Saturday, November 2, 20 p.m
Monastery Library Wittem
Programme:
Debussy Prélude à l'après-midi d'un faune (1862-1918)
Ravel Chansons madecasses (1875-1937)
– Nahandove
– Aoua!
– I est doux
For mezzo-soprano, flute, cello and piano:
Dutilleux Sonatine for flute and piano (1943)
(1916- 2013)
Debussy 'Le Balcon' (Baudelaire)
pause
Messiaen Quatuor pour la fin du temps
1. Liturgie de cristal (Crystal Liturgy):
2. Vocalise, pour l'Ange qui annonce la fin du Temps (Vocalise, for the angel who marks the end of time
announces):
3. Abîme des oiseaux (abyss of the birds):
4. Intermède (intermezzo)
5. Louange à l'Éternité de Jésus (hymn to the eternity of Jesus):
6. Danse de la fureur, pour les sept trompettes (dance of anger, for seven trumpets):
7. Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps (rainbow chaos, for the angel who
announces end of time):
8. Louange à l'Immortalité de Jésus (hymn to the immortality of Jesus):
With an entirely French program, the Brussels Het Collectief will set the beautiful Monastery Library in Wittem on fire again. The well-known Prelude immediately puts you in the mood, followed by Ravel's Songs from Madagascar: Nahandove's lover waits anxiously for her at the full moon, Aoua is about the freedom struggle of the original inhabitants and finally the tranquil “Il est doux”.
Dutilleux's works are rarely played, but of course they are Festival Vocallis; However, his sonatina is a standard work in the flute repertoire. Followed by “Le Balcon” by Debussy, starting with the words “Mère des souvenirs”, mother of memories…
After the break, the monumental “Quatuor pour la fin du temps” (Quartet for the End of Time) will be played, a chamber music work by the French composer Olivier Messiaen, written in 1940-1941. A spiritual ode to human resilience. Messiaen wrote this piece in the prisoner of war camp Stalag VIII-A, in Görlitz, Germany. The premiere also took place there, performed by Messiaen himself on piano together with fellow prisoners: Jean Le Boculaire (violin), Henri Akoka (clarinet), and Étienne Pasquier (cello). The piece is special because of both the circumstances
under which it was composed as well as the unique musical language it uses. Messiaen shows his deeply religious background in it and it is one of Messiaen's most moving pieces.
The Collective consists of Wibert Aerts, violin, Julien Hervé, clarinet, Thomas Dieltjens, piano, Toon Fret, flute and Martijn Vink, cello. With the collaboration of Katrien Baerts, soprano.
Concert adopted by Ineke Griede and Klaas Damhof