Programma woensdag 3 juni 2009

Aanvangstijd 12:45 uur
Locatie Kloosterkerk
Uitvoerenden Lotus: InĂªs d'Avena (blokfluit) en Claudio Ribeiro (klavecimbel)

Programma 

François Couperin (1668-1733)
Troisiéme Concert Royaux (excerpts)
- Prélude (Lentement)
- Allemande (Légérement)
- Sarabande (Grave)
- Muzette (Naïvement)
- Chaconne (Legere)
(from Troisiéme livre de piéces de clavecin (Paris, 1722)
Georg Friederich Händel (1685-1759)
Prelude et Chacoone avec LXII Variations (excerpts)
(Amsterdam, G. F. Witvogel, 1731?)
Francesco Mancini (1672-1737)
Sonata XI
- Un poco andante
- Allegro
- Largo
- Allegro
(from XII solos for a flute with a thorough bass for the harpsicord or bass violin (London, Walsh, 1724)

Informatie over de uitvoerende(n)

Born in 1983 in Rio de Janeiro, Inês d'Avena moved to Holland in 2001 to study at the Koninklijk Conservatorium in The Hague. In May 2005 she concluded the Bachelor Degree in Music under the orientation of Reine-Marie Verhagen; in the same year finished the teaching diploma with the jury's compliments on her work with young musicians. Compelled by a keen and genuine interest in Neapolitan baroque music and by the wish to continue to perfect her recorder skills, continued studies at the Royal Conservatoire, under the orientation of Sébastien Marq and with musicological research on "The recorder in early 18th century Naples" supervised by Peter van Heyghen. In May 2007 she finished the Master Degree at the Koninklijk Conservatorium.
Inês has performed with the Nationale Reisopera and took part at the 12ème Académie Baroque Européenne d'Ambronay under the direction of William Christie, with concerts throughout France and Spain; she has also performed as soloist at the Anton Philipszaal, at the Château de Chimay and participated in the fringe program of the Holland Festival Oude Muziek in Utrecht in 2004 and 2006, the later with three concerts in different formations. In 2006 Inês co-founded the COLLEGIUM MUSICUM Den Haag, with which she performs regularly throughout Holland and Austria. The orchestra, directed by Claudio Ribeiro has already recorded 2 CDs. She recently performed as soloist with the Amsterdam Baroque Orchestra at the Itinéraire Baroque Festival.
Claudio Ribeiro was born in São Paulo, Brazil in 1976. His musical training began at the age of 7 with piano. In 1994 he went to the State University of Campinas (UNICAMP) where he earned his Bachelor degree in conducting and studied harpsichord with Edmundo Hora. He earned a second Bachelor Degree in 2004 and a Master Degree in 2006 at the Royal Conservatoire in The Hague, as student of harpsichordist Jacques Ogg. He has attended harpsichord masterclasses with Cristophe Rousset, Olivier Baumont, Nicolau de Figueiredo, and Rudi van Straten. In 1999, he was awarded at the IX Rotary Competition of Instrumental Music for Youngsters in Campinas. His skills as a musical director derive as much from his virtuosity as a harpsichordist as from his broad musical training.
Noteworthy groups with whom Mr. Ribeiro has performed: Harmonie Universelle (dir. Florian Deuter), Vox Brasiliensis (dir. Ricardo Kanji), Het Anna Kathrijnse Orkest (dir. Ralf Blasi), and the orchestra of the Académie Baroque Européenne in 2002 (dir. Rinaldo Alessandrini) and 2005 (dir. William Christie). In addition to his activities with COLLEGIUM MUSICUM Den Haag which he founded and directs since 2006, Mr. Ribeiro directs the baroque orchestra Companhia de Música in Brazil, is a member of the ensembles LOTUS, Giardino Musicale and Música Temprana, and has worked for several years as regular accompanist at the Early Music International Festival of Juiz de Fora. He is also guest teacher and accompanist at the Royal Conservatoire in The Hague.
Formed in The Hague in 2004, the members of Lotus have been working together since 2001. Its core repertoire consists of pieces from the 17th and 18th Centuries originally written for recorder and harpsichord or continuo and, when suitable and historically justifiable, transcriptions of works from that period originally written for other instruments. The observation of sound stylistics and historical performance practices and a lively rendition of the music mark their presentation.

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