his early twenties, found his way to Italy, in the autumn of 1706, as would Mozart, even younger, some 60 years later. Until the spring of 1710, Handel rubbed shoulders with the biggest names in Italian music: Lotti, Vivaldi and Albinoni in Venice, Perti in Florence, Alessandro and Domenico Scarlatti, Caldara, Corelli and Pasquini in Rome. In the Eternal City, a papal decree banning opera prompted composers and patrons to turn their dramatic inclinations to non-theatrical forms. The abundance of available opera stars encouraged the flourishing of the secular cantata, a form that distils a long lyrical-dramatic arc into a few movements of concentrated emotion. This free concert, organised with the support of the City of Brussels, features two of these. Handel composed Armida abbandonata in 1707 for the star soprano Margherita Durastanti (who later followed him to London to sing Italian operas). Agrippina condotta a morire was most likely intended for the same diva. These mini-dramas are powerful portraits of female characters with tragic fates. Having arrived an apprentice, il caro Sassone left Italy as a master.
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Sinfonia in B-flat major HWV 339
Cantata Armida abbandonata HWV 105 Trio Sonata in G minor HWV 390 Cantata Agrippina condotto a morire HWV 110 Duetto No, di voi non vo' fidarmi HWV 189 Sopranos Elise Gäbele, Laurie Janssens Violins Yun Kim, François Fernandez Cello Clémence Schlitz Harpsichord Ugo Turcat |
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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. |
‘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 renew the experience this year for the third time.
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 renew the experience this year for the third time.
AN AMADEUS & CO PRODUCTION