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Conductor and recorder icon Frans Brüggen (1934-2014) changed the image of the recorder forever and inspired many recorder players and ensembles in the Netherlands and abroad. He also founded the Orchestra of the Eighteenth Century and was at the basis of the authentic performance practice. Nevertheless, Brüggen very much loved new music as well. His close friend and prominent composer Louis Andriessen wrote various works especially for him. His own orchestra is now presenting a concert in which the love of both the old and the new can be heard. It is aided in this by Cappella Amsterdam and the talented recorder player Lucie Horsch, who was awarded the prestigious Nederlandse Muziekprijs (Dutch Music Award) during this concert. The program was performed live specifically to be recorded on video - unfortunately to a nearly empty room due to current circumstances.
The program includes the classic Brüggen repertoire, such as his personal interpretation of the Flute concerto in D Major, which Bach in fact never wrote and is composed of other work by Bach, and Sweet, an animated recorder solo that Andriessen wrote for Brüggen. Among other things, Cappella Amsterdam will perform the heartrending Nymphes des bois by Josquin des Prez, which was written to commemorate his musical friend. Besides Sweet, some other rarely performed compositions by Louis Andriessen, Un beau baiser and Sarabande from ...miserere.... will be played as well.
Orchestra of the Eighteenth Century:
Ricercare a 6 voci (1747)
from Musicalisches Opfer
Johann Sebastian Bach (1685-1750)
arrangement Wim ten Have
Samuel Scheidt (1587-1654)
from …miserere… (2007)
Louis Andriessen (1939)
Lucie Horsch solo:
Louis Andriessen (1939)
dedicated to Frans Brüggen
Award ceremony of the Nederlandse Muziekprijs to Lucie Horsch:
-Welcome speech Emily Ansenk, director Holland Festival
-Speech Ingrid van Engelshoven, minister van Onderwijs, Cultuur en Wetenschappen
-Acceptance speech Lucie Horsch
Un beau baiser (1980)
from the opera George Sand
Louis Andriessen (1939)
Nymphes des bois. Deploration sur la mort de Ockeghem (1497)
Josquin des Prez (ca. 1450-1521)
Deficiat in dolore vita mea
Orlando di Lasso (1532-1594)
Joseph Rheinberger (1839-1901)
Lucie Horsch & Orchestra of the Eighteenth Century:
Concerto in D-major
for flute and strings
Johann Sebastian Bach (1685-1750)
arrangement (1981) Frans Brüggen (1934-2014) after BWV 49, 169 en 105
The Orchestra of the Eighteenth Century is a Dutch orchestra that consists of fifty top musicians, all specialised in eighteenth century and early nineteenth century music.
It was founded in 1981 by the conductor and recorder player Frans Brüggen and violinist Lucy van Dael. In its current form, the Orchestra of the Eighteenth Century consists of nearly sixty musicians from around the world. All play on period instruments or modern reproductions thereof. In terms of its makeup and size, the orchestra approaches the larger orchestras as these existed in London, Paris, and Vienna in the eighteenth and nineteenth centuries. The orchestra specialises in music by composers such as Bach, Rameau, Haydn, Mozart, Beethoven, Schubert, and their contemporaries.
Since 2011, the Orchestra of the Eighteenth Century has realised a variety of semi-staged opera productions such as, among others, Mozart’s Don Giovanni, Le nozze di Figaro, Così fan tutte, and La clemenza di Tito, as well as Beethoven’s Fidelio. The orchestra tours regularly and has recorded a great many CDs with both Philips Classics and Glossa. Several of the orchestra’s recordings have received international awards. In 2010, the Orchestra of the Eighteenth Century was awarded the Prins Bernhard Cultuurfonds Prijs. In 2018, it received the Klassieke Muziekprijs from the Vereniging van Schouwburg- en Concertgebouwdirecties for its rendition of Brahms’ Ein deutsches Requiem with Cappella Amsterdam. Since Frans Brüggen’s passing in August 2014, the Orchestra of the Eighteenth Century has kept with its tradition of doing five projects each year with various guest conductors, such as Kenneth Montgomery, Ed Spanjaard, and Jonathan Darlington.
