il fondamento paul dombrecht

IL FONDAMENTO
PAUL DOMBRECHT
Discovering hidden treasures
and exploring great Masterpieces.
CONTENTS
About Il Fondamento����������������������������������������������03
Future Seasons 16-18 ��������������������������������������������07
J.S.Bach����������������������������������������������������������������������13
Repertoire Highlights����������������������������������������������16
Dance Project ����������������������������������������������������������18
Vocal��������������������������������������������������������������������������20
Soloists����������������������������������������������������������������������21
International Festivals��������������������������������������������22
Press Reviews����������������������������������������������������������25
Collaborations����������������������������������������������������������26
Discographie������������������������������������������������������������29
Contact����������������������������������������������������������������������31
IL FONDAMENTO
Was founded in 1989 by oboist Paul
Dombrecht. With his core of loyal
musicians, he has developed a
generous, transparent orchestral
sound, complementing the colour of
his highly acclaimed baroque oboe
playing. Their refreshing style and
pursuit of perfection has attracted
high praise.
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IL FONDAMENTO
IL FONDAMENTO IS MANAGED BY
Christoph Crepaz
Crepaz Music Management
For all booking enquiries please contact:
Crepaz Management Group AG
Crepaz Music Management Division
Landstrasse 40
P.O. Box 147
9495 Triesen
Principality of Liechtenstein
For Spain:
Adela Sánchez Producciones SL
La Mortera, 2D
33193 Piedramuelle (Oviedo)
Asturias
Spain
Tel: +423 793 7990
Tel UK: +44 20 3289 1022
Mobile: +43 699 1635 1600
Mobile UK: +44 7476 707997
Tel.: +34 985 783 400
Móvil: +34 685 323 351
Presents programmes with
impeccable musicianship. The
music is animated and colourful,
the ensemble is exceptional, the
playing secure, incisive, and
unhindered by academic
considerations. Their thrust,
energy, and elegance, keep their
audiences alert and receptive to
both new and more familiar
repertoire.
[email protected]
[email protected]
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FUTURE
SEASONS 16-18
Il Fondamento likes to explore lesser known repertoire
in addition to the great masterpieces of G.F. Handel or
J.S. Bach.
In Il Fondamento’s performances unfamiliar masters
from the baroque era, such as J.D. Heinichen, J.D.
Zelenka, Graun or J.F. Fasch take their place convincingly
beside their great contemporaries such as G. Ph.
Telemann.
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MOZART CONCERT ARIAS
GLORIOUS STRINGS FROM THE LOW COUNTRIES
WOLFGANG AMADEUS MOZART (1756-1791) Ouverture “Le Nozze di Figaro”
Concert Aria (to be selected)
Recit and Concert Aria KV 295a (Mannheim, 1778)
“Basta vincesti” “Ah non lasciarmi, no”
Concert Aria (to be selected)
Il Fondamento’s celebrated string section in music for and from the Low Countries
We bring fascinating figures such as Count van Wassenaer to the stage. His magnificent music was long ascribed
to Pergolesi, or Pieter Hellendaal, who made a name for himself in London playing the violin for Handel.
World premiere: Sammartini’s overture, one of the few in existence for the 18th-century Théâtre de la
Monnaie
INTERVAL
UNICO WILHELM VAN WASSENAER (1692-1766) Concerto in G major from “Concerti Armonici” (1740)
PIETRO ANTONIO LOCATELLI (1695-1764) Concerto a Quattro in C minor from “XII Concerti Grossi a 4 e
a 5” op.1(1721)
PIETER HELLENDAAL (1721-1799)
Concerto (Grosso) in Eb major from “Six Grand Concertos”
op. 3 (1758)
UNICO WILHELM VAN WASSENAER (1692-1766) Concerto in f minor from “Concerti Armonici” (1740)
Symphony 40 in G minor KV550
6.5.3.3.2, 1 flute, 2 oboes, 2 horns, 1 harpsichord
CON PASSIONE
INTERVAL
A programme for the period around Valentine’s Day featuring exciting compositions alternated with readings
from Mozart’s erotic correspondence with his wife Constanze, pamphlets about Marie Antoinette’s alleged
escapades, the memoires of Giacomo Casanova and the libertine writings of the Marquis de Sade.
