Previous Concerts in 2018-2019
My summer 2014 beautifully ended just a few days ago with the closing of the world biggest early music Festival, the Utrecht Oude Muziek Festival and the great news from them that my group Fons Harmonicus was chosen for the Fringe Public Prize 2014.
Herewith, I would like to record the memory with some nice pictures from the festivals I participated this summer in Utrecht and Brugge.
These were such exciting days, meeting with early music stars, up and coming ensembles and many early music friends from all over the europe just every corner of the city (literally!).
The highlight must have been the Fabulous Fringe with Seconda Pratica, having just completed our residency in Ambronay 2014, on 31st August at the newly reopened Tivoli Vredenburg.
The Grotezaal where we performed kept its amazing acoustic and warm atmosphere with wooden materials after 7 long years reconstruction. (Well, actually when I came to this country, they had already started reconstruction, so I hadn’t known how amazing it was. But many of my colleagues assumed it was finely kept after the reconstruction against their worries).
Our program ‘Nova Europa’ was received nicely by the ‘Uitverkocht (sold-out = full-house)’ audiences and Next morning, we were surprised with good review on the first page of daily issue by the festival! > go to the link!
Trace back to the beginning of August, my fringe tour started in Brugge with my ensemble Fons Harmonicus.
We were honored to be invited to the fringe concert at MA festival Brugge 2014, one of the oldest early music festival, and performed on 8th August at Provinciaal Hof.
Even as a young ensemble, we are not immune from financial pressures, and needed to go through some struggle about financial issue before we decide to come, honestly. Especially in mid of summer, travel cost is suffering.
However, we got strong and kind financial support from Leeds Baroque Friends and Ms. van Lingen which made us possible to travel to this beautiful old city. I would like to thank them again here from bottom of my heart!
Fons Harmonicus appeared on the Fringe concert of Utrecht Early Music Festival as well.
In this enormous festival, with hundreds of performances at all hours of the day, musicians always never know which kind of venue you get. It could be a cafe, could be a movie theater, could be a museum and could be an observatory!
We performed on 1st September at Sonnenborgh (Zonnenburg), the observatory on a small green hill in the very quiet area of Utrecht. The concert was held in the old and impressive courtyard, built on a part of the 16th century bastion.
Luckily, we had a beautiful blue sky above us the whole time during our concert. It was beautiful to see the colorful sunbeams through the glass-roof which changes the expression of shadow and light all the time. It seemed like to be linked with the contrasting and dramatic 17th century music we performed (Rognoni, Schmelzer, Stradella, Biber and Lonati from the program ‘Il Vento da Transalpina’) and reminded us of the essential ‘baroque’ concept, contrast of human expression and chiaroscuro.
I remember still, now, after a week how we were inspired by the venue and also from enthusiastic ‘early birds’ audiences who came for this Monday morning concert on the first day of the month (!). It was an unforgettable experience, a kind of groove and many special moments we shared during our performance.
And it was proved by the news as I wrote above, that we were chosen for the Fringe Public Prize thanks to all the votes the audiences made for us. The prize promised us our appearance in Fabulous Fringe concert in next edition of Utrecht Oude Muziek Festival.
I should not forget to mention about one more up-and-coming ensemble, the Amsterdam Corelli Collective, formed by students of Amsterdam Conservatory, with whom I could share great time in both Fringes concerts in Brugge and Utrecht.
My beautiful summer is ended and many new exciting projects with Seconda Pratica, Fons Harmonicus and Amsterdam Corelli Collective is waiting in the coming months and we are already moving on to the new endeavors…
The end of April 2013, I visited the very old, beautiful monastry in St.Florian bei Linz, which they call ‘Augstiner Choreherren Stift St. Florian’.
The monastery was first documented in 819. The mysterious atmosphere of this historical building, old monks in black coat, young boys who live there for traditional choreherren, reminded me immediately my most favorite book ‘Narcissus and Goldmund’ by H.Hesse.
Every two years, this monastery gives kind contribution for the most relax and innovative music competition, H.I.F.Biber Wettbewerb.
