Name: Mozart Leemans: Vlámský Klasicismus
Start: 2023-09-14T00:00:00.000Z
End: 2023-09-14T00:00:00.000Z
Location: Kostel Sv. Cyrila a Metoděje

Organization

Svatováclavský hudební festival

Maestro

Vlad Weverbergh

Instrumentista

Clarinete

Orchestra

Terra Nova Collective

Mozart / Leemans: Vlámský Klasicismus

Ostrava

Tchéquia

Kostel Sv. Cyrila a Metoděje

Mozart / Leemans: Flemish Classicism: Concert Various

Public

Ouverture in D

Concerto para clarinete em lá maior, K. 622

Sinfonia nº 49 em fá menor, Hob. I/49

Symphony No. 9 in G major

Symphony No. 4 in C Major

Symphony No. 12 in D Major

Approved

A man from Bruges in Paris 
Hébert Leemans, was originally a citizen of Bruges, as was his contemporary Suvée; they both moved to the French capital at approximately the same time. Leemans was then to play a significant role in the development of the early French symphonic style. Live  at AMUZ, Antwerp,  Vlad Weverbergh & Terra Nova Collective, performed on period instruments.

The symphonies of Hébert Leemans 
Leemans’ production of fourteen symphonies thatwe know of is by no means small in comparison with Gossec’s twenty-four symphonies. It is also strongly suspected that there are further symphonies that have not yet come to light: the publisher Le Menu included a catalogue of other publications by Leemans in his edition of Opus V, in which he mentions an unknown symphony by Leemans “d’airs d’opéra comique”. There is also the lost volume of Leemans’ Opus 2. The symphonies of Opus I (1765) seem to have been written for orchestras that corresponded to the private orchestras of the aristocracy; Leemans therefore ensured not only that his works could also be played by strings alone but also mentioned that certain instruments could be replaced by others on the title page. He specified, to give one example, that the oboe parts can be exchanged for clarinets in the first  and third symphonies. In this Leemans follows Gossec’s practice in his sets of six symphonies Opus 4 (1758), Opus 5 (1761-1762), the symphony in D (1762) and Opus 8 (1765). Gossec explicitly specified the use of the clarinet only in his later symphonies. Other composers also included such an optional clarinet part, including Franz Ignaz Beck (1734-1809) in his symphonies Opus 3 (1762) and 4 (1767), and Carl Joseph Toeschi (1731-1788) in his symphonies Opus 3 (ca. 1765). 
Leemans does not call for clarinets in the Trois simphonies (1765) published by Bérault, but notes that the oboes can be replaced by transverse flutes, also adding that“les deux première se jouë Egalement sur la Clarinette”. We have chosen to use oboes in this recording. The Trois simphonies à grande orchestre published as Opus 4 in 1771 reflect the previously mentioned change in concert culture during the 1770s, when the focus gradually shifted from aristocratic circles with smaller orchestras playing for a limited and elite audience to concerts played in public places and with large orchestras for a wider audience of both citizens and aristocrats. The symphonies of Hébert Leemans were not played at Le Concert Spirituel as far as we know. There is much less information available, however, about Le Concert des Amateurs, andit is possible that Leemans composed his final set of symphonies for a performance planned there. The title page reads Trois simphonies à grande orchestre and calls for the customary four string parts supplemented by two oboes and two horns. Leemans was not able to continue on this path because of his death in the autumn of 1771; his significance for the French symphony was therefore limited to the late 1760s, the years that just preceded the great flowering of Parisian orchestras and their music.

Leemans Symphony N°7 in F Major Allegro Vlad Weverbergh Terra Nova Collective

Créditos do espetáculo (Elenco & Equipe )

Conjunto