GIUSEPPE SAMMARTINI (1695-1750)
EVARISTO FELICE DALL’ABACO (1675-1742)
WILLEM DE FESCH (1687-1757)
PETRUS HERCULES BREHY (1673-1737)
PIETRO ANTONIO LOCATELLI (1695-1764)
Overture in A major to “Lucio Papirio” (1727)
Concerto a Quattro da Chiesa in D minor op. 12 no 1 (1712)
Violin Concerto in E major from “Sei Concerti” op. 6 (c. 1730)
Sonata à 4 (to be selected)
Concerto in F major à immitazione de Corni da Caccia’ from
“VI Concerti” op. 4 (1735)
3.3.2.2.1, theorbo, harpsichord
FRANZ JOSEPH HAYDN (1732-1809)
ANDRE-MODESTE GRETRY (1749-1801)
JOHANN CHRISTIAN BACH (1735-1782)
Symphony in A Major ‘Feuer’ (Hob.I:59, c. 1768)
Overture in D Major to “L’Epreuve Villageoise” (1784)
Symphony in D major from “Six Grand Overtures” op. 18 no. 4
(c. 1782)
INTERVAL
WOLFGANG AMADEUS MOZART (1756-1791) (Basset) Clarinet concerto in A Major (KV 622, 1791)
MORE PROGRAMMES AVAILABLE (please contact concert management for further information)
5.4.3.2.2, 2 flutes, 2 oboes, 2 horns, 1 harpsichord
BENJAMIN DIELTJENS, BASSET-CLARINET
MORE PROGRAMMES AVAILABLE (please contact concert management for further information)
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THE FALL AND RESURRECTION OF DRESDEN
Il Fondamento commemorates the Seven Years’ War (1756-1763), the “Great War” of the eighteenth century.
Dresden was besieged by the Prussian army of Frederick the Great, causing the Saxon Court and its Hofkapelle
to be exiled to Warsaw.
In 1993 Il Fondamento made a highly praised recording of Hasse’s Requiem in C major for the funeral of Elector
Frederick August II. This optimistic piece, which in many respects anticipates Mozart’s Requiem, is here combined
with a work from Dresden’s most prosperous years: Zelenka’s early Requiem in C minor.
JAN DISMAS ZELENKA (1679-1745)
In the same vein, in the classical and early romantic
eras, Paul Dombrecht with Il Fondamento brings
interesting composers out of the shadow cast by the
most famous. He programmes the works of J. Haydn,
W.A. Mozart and L. van Beethoven with those of unjustly
forgotten colleagues, such as G. Benda, A. Rosetti,
I. Pleyel, A. Eberl, J.Ch. de Arriaga and many others.
These juxtapositions may surprise us, but these were
all celebrated masters in their time. Il Fondamento’s
concerts guarantee both aesthetic and historical
delights.
Requiem in C minor (ZWV45; undated)
INTERVAL
JOHAN ADOLF HASSE (1699-1783)
Requiem in C major (1763)
RAFFAELA MILANESI, SOPRANO
N.N. COUNTER - TENOR
JAMES GILCHRIST, TENOR
PETER HARVEY, BASS
CHOEUR DE CHAMBRE DE NAMUR (16)
4.4.3.2.1, 3 trombones, 2 trumpets, 2 horns, 2 flutes, 2 bassoons, 1 clarinet, 2 oboes,
1 timpani, organ
MORE PROGRAMMES AVAILABLE (please contact concert management for further information)
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ITALY REVISITED
A grand tour through the most innovative, unfamiliar Italian music from the second half of the eighteenth
century: musical surprises are guaranteed! The Libary of the Royal Conservatory Brussels has preserved the
unique manuscript of Pugnani’s Violinconcerto, with its eccentric (exclusively slow) movements.