Lucie Horsch (1999) grew up in a musical family and took recorder lessons from when she was five years old. In 2009, she gained national fame with a TV performance during the AVRO Kinderprinsengrachtconcert. Two years later, she began her studies at the Amsterdam Conservatory with Walter van Hauwe. She also studied piano with Jan Wijn. After a live TV performance on De Avond van de Jonge Musicus in 2013, Horsch was chosen to represent the Netherlands during the Eurovision Young Musician finals in Cologne. She was also a soloist with the Nederlands Blazersensemble during the official farewell of queen Beatrix in Ahoy. In 2016, Horsch won the prestigious Concertgebouw Young Talent Award.
Horsch has an exclusive record deal with Decca Classics, which released her debut CD with works of Vivaldi in 2016. For this recording, Horsch was awarded the Edison Klassiek in the category Het debuut. Her second album, Baroque Journey, was released in 2019. It was recorded in collaboration with the French lute player Thomas Dunford (also her duo partner) and the Academy of Ancient Music. This album was given an Opus Klassik Award.
Lucie Horsch has worked with the Orchestra of the Eighteenth Century, the Residentie Orkest, and the Gelders Orkest, among others. She also performed with the Los Angeles Chamber Orchestra, the Staatsorchester Kassel, and the Hong Kong Philharmonic Orchestra. Horsch has played at the Festival Oude Muziek, the Internationaal Kamermuziek Festival Utrecht, the Grachtenfestival in Amsterdam, the Internationaal Kamermuziek Festival Schiermonnikoog, as well as at the Budapest Spring Festival and Festspiele MecklenburgVorpommern.
Horsch plays on recorders built by Seiji Hirao, Frederick Morgan, Stephan Blezinger, and Jacqueline Sorel in part with support from the Prins Bernhard Cultuurfonds.
The chamber choir Cappella Amsterdam was founded in 1970 by Jan Boeke and has had chief conductor Daniel Reuss as its artistic director since 1990. The choir specialises in modern as well as early music, with a special focus on work from Dutch composers ranging from Jan Pieterszoon Sweelinck to Louis Andriessen and Ton de Leeuw. Composers such as Robert Heppener and Jan van Vlijmen have written compositions especially for the choir. Cappella Amsterdam regularly contributes to opera productions, such as the Stockhausen cycle aus LICHT at the Holland Festival 2019, Stockhausen’s SONNTAG aus LICHT with the Cologne Opera (2011), and Wolfgang Rihm’s Dionysos at the Holland Festival 2010.
Cappella Amsterdam also played a major part in the Nono trilogy at the Holland Festival 2014. Besides closely collaborating with leading Dutch ensembles and orchestras like the Orchestra of the Eighteenth Century, the Royal Concertgebouw Orchestra, and Asko|Schönberg, Cappella Amsterdam also works with prominent international companies like the Akademie für Alte Musik Berlin, the RIAS Kammerchor, Ensemble Musikfabrik, Il Gardellino, and the Estonian Philharmonic Chamber Choir. In 2010, the choir was nominated for the Amsterdamprijs voor de Kunst and the Edison Klassiek Publieksprijs. A 2010 recording of Frank Martin’s Golgotha was nominated for a Grammy. A 2012 CD of choir pieces by Leoš Janáček and the 2016 recording of Arvo Pärt’s Kanon Pokajanen were both awarded an Edison Klassiek.
In 2018, Cappella Amsterdam received the Klassieke Muziekprijs from the Vereniging van Schouwburg- en Concertgebouwdirecties for its rendition of Brahms’ Ein deutsches Requiem with the Orchestra of the Eighteenth Century.
- Louis Andriessen
Johann Sebastian Bach
Orlando di Lasso
- Lucie Horsch
- performed by
- Orkest van de Achttiende Eeuw, Cappella Amsterdam
- Albert Brüggen, Job Brüggen
- NTR (Arjan van Asselt, Myrthe van Dijk, Casper Lucas)