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

Conductor

Vlad Weverbergh

Instrumentalist

Clarinet

Orchestra

Terra Nova Collective

Mozart / Leemans: Vlámský Klasicismus

Ostrava

Czech Republic

Kostel Sv. Cyrila a Metoděje

Mozart / Leemans: Flemish Classicism: Concert Various

Public

Ouverture in C

Clarinet Concerto in A Major, K. 622

Symphony No. 49 in F Minor, Hob. I/49

Symphony No. 9 in G major

Symphony No. 4 in C major

Symphony No. 12 in D Major

Approved

Accordionist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Off-Stage Artist

On-Stage Artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Bass-baritone

Singer

Tenor

Countertenor

Baritone

Contralto

Mezzo-soprano

Soprano

Bass

Alto

Child vocalist

Continuo

Silent

Spoken

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

Mozart / Leemans: Vlámský Klasicismus by Van Maldere, Mozart, Haydn, Leemans, H., Alates (2023/2023), Dirigent Vlad Weverbergh, Kostel Sv. Cyrila a Metoděje, Ostrava, Czech Republic

Etenduse krediiti (Näitlejad ja meeskond )

Ansambel

Programm, teave ja kokkuvõte

Videod

Fotod

Lisalugemist

Esinemiskuupäevad ja -kohad

Etenduspaigad