The committee and the organizer, known as most knowledgeable violinist of Austrian baroque repertoire, Gunar Letzbor, said
” This is a competition of Encounter and Communication.”
This lovely statement was reflected everywhere during the days of competition.
I met many nice young colleagues from all over the Europe, and share great time and music.
Of course, it was also due to my great accompanist Panos Iliopoulos, the harpsichordist and composer.
I was also invited to the Resonanza Festival in Vienna in January 2014! I will update further details as soon as possible!
And part of the recording from my performance in the Prizewinner Concert on 1st May, is coming up on this website soon!
Il Tempo dell’Affetto ‘s next concert is coming on 2nd April Tuesday !
at Kohnstammhuis in Hoogeschool van Amsterdam 9th floor (Wibeautstraat 2-4)
from 13:00-14:00, free of Charge!
The program is all about French Baroque Chamber Music.
We especially focus on François Couperin (grand Couperin)’s master wrok <Les Nation>in this program and put our own instrument arrangement for this trio!
François Couperin: <Huitiéme concert dans le gout théatral> from Les Goûts-réunis” (1724,Paris)
François Couperin: <La Françoise> from “Les Nation” (1726, Paris)
Jean Baptiste Antoine Forqueray: <La Silva> , <La Montigni> Suite V *harpsichord solo
Jean Féry Rebel: <Les Caractéres de la Danse> (1715, Paris)
il Tempo dell’Affetto
is established by five young, promising musicians since 2012, who met each other during their study in Conservatorium van Amsterdam.
The combination of flute traverse/á bec, baroque oboe, baroque violin, baroque bassoon and harpsichord create boundless color on sound and transformative possibilities in the realm of 17th and 18th century repertoire.
Belén Nieto Galán…flute traverse
Yongcheon Shin…baroque oboe
Asuka Sumi… baroque violin
Takako Kunugi…baroque bassoon
Asís Márquez González…harpsichord
Trio Nocturno is going to offer you a joyful afternoon on coming Friday!
Lunch Time Concert on Friday, 15th February, 12:30-13:00
at Sweelinkzaal, Conservatorium van Amsterdam. ( Free of charge!)
We are preparing Trio from our beloved composer, Luigi Boccherini!
Trio for two violins and violoncello op.6 (ca.1771, Madrid)
No.2 Cmajor, No.3 gminor.
L.Boccherini is eminent cello master, born in Lucca in 1743, Italy and died in Madrid, Spain in 1805.
However! He actually published 5 sets of music for this trio setting (op.1,4,6,34 and 54) and all of them has amazing variety of colors and astonishing sonority as same as quintet or orchestral works!
Op.6 was written after he came to Madrid, so you can hear the influence of Spanish sound both in rhythm and harmony.
We found the Manuscript by himself and 4 different facsimiles..
Manuscript might be written around 1769, soon after he came to Madrid.
So first publication was in Madrid on 1771.
Probably the same year from Paris, Venier who already published his symphonies and trio op.4 as well. However, in this Paris edition, we found so many discrepancies from his manuscript. Many decision for slurs and dynamics were moderate in this edition. And top of it, some bars of sequence motions (which is Boccherini’s trademark we could say) were just eliminated!
We are not sure if this modification have been done by Boccherini himslef or at least under his control or all by someone else.
The other 2 editions, one in Venice and one in London. Those are pirates edition so to say..Venice from Madrid, London from Paris.
Hence, this time we use his Madrid edition with reference of the Manuscript and try to come close to his original idea.
We are looking forward to see many of you there on Friday!
16th December (Sat.)
“Dromen over feest” at Lagedijk.
Our performance will be held 3times between 14:00-17:00
at Mr.Bouman’s house (Lagedijk 100, 1544 BJ, Zaandijk).
We performed Luigi Boccherini’s trio from his first publication, op.1 (1767)
no.1 Fmajor and no.4. Dmajor!
It was written around 1760, so Boccherini was only 17years old (!), for 2violins and violoncello!
