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Eik en Linde logo

Productions 2011 / 2012
Program propositions 2012 / 2013

Aan de Amsterdamse Grachten / On Amsterdam's Canals

Barokmuziek bij burgers thuis

was made possible by





M.A.O.C. Gravin van Bylandtfonds

Fonds voor geld- en effectenhandel





concertperiod 16 tot 30 oktober 2011

for concertplaces and -dates: look at the agenda

In the seventeenth and eighteenth centuries, Amsterdam was a rich and influential trade centre. This may have contributed to its being a cultural centre. Next to the world famous painters who hardly require mentioning, many musicians, composers and luthiers were active in Amsterdam. Estienne Roger and Michel-Charles le Céne owned a booming music publishing firm which sold music from many nations. The careful and tastefully designed editions were highly praised throughout Europe. In the autumn of 2011, Eik and Linde will perform works of baroque composers who worked or published in Netherlands during the eighteenth century. In those times, such music was performed in the splendid homes along the newly built circular canals (grachten). The Italian Pietro Locatelli also lived in Amsterdam, where he gave concerts and violin lessons. In our program, baroqueviolinist Anton Steck will perform a concerto from 'L´Arte del Violino', with a special virtuosic cadenza penned by the composer specifically for the concerto: a Capriccio. Locatelli would come to be known as the 'Paganini of the Eighteenth century'. The expressive Concerti Grossi of Geminiani, de Fesch, Pieter Hellendaal en Henrico Albicastro highlight the stringed instruments in a play between concertino and ripieno. The listener will land himself back in a parlour of an Amsterdam canal house back in the days...

Programma

Dixit Dominus

concertperiod 20 untill 22 april 2012

together with Multiple Voice led by Paul de Kok

for concertplaces and -dates: look at the agenda

This program is a collaboration with the choir Multiple Voice which celebrates its 25th anniversary this season. For this reason we bring a festive program with an Italian flavour with music by two very big names: Monteverdi and Händel. Monteverdi, the composer who played a key role in de development of the early baroque music and who is supposed to have written the first real opera with his masterpiece Orfeo (1607). And with Händel, the most important composer in the later baoque era besides Bach, a composer that, just like Monteverdi, made many a contribution to the vocal genres of opera and oratorium. The way Händel has written for choir can be considered as very virtuoso, and as the English choir composer par excellence he has among others written the worldwide most performed oratoirum "Messiah". Like three years before with his opera "l'Orfeo", Claudio Monteverdi (1567-1643) composed his Vespro della Beata Vergine, dated 1610, in all probability for the band of the duke of Manua, Vincenzo Gonzaga. This royal band was famous in the whole of Italy for its exceptionally luxureous cast. Almost no other places in Italie would perform with so many singers and instrumentalists. Monteverdi was well aware of this fact, and in publishing his works made sure it could be performed with a very big cast. He made some instrumental ritornelli optional, he offers a smaller, alternativer version for the 6- and 7-voice Magnifiacat, and so forth. In the Vespers, the composer beuatifully alternates between psalms written for a large choir with soloists, and shorter concerti for one (or more) of the soloists and the continuo. The pieces for choir are written in an exceptionally virtuoso style and in this respect are well-matched with the soloparts in this work. The German Georg Friedrich Händel (1685-1759), in later years naturalized as the Englishman George Frideric Handel, was a true cosmopolitan. After a period in Halle and Hamburg, he resided from 1706-1710 in Italy. He there broadened his horizon and familiarised himself with the latest musical developments. Händel took up residence in Rome, Florence, Venice and Napels and wrote numerous cantatas, operas and oratorios for noble initiators, monarchs and clergymen.
He wrote his Dixit Dominus, HWV 232 (a setting of Psalm 109) in april 1707 in Rome, and thereby created an exceptionally virtuoso and very Italian masterpiece. It is unbelievable how a twenty-two-year-old composer, after staying barely two years in Italy, could write such a thoroughly Italian piece of music. Händel integrates the characteristics of the Italian opera, with its vitality and emotional load, and the stylistic qualitys of composers like Carissimai en Corelli, effortless into his composition. The virtuosity of the Dixit Dominus applies to the fivepart voice choir as well as to the five soloists and the fivepart string orchestra. The choirworks of Monteverdi en Händel are preceded in this program by Italian music by their contemporarys. Frescobaldi was a famous contemporary of Monteverdi, an age later, Scarlatti was a contemporary of Händel. Concerto Grosso nr. 5 by Charles Avison (one of Händels English colleagues) is based on a sonata by Domenico Scarlatti, thereby showing again the omnipresent influence of Italian music which also in the later music of Händels long English career reamined very important. To show the vocal component of the Vespers by Monteverdi in its full glory we chose to perform it with a small cast consisting of soloists, choir and continuo-instruments; the possibility of this option shows clearly from the score by Monteverdi. We set adide the use of the full string orchestra for the piece by Händel, for the sake of variation and contrast. Another reason is that both compositions are performed on another pitch. Monteverdis music is played, as usual, at a=440 Hz, Händels Dixit Dominus is played half a tone lower (a=415 Hz).

