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PAN FLUTE CONCERTOS

Antonio Vivaldi



Entrusting the Vivaldi concertos for solo voice to the panpipes may seem, at first glance, an unusual approach; at first glance only. Indeed, it is fully justified from a historical point of view, because the panflute - generic name given to any flute composed of a beveled pipe assembly - precisely finds a part of its European origins in the seventeenth century, particularly under the shape of the Romanian Nai; Although the flute of Pan was originally intended for popular music, its use in the performance of Baroque "scholar" repertoire is none the less legitimate and happy.

Far from distorting the work of Vivaldi, the panflute gives it the bright and warm colouring that corresponds to this masterpiece.










ANTONIO VIVALDI (1678 -1741)
With panflute:
Concerto "La notte" RV439
Concerto RV435
Concerto "Il gardellino" RV428
Concerto RV108
Cum dederit, from Nisi Dominus, RV608


Concerto for two violins, RV 522, from l'Estro Armonico
Concerto for two violins and cello, RV 565, from l'Estro Armonico
Sinfonia al Santo Sepolcro for strings, RV169






A FREE SPIRIT

String trio



A string trio concert perfectly represents the Ensemble Fratres's musical values. Freedom and equality first: in compositions that embellish the three instruments, all the musicians can express themselves freely. The dialogue between the violin, the viola and the cello is even more exciting.

Then, eclecticism and curiosity, because if Mozart and Beethoven are familiar to us, Dohnányi and Cras are composers who deserve to be (re) discovered or as no man is a prophet in his country, it is rare to hear in concert the music of the Swiss composer Volkmar Andreae












Program to compose with the choice of following works


W.A. MOZART
Divertimento K.563

L.v.BEETHOVEN
String trio op. 9 n°3

E. DOHNÁNYI
Serenade op.10

J. CRAS
String trio

V. ANDREAE
String trio op.29









VIOLAS AND ITS CONFIDENCES

Quintets with two violas



The two violas quintets were born in the early 1760s in Austria. This formation will find great minds to amuse themselves: Pleyel, Boccherini, Albrechtsberger, Hoffmeister, Zimmermann, Beethoven. But it's with Boccherini (who devoted it over a hundred works) and mostly with Michael Haydn that it will launch beautifully (with its Notturni from 1773). Admirable and prophetic pages that will inspire young Mozart his first quintet with two violas.

Mozart precisely, who, having made the viola his favorite instrument, will find, excelling in the composition for this new formation, an elegant way of honoring his Master Joseph Haydn (king of the string quartet). He will repeat it six times.

The Ensemble Fratres offers two of the most important pieces in the Mozartian repertoire, cited as essential in chamber music literature, even if they are much less well known than its quartets.

This is also one of the reasons that led to the recording of an album. The recording took place in December 2014 and will be released shortly.



Wolfgang Amadeus Mozart (1756 -1791)

Quintet no 5 K. 593
Larghetto - Allegro - Larghetto
Adagio
Menuetto - Trio
Allegro

Quintet no 4 K. 406
Allegro
Andante
Menuetto in canone
Finale. Allegro








A EUROPEAN GETAWAY

String Trio and panflute



Entrusting the soprano part to the panflute in a string quartet can seem far-fetched. Although this sonority does not seem to be obviously related to western music, the Panflute does have certain origins deeply rooted in Europe since ancient Greece.

Hence the legitimate challenge of inviting it to scholarly music, playing with the composers' traditional freedom of the time, to assume unprecedented and breath-taking performances of great scores.

With its felted tone, though intense, it comes, at the edge of the mouthpieces, to marry the shimmering murmurs of the gut-rubbed ropes.

With this bright and colourful idea, Ensemble Fratres and Hanspeter Oggier (Panflute) continue their musical journey initiated with the album 'Vivaldi Concerti' (Brilliant Classics, 2015).



Program


J. Haydn
Quartet Op.1 n°4

W.A. Mozart
Quartet KV370

Antonio Vivaldi
Various concerti with panflute ('Il Gardellino' RV428 - RV108 ...)

C. Debussy
Syrinx - la Flûte de Pan

J. Strauss
Freuden-Grüsse, Walzer
« Überall gut, in der Heimat am besten »

H. Purcell
Ground - Sir Anthony Love or The Rambling Lady

and a choice of traditional rumanian music








BOCCHERINI IN SPAIN? THE GUITAR !

Quintets with guitar by Luigi Boccherini



"If God wanted to speak to men through music he would do it with Haydn's works; yet if he wanted to listen to music himself, he would decide for Boccherini." Jean-Baptiste Cartier (1798)


It is for the Marquis de Benavente, a wealthy amateur and protector, that Boccherini arranges some of his quintets, between 1798 and 1799, for string quartet and guitar. Discovering the popular Spanish music, probably since his arrival in Madrid in 1768, he will adorn his work with many references to the rhythms of dance (fandango, séguédille) or local musical modes (Andalusian ranges). The resources of the guitar, so familiar to Boccherini, are naturally presented in the spotlight of his chamber music.