And G.P. Telemann’s Trietti Methodici e Scherzi from his hand-writing score 🙂
Il Tempo dell’Affetto will perform on
20th January 2013, -15:00-17:00 at Schuilkerk in Krommenie!
Here is our accomplished program.
First half, we introduce “musique de chambre” written for the LoisXIV’s court in 18th century in France.
You will find quite some influence from Italy in Couperin trio and Rebel’s dance suite, but it is combined well with full of french ‘esprit’!
We made special arrangement for our unique instruments combination!
Second half is focused on Telemann and C.P.E.Bach, both important for establishment of galant style in 18th century Germany influenced after french Rococo.
On Telemann’s famous ’Quatour’ from Tafelmusik, you will find how he was genius to bring out each character of instruments and harmonized them into one.
Special guest player; Gudrun Waldek as Oboe!!
I.Musique de la Chambre de Roy
Prelude uit Suite I in C
uit “Piece en Trio pour flutes, violons & dessus de viole ” (1692, Paris)
<La Françoise> uit “Les Nation” (1726, Paris)
Jean Baptiste Antoine Forqueray
<La Silva> en <La Montigni> uit Suite V uit “Pièces de viole composées par Mr. Forqueray le
Pere mises en pièces de clavecin” (1747, Paris) *harpsichord solo
Jean Féry Rebel
<Les Caractéres de la Danse> (1715, Paris)
II. Rococo en Galant in Duitsland
Georg Philipp Telemann
Ouverture en sol mineur pour Hautbois TWV41:g4
Carl Philipp Emanuel Bach
Duette für eine Flöte und eine Violine in e uit “Musikalisches Vielerley” (1770, Hamburg)
Georg Philipp Telemann
Quatuor en sol majeur uit “Tafelmusik ou Musique de Table” premiere production
Il Tempo dell’Affetto, een pas opgericht kamermuziekensemble, combineert traverso /blokfluit, barokviool, barokfagot en klavecimbel tot eindeloos diverse klankkleuren om zo steeds een nieuw licht te werpen op het repertoire uit de 17de en 18de eeuw.
De naam van de groep is afgeleid van “Lamento della Ninfa”, het belangrijkste meesterwerk van Monteverdi. Voor dit madrigaal schrijft de componist “al tempo dell’affetto, dell’animo, e non a quello della mano” voor. Het stuk moet worden uitgevoerd in “een tempo dat ontroert en bezielt, niet in het tempo vast ligt”. Deze sterke (tempo)aanduiding had grote gevolgen voor de nieuwe muziekstijl van deze periode. Niet langer werd strikt vastgehouden aan de vorm en gewoonte, maar werd het menselijk gevoel gevolgd. Het doel van Il Tempo dell’Affetto is om het publiek aan te spreken met de energie, passie en eerlijkheid van duidelijke en heldere interpretaties van authentiek repertoire.
Opmerkingen en vragen?: via firstname.lastname@example.org
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About Us! (for Dutch Bio, click here!)
This newly established chamber music ensemble, Il Tempo dell’Affetto, combines flute traverse/a béc, baroque violin, baroque bassoon and harpsichord into boundless instrumental colors and transformative possibilities in the realm of 17th and 18th century repertoire.
The name of the group derives from Monteverdi’s pivotal masterpiece ‘Lamento della Ninfa’, a madrigal, for which the composer demands “al tempo dell’affetto, dell’animo, e non a quello della mano.” The performer thus required to sing in “tempo of affect, of soul and not the one of a hand”.
Such a strong declaration represents a breakthrough for the new music style of this period, following not rigorous formality but natural affect of humans. The aim, therefore, of this group to perform with vigorous Energy, Passion and Sincerity which are deeply based on Clear and Keen interpretation of historical performance which must move the audience’s passion as well.
The members met during their studies in Conservatorium in Amsterdam, and are currently based in Amsterdam and Utrecht.
the members are..
flute traverse/a bec Belén Nieto Galán
baroque violin Asuka Sumi
baroque bassoon Takako Kunugi
harpsichord Asís Márquez González