Program

Christmasprogram

Concertperiod december 2012

Soliost: Merel van Schie, alto
 This program is prepared at the request of concertstiching Hillegersberg. Besides some beautiful and therefore will known arias from the Messiah and the Christmas Oratorio we will perform the beautiful Christmas by Corelli and some pleasant sinfonias by Bach and Albinoni.

Programma

alterations possible

The Muse Melpomene

Haydn and the Bohemians

Concertperiod ca. 18 till 28 oktober 2012
other dates may be possible after consultation

Soloist: Teunis van der Zwart, natural horn

This program is a part of the thread 'The European Haydn'. It will focus on the Bohemian composers who are influenced by the works of Joseph Haydn. On the program are two unexpectedly pretty symphonies by Antonio Rosetti (Anton Rösler) and Wenzel Pichl. Pichl wrote a series of symphonies, each with a name of one of the nine muses, Melpomene being the muse of the tragedy. Teunis van der Zwart, whose performances are known and highly appreciated by many, will play the solo part in the horn concerto by Joseph Haydn. Eik en Linde will conclude the program as you will expect from the orchestra; by performing an early symphonie by Haydn, this time the brilliant nr.12 in E major.

Program

Bach in perspective

Concertperiod ca. 17 untill 5 february 2013
other dates may be possible after consultation

Soloists: to be specified
At the request of many Eik en Linde will bring a program with less obscure names than you might be used to by now. Although less adventurous, this music, which has proved its value in the previous decades, does guarantee a delightful afternoon or evening of music. Erik Bosgraaf (recorder) en Diego Nadra (oboe) are approaced for the soloparts in the concerti of the slightly lesser known composers Sammartini en Albinoni. In the 4e Brandenburg concerto they will both give a solo performance.

Program

De la cour, des chapelles et églises

Concertperiod 7 untill 16 june 2013

In collaboration with the Amsterdamse Cantorij led by Felix van den Hombergh

Soloists: to be specified

All composers of this program worked in Paris and Versailles, at the courts of Louis XIV and XV, or at the Sainte Chapelle at the Ile de la Cité in Parijs, or both. Charpentier wrote a lot of religious muic. His 'Messe de Minuit pour Noël' has become the most well known is its context. His Dixit Dominus is of at least as much quality. Dumont (born in Maastricht) and Lully (born in Florence), although strictly speaking both strangers in Paris, can be regarded as founders of the French baroque music. The program opens with a short instrumental ouverture by Lully. Dumont was both the first "Frenchman" who used the basso continuo, and the founder of the 'Grand Motet', a French form of the motet, in which the accompanying ensemble was formed of an in these times exceptionally large cast. Delalande became the absolute master of the Grand Motet and wrote at least 75 of them. Initially the king had the exclusive right to these works, which were popular untill far in the 18th century, because of which they were only heard in the royal chapel in Versailles. Further Eik en Linde will perform the fantastic (instrumental) 'Symphonies d'Alcione' Marais, a piece which was under dust for many years, and was recovered by members of Eik en Linde.
For this program we sought the collaboration with the Amsterdamse Cantorij. This outstanding choir has a long tradirion of performing early music, and is led by Felix van den Hombergh.

Program