J.S.BACH
GIAN FRANCESCO DE MAJO (1732-1770)
Ouverture in E Flat Major to “Iphigénie in Tauride”(1764)
DOMENICO CIMAROSA (1749-1801)
Harpsichord Concerto in B-Flat Major (undated)
Violin Concerto in E Flat-Major (S.D)
GAETANO PUGNANI (1731-1798)
INTERVAL
PIETRO NARDINI (1722-1793)
LUIGI BOCCHERINI (1743-1805)
Violin Concerto in e minor (undated)
Sinfonia a Grande Orchestre in C Major op.12 Nr 3 (G505,
1771)
DIRK VANDAELE, VIOLIN
N.N. HARPSICHORD
5.4.3.2.2, 2 flutes, 2 oboes, 2 horns, harpsichord
MORE PROGRAMMES AVAILABLE (please contact concert management for further information)
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It is clear that these players have spent a considerable
portion of the past 25 years honing their ensemble
skills and refining their understanding of the 17th
and 18th century repertoire in which they specialise.
This is terrific playing by any standard – their vibrant,
immediate sound catches every crisp articulation
and individual timbre.
CANTATAS
JOHANN SEBASTIAN BACH
JOHANN SEBASTIAN BACH
JOHANN SEBASTIAN BACH
BWV 199
BWV 1067a
BWV 51
3.3.2.2.1, 1 Oboe, 1 trumpet, 1 continuo
MEIN HERZE SCHWIMMT IN BLUT
ORCHESTRAL SUITE in a minor NR 2
JAUCHZET GOTT IN ALLEN LANDEN
TRAUERMUSIK CANTATAS
JOHANN SEBASTIAN BACH
GEORG PHILIPP TELEMANN
JOHANN SEBASTIAN BACH
BWV 106
TWV 0417
BWV198
STRAHL
1.1.1.1.1, 2 Recorders, 2 Oboes, 2 Viola da gamba, 2 Lutes, Organ
GOTTES ZEIT IST DIE ALLERBESTE ZEIT
DU ABER DANIEL
LASS FÜRSTIN, LASS NOCH EINEN
INSTRUMENTAL BACH
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JOHANN SEBASTIAN BACH
CARL PHILIPP EMANUEL BACH
JOHANN SEBASTIAN BACH
BWV 1068a
WQ 167-170
BWV 1067a
ORCHESTRAL SUITE NR 3
VIOLINCELLO CONCERTO
ORCHESTRAL SUITE in a minor NR 2
4.3.2.2.1, 1 continuo
SOLOISTS: ROEL DIELTIENS, VIOLINCELLO
DIRK VANDAELE, VIOLIN
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REPERTOIRE
HIGHLIGHTS
Although the ensemble’s trademark has indeed
become their innovative concert programming of
unfamiliar repertoire Il Fondamento does not neglect
the larger works of J. S. Bach (St Matthew’s Passion,
St John’s Passion) and well-known oratorios of G. F.
Handel (The Messiah, Belshazzar ...).
HIGHLIGHTS
JOHANNES-PASSION
JOHANN SEBASTIAN BACH
JOHANNES-PASSION
BWV 245
MATTHÄUS-PASSION
BWV 244
MATTHEUS-PASSION
JOHANN SEBASTIAN BACH
WEICHNACHTSORATORIUM
JOHANN SEBASTIAN BACH
WEICHNACHTSORATORIUM BWV 248
COMPLETE ORCHESTRAL SUITES
JOHANN SEBASTIAN BACH
JOHANN SEBASTIAN BACH
JOHANN SEBASTIAN BACH
JOHANN SEBASTIAN BACH
SUITE NR 1
SUITE NR 2 SUITE NR 3 SUITE NR 4
BWV 1066
BWV 1067a
BWV 1068a
BWV 1069
Two version possible (with or without trumpets and timpani)
THESE PROGRAMS CAN BE BOOKED AT ANY TIME
MESSIAH
GEORG FRIEDRICH HÄNDEL
MESSIAHHWV56
FIREWORKS & WATERMUSIC
GEORG FRIEDRICH HÄNDEL
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HWV 348-349-350-351
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DANCE PROJECT
IL FONDAMENTO & ACTION SCÉNIQUE
FROM THE DEPTHS
FROM THE DEPTHS
Of the small amount of religious music written by Christoph Willibald Gluck (1714-1787), very little has been
left to us. The four part motet De Profundis Clamavi was performed at his own funeral on the 17th of November
1787. Although Gluck kept himself rather apart from religious affairs, his radical contribution to opera might
be considered ‘religious’ in certain respects. His “reform” opera Alceste (1767) is a personal reflection on death.