Luigi Boccherini (1743-1805)

Quintet with guitar n° 1 G.445
String quartet Op.32 n°4
Quintet with guitar n° 9 « Ritirata di Madrid » G.453








THE MUST OF THE CELLO

Quintets with two cellos



The cello and its characteristic finery: its warm and ample tone evoking the human voice and its intriguing, light and whimsical sounds ...We owe them without hesitation to Luigi Boccherini! A genius of the bow and writing!

No wonder, like Mozart with his quintets with two violas, that we owe him this new formation (quintet with two cellos) and for which he wrote nearly one hundred and thirteen works. The opportunity to wander, widely, in his magic evocations of birdsongs (Uccelliera), hunting parties where the call of the chirps to the hunting horn sound far away (I pastori e il cacciatori), or even those cracklings of wood fires, of these unimaginable and arid heat of the Iberian folklore ... to the exalted features of the new and dapper German "Sturm und Drang".

From here to knock on the door of Franz Schubert and his quintet with two cellos in C major D956, there is only one step!

All the inventiveness, the freshness and the inspiration of a sparkling musician are revealed in these masterpieces, which the Ensemble Fratres likes to live and discover with great appetite.





Program to be defined among the following works:

Luigi Boccherini (1743 - 1805)
Quintet « l'Uccelliera » Op.11 n°6, G276
Quintet Op.13 n°6, G282
Quintet Op.25 n°1, G295
Quintet Op.25 n°4, G298
Quintet Op.46 n°3, G361
Quintet Op.49 n°1, G365

Franz Schubert (1797-1828)
Quintet D956








ORIENTALES

Exchanges with the West



Today, for an auditor, the score and its notes are the landscape of music. Whereas the musician sees his page of music revealed between his dream and his ears.

Formerly, the herdsman, with his reed or his elder pipe, cut when it was in sap, unfolded his sounds only by the vision of the landscape ... So much so that his "melopée" was word of gratitude for the surrounding beauty.

It was a jubilee of the five senses. The Orient is not only Turkey but also the Balkans, Greece, Romania, mysterious regions of transition and bathed in antiquity. The Duduk, the Armenian instrument, reminds us today that the Orient is only a continuous discourse, a meditation on nature. Orientalism is a memory of this happy old age.














Program


H. Purcell (1659-1695)
Suite « Abdelazer » (Z570 - 1676)
inspired from the scene "Abdelazer or the Maure's revenge"

J.P. Rameau (1683-1764)
Indes Galantes, extracts

Jean Cras (1879-1932)
Trio à cordes (1926)
memories of the East brought back by this outstanding sailor

C. Debussy (1862-1918)
Syrinx - la flûte de Pan (L.129 - 1913)

Romanian Folklore Suite
"Cintec de Leagan", "Dea Lungul", Sîrba and the famous Ciocîrlia (Eastern Turkey)

G.P. Telemann (1681-1767)
Suite in A Major (TWV 55:a2) and his suite of dances
















OSPEDALE DELLA PIETÀ

Vespers for the nativity of the virgin



The Polhymnia female vocal ensemble and the Ensemble Fratres immerse you in the intimate and collected atmosphere of Venice's Ospedale della Pietà by offering a program devoted exclusively to women's voices in Vivaldi's work.

The mission of the Venice's Ospedale della Pietà was to help abandoned girls by providing them with a general education and a high-level musical education. By the ages of 10, some of them were selected by the governor and chapel master to be part of the Ospedale choir as singers or musicians.

This institution enjoyed a great reputation in Europe and frequently received renowned visitors. Pope Pius IV, J.-J. Rousseau or the famous Charles Burney came in person to listen to the young girls play and sing. And they all were transported by the quality of the show.



Program


ANTONIO VIVALDI (1678 -1741)
Gloria RV 589 for soloists, woman choir and orchestra (1678 - 1741)

L'Estro Armonico Concerto for two violins and cello, RV 565

Laetetus Sum, RV 607

Ascende Laeta Montes Introduzione al Dixit for soprano and orchestra, RV 635

Dixit Dominus Psaume 109 - RV 595, soloists, woman choir and orchestra








STABAT MATER

A reunion of three great Stabat Mater in one single concert.



The liturgical text of the Stabat Mater Dolorosa, written in the 13th century by the Franciscan monk Jacopone Da Todi, has inspired many composers.

Ensemble Fratres proposes in the same program, a reconciliation of three perfectly complementary Stabat Mater, and representative of three distinct periods of writing. It has the privilege of offering this program with Maria Espada, soprano and Carlos Mena, countertenor.








Program


Antonio Vivaldi - 1712
Stabat Mater per contralto, archi e basso continuo RV 621

Giovanni Battista Pergolesi - 1736
Stabat Mater a due voci con violini, viola e basso

Luigi Boccherini - 1781
Stabat Mater per una voce sola (soprano), violini, viola e basso (G.532)