As an experiment we have chosen some passages and put them together as a ‘suite’.
From the very beginning of his career Luigi Cherubini (1760-1842) produced Masses and Motets for church
services. However, by the time that he went to live in Paris in July 1786, he was concentrating all of his energy
on opera. At the end of the 18th century, citoyen Cherubini was still a musical spokesman for the new régime.
Unfortunately the maître’s luck changed when Napoleon came into power and eventually his popularity declined.
His come-back was stimulated to a great extent by the revival of Catholicism and the reinstatement of the
Bourbon dynasty. His Missa Pro Defunctis en Ut b (1816) is one of the great masterpieces of the period. This
requiem is an open challenge in the period when, according to Cherubini’s wife, “people were guillotined in the
afternoon, and in the evenings the theatres were full”. The pervading atmosphere of Cherubini’s great Requiem
Mass is not one of ‘lux perpetua’ or hope, but of macabre reflection upon life and death.
CHRISTOPH WILLIBALD VON GLUCK (1714-1787) De profundis
Alceste suite
LUIGI CHERUBINI (1760-1842)
Requiem in C minor
IL FONDAMENTO
COLLEGIUM VOCALE GENT (24 SINGERS)
PAUL DOMBRECHT, CONDUCTOR
2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, strings & continuo (39 instrumentalists)
ACTION SCÉNIQUE
CHOREOGRAPHY: CLAIRE CROIZÉ
5 dancers
http://www.actionscénique.be
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VOCAL
The ensemble has received much praise for its
work in the opera pit. The collaboration with
Transparant resulted in performances of Handel,
Mozart and T. Traetta (Antigona), no longer unknown
thanks to the enterprise of Il Fondamento.
PERIOD INSTRUMENTS
AND FIRST-RATE
VOCAL SOLOISTS ARE
AT THE TOP OF THE
PRIORITY LIST OF
PAUL DOMBRECHT’S
IL FONDAMENTO.
SOLOISTS
Lorna Anderson
Sara Herschkowitz*
Roberta Invernizzi
Susan Hamilton
Karina Gauvin
Hana Blazilova
Marìa Espada
Suzy Leblanc*
Raffaela Milanesi*
Liesbeth Devos*
Carlos Mena*
Clint Van der Linde*
Romina Basso
Topi Letipuu
Charles Daniels*
Reinoud Van Mechelen*
Julian Pregardien
Anders Dahlin
James Oxley*
Jeremy Budd
Thomas Hobbs*
James Gilchrist
Peter Harvey
Dietrich Henschel
Luca Titoto
Marian Krejcik
Hugo Oliveira*
Huub Claessens*
*Sang already with Il Fondamento
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INTERNATIONAL
FESTIVALS
Il Fondamento at the Semana de Musica Religiosa
de Cuenca (ES)
Program: CANTATES J.S.BACH
During its existence, the ensemble has developed a solid
international reputation. Il Fondamento plays in the great
concert halls of Belgium, and is frequently invited to famous
international concert stages: Palau de la Música Valencia,
Konzerthaus Vienna, Wigmore Hall London, Auditoria Nacional
Madrid ... Il Fondamento is also a welcome guest at important
festivals in France, Russia (Moscow, Saint-Petersburg), Israel
as well as Germany and Austria.
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G.F. Handel, “Israel in Egypt: France, Paris - Concerts
Parisiens – Eglise Saint-Roch / Spain, Castellon /
France, La Chaise Dieu – Festival de la Chaise Dieu
/ France, Lessay – Les heures musicales de l’abbaye
de Lessay / France, Saint-Malo – Festival d’art sacré
de Saint Malo / France, Beaune, Festival de musique
baroque de Beaune / Belgium, Namur - Les musicales
de Namur ••• J.W. Hertel, “Der sterbende Heiland”:
Belgium, Gent – de bijloke / Belgium, Anwerpen –
deSingel ••• J.S. Bach, Cantatas – part I: Belgium,
Kanegem, Musica Flandrica / Belgium, Spa
–L’automne musical de Spa / Spain, Zamora – Portico
de Samana Santa de Zamora ••• J.D. Zelenka, “Gesù
al Calvario”: Czech Republic, Prague – FOK / Hungary,
Budapest – Budapest Spring Festival / Austria,
Innsbruck – Osterfestival / Belgium, Namur - Théâtre
de Namur / Belgium, Ghent - de bijloke ••• T. Traetta
– “Antigona” (opera): Netherlands, Amsterdam –
Muziektheater / Belgium, Brussels – La Monnaie &
Kaaitheater / Belgium, Antwerp – deSingel / Belgium,
Bruges 2002 – Concertgebouw / Spain, Salamanca
2002 - Teatro Liceo ••• J.C. de Arriaga: Spain, Burgos
Logrono, Bilbao, San Sebastian, Pamplona – Festival
dos Catedrales / Spain, Madrid - Los Siglos de Oro
••• G.F. Handel, Belshazzar: Belgium, Brussels – Bozar
& La Monnaie / France, Beaune – Festival international
de musique baroque de Beaune
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J.D. Zelenka, Churchmusic at the court of
Dresden: Belgium, Antwerp – Festival of Flandres
/ Belgium, Ghent – de bijloke ••• W.A. Mozart, “Il
Re Pastore” (opera): Belgium,Ghent - Vlaamse
Opera / Belgium, Kortrijk – Stadsschouwburg /
Netherlands, Den Haag – Stadsschouwburg/
Netherlands, Tilburg – Stadsschouwburg /
Netherlands, Antwerp - Vlaamse opera ••• Mozart
in three movements: Belgium, Antwerp deSingel
/ Belgium, Ghent de bijloke Bruges –
Stadsschouwburg / Brussels - de Bottelarij /
Belgium, Antwerp – Bourla / Belgium Sint-Truiden
– Academiezaal / Belgium, Ghent – Vooruit ••• F.X.
Brixi / G.B. Pergolesi: Belgium, Bruges –
stadsschouwburg / Belgium, Brussels – KVS /
Belgium, Antwerp – Bourla / Belgium, Sint-Truiden
– Academiezaal / Belgium, Ghent – Minard /
Netherlands, Rotterdam – Stadsschouwburg /
Netherlands, Den Haag, Lucent Danstheater •••
Magister Capelle Musice St. Bavo-Ghent: Belgium,
Ghent – de bijloke ••• Music from the St. GudulaBrussels: Belgium, Brussels – Brussels 2000 /
Belgium, Festival of Flandres ••• Italian orchestral
music – part I: Belgium, Ghent – de bijloke /
Belgium, Brussels – Eglise des Minimes G.F. Handel,
Tolomeo: Belgium, Antwerp – Bourla / Belgium,
Brussels – KVS / Netherlands, Amsterdam –
Stadsschouwburg / Netherlands, Dordrecht –
Schouwburg Kunstmin / Netherlands, Groningen
Staddschouwburg / Netherlands, Gouda – De
goudse Schouwburg / Netherlands, Zoetermeer
– Stadstheater / Netherlands, Den Haag – Lucent
danstheater / Netherlands, Den Bosch – Theater
aan de parade / Netherlands, Eindhoven –
Stadsschouwburg / Netherlands, Arnhem –
Schouwburg / Netherlands, Tilburg – concertzaal
••• J.S. Bach, St. Matthew’s Passion: Spain, Murcia
- Auditorio / Spain, León – Auditorio de León /
Netherlands, Utrecht – Jacobikerk / Belgium,
Grimbergen ••• J.S. Bach, St. John’s Passion: France,
Fontevraud – Abbaye royale de Fontevraud /
PRESS REVIEWS
WOLFGANG AMADEUS MOZART
“IL RE PASTORE”
JAN DISMAS ZELENKA
“GESÙ AL CALVARIO”
“Il Fondamento, conducted by Paul Dombrecht, has
a very enthusiastic and transparent way of playing.
Their sharp tempos and brilliant solos are really
catching.”
“The performance by Dombrecht was amazingly
exact and perfect, and the soloists – Maria Cristina
Kiehr, Greta De Reyghere and the three (!) countertenors: Andrew Watts, Pascal Bertin and Steve
Dugardin – deserve a special mention. We must
thank the Spring Festival for inviting this extraordinary
production.”
De Standaard, Belgium – Véronique Rubens
GEORGE FRIDERIC HANDEL
“BELSHAZZAR”
“The orchestra Il Fondamento is perfect from
beginning till end. Jacobs obtains the right inflexions
from the strings to emphasize those melodic curves
that are so typical for Handel. The woods add subtle
touches of colour, and the continuo supports the
recitatives with an expressive power driving on and
on the dramatic action. “
Le Soir, Belgium – Michel Debrocq
JOHANN SEBASTIAN BACH
“MATTHÄUS PASSION”
“The most spectacular oratorio in the auditorium...”
El Mundo / La Cronica de Leon , Spain
“Dombrecht’s interpretation was absolutely clear
and refined, often driving up the tempo, in order to
enliven certain parts, especially the recitatives, which
can only be appreciated in a work of nearly three
hours long...”
muzsika, Hungary – Mesterházi Máté
JOHANN FRIEDRICH FASCH –
GEORG PHILIPP TELEMANN
“Die große ausgewogene Streicherbesetzung, die
Oboen und das Fagott als Soloinstrumente und die
übrigen Basso continuo-Instrumente “zauberten”
einen angenehm warmen, eleganten und runden
Klang. Die hervorragenden Oboensolisten Griet
Cornelis, Vinciane Baudhuin und insbesondere Paul
Dombrecht begeisterten mit meisterlichem Spiel.
... Eine Kostprobe seines überragenden meisterlichen
Spiels auf seiner historischen Oboe bot Paul
Dombrecht als Solist im Fasch-Konzert C-Dur, das
er im Wechselspiel mit zwei Violinen und dem
aufmerksam und einfühlsam begleitenden Orchester
erklingen ließ.”
Zerbst Volksstimme, Deutschland – Helmut Rohm
Diario de Leon, Spain – Miguel Angel Nepomuceno
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THE FLEMISH RADIO CHOIR
COLLABORATIONS
IL FONDAMENTO WORKS WITH SEVERAL
EXCELLENT PERIOD VOCAL ENSEMBLES.
COLLEGIUM VOCALE GENT
CHOEUR DE CHAMBRE DE NAMUR
COR DE CAMBRA DEL PALAU DE LA MUSICA CATALANA
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DISCOGRAPHIE
Thanks to ceaseless research by artistic director and conductor
Paul Dombrecht and the ensemble’s tireless efforts, various
as yet unpublished and unknown works have come to light,
several of which have been brought out on CD.
In its performances of 18th and 19th century
music Il Fondamento strives to achieve a sound
close to that of the period. Instruments, playing
styles and performance practice all need to be
studied carefully in order to reconstruct the
sound of an age before the invention of sound
recording.
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MORE THAN 25 ALBUMS AVAILABLE ON
WWW.ILFONDAMENTO.BE
IL FONDAMENTO
CONTACT
Paul Dombrecht
Artistic director
[email protected]
IL FONDAMENTO
Conservatoriumplein 1
8500 Kortrijk
Belgium
Joachim Commeene
General Manager
[email protected]
www.ilfondamento.be
Rik Deryckere
Artistic-coordination
[email protected]
Christoph Crepaz
Booking & Concert Management
[email protected]
For all booking enquiries please
contact:
Crepaz Management Group AG
Crepaz Music Management Division
Tel: +423 793 7990
Tel UK: +44 20 3289 1022
Mobile: +43 699 1635 1600
Mobile UK: +44 7476 707997
[email protected]
With the support of the Flemish authorities
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Design & Layout:
; Photo credits: © Herman Sorgeloos, shutterstock.com, Il Fondamento