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  conservatorium amsterdam summerschool 20...
the amsterdam institute for music from 1600-1800 (aim) is an early music course targeting the historically informed performance of baroque and classical music. the course is open to participants of all ages (instrumentalists as well as vocalists) and will include private lessons from expert teachers from the early music faculty at the conservatorium van amsterdam, as well as workshops, master classes, lectures, concerts, and lots of chances to play with fellow students from all over the world. comparaison de la musique italienne et de la musique française as the title suggests, this years summer course will examine the differences between the french and italian musical styles of the 17th and 18th centuries, both in terms of composition and performance practice. singers and instrumentalists will work, both in private lessons and master classes, on a broad range of repertoire from either italy or france, and will perform at the workshop recitals. a highlight of the course will be a master class for harpsichordists led by gustav leonhardt. there will also be lectures by faculty members, and daily baroque dance classes will keep participants moving with 18th-century grace. faculty guest: gustav leonhardt harpsichord master class tuesday 26 (10.00-13.00) max van egmond voice maria angad gaur baroque dance jed wentz baroque and classical flute alfredo bernardini baroque and classical oboe (only august 25, 26 and 27) fiorenza de donatis baroque violin benny aghassi baroque and classical bassoon barbara kernig baroque cello jacques van oortmerssen organ constance allanic historical harp bob van asperen harpsichord stanley hoogland fortepiano thérèse de goede basso continuo paul leenhouts recorder, also consort playing baroque dance course this years summer course at the conservatorium van amsterdam offers all participants a rich opportunity to become acquainted with baroque dance through daily lessons lead by historical dance specialist maria angad gaur. in 17th-century france, dance developed into a major art form. thanks to king louis xiv, who founded in 1661 the académie royal de dance, dance became an inspirational model for instrumental music written by the greatest french composers of the time, many of whom danced themselves. jean baptiste lully, for instance, was a very good dancer. the french style became fashionable in the whole of europe and inspired composers such as telemann, handel and j.s. bach. for musicians today, an experience with 17th-century dance will help to make clear the characteristic rhythms and tempi of baroque music. the course will include: basic baroque dance steps, arm movements, and various dance rhythms in relationship to the music. in addition, the feuïllet dance notation will be explained. we will also be working on an authentic choreography, along with the music belonging to it. the amsterdam institute for music from 1600-1800 (aim) is an early music course targeting the historically informed performance of baroque and classical music. the course is open to participants of all ages (instrumentalists as well as vocalists) and will include private lessons from expert teachers from the early music faculty at the conservatorium van amsterdam, as well as workshops, master classes, lectures, concerts, and lots of chances to play with fellow students from all over the world. comparaison de la musique italienne et de la musique française as the title suggests, this years summer course will examine the differences between the french and italian musical styles of the 17th and 18th centuries, both in terms of composition and performance practice. singers and instrumentalists will work, both in private lessons and master classes, on a broad range of repertoire from either italy or france, and will perform at the workshop recitals. a highlight of the course will be a master class for harpsichordists led by gustav leonhardt. there will also be lectures by faculty members, and daily baroque dance classes will keep participants moving with 18th-century grace. faculty guest: gustav leonhardt harpsichord master class tuesday 26 (10.00-13.00) max van egmond voice maria angad gaur baroque dance jed wentz baroque and classical flute alfredo bernardini baroque and classical oboe (only august 25, 26 and 27) fiorenza de donatis baroque violin benny aghassi baroque and classical bassoon barbara kernig baroque cello jacques van oortmerssen organ constance allanic historical harp bob van asperen harpsichord stanley hoogland fortepiano thérèse de goede basso continuo paul leenhouts recorder, also consort playing baroque dance course this years summer course at the conservatorium van amsterdam offers all participants a rich opportunity to become acquainted with baroque dance through daily lessons lead by historical dance specialist maria angad gaur. in 17th-century france, dance developed into a major art form. thanks to king louis xiv, who founded in 1661 the académie royal de dance, dance became an inspirational model for instrumental music written by the greatest french composers of the time, many of whom danced themselves. jean baptiste lully, for instance, was a very good dancer. the french style became fashionable in the whole of europe and inspired composers such as telemann, handel and j.s. bach. for musicians today, an experience with 17th-century dance will help to make clear the characteristic rhythms and tempi of baroque music. the course will include: basic baroque dance steps, arm movements, and various dance rhythms in relationship to the music. in addition, the feuïllet dance notation will be explained. we will also be working on an authentic choreography, along with the music belonging to it. the amsterdam institute for music from 1600-1800 (aim) is an early music course targeting the historically informed performance of baroque and classical music. the course is open to participants of all ages (instrumentalists as well as vocalists) and will include private lessons from expert teachers from the early music faculty at the conservatorium van amsterdam, as well as workshops, master classes, lectures, concerts, and lots of chances to play with fellow students from all over the world. comparaison de la musique italienne et de la musique française as the title suggests, this years summer course will examine the differences between the french and italian musical styles of the 17th and 18th centuries, both in terms of composition and performance practice. singers and instrumentalists will work, both in private lessons and master classes, on a broad range of repertoire from either italy or france, and will perform at the workshop recitals. a highlight of the course will be a master class for harpsichordists led by gustav leonhardt. there will also be lectures by faculty members, and daily baroque dance classes will keep participants moving with 18th-century grace. faculty guest: gustav leonhardt harpsichord master class tuesday 26 (10.00-13.00) max van egmond voice maria angad gaur baroque dance jed wentz baroque and classical flute alfredo bernardini baroque and classical oboe (only august 25, 26 and 27) fiorenza de donatis baroque violin benny aghassi baroque and classical bassoon barbara kernig baroque cello jacques van oortmerssen organ constance allanic historical harp bob van asperen harpsichord stanley hoogland fortepiano thérèse de goede basso continuo paul leenhouts recorder, also consort playing baroque dance course this years summer course at the conservatorium van amsterdam offers all participants a rich opportunity to become acquainted with baroque dance through daily lessons lead by historical dance specialist maria angad gaur. in 17th-century france, dance developed into a major art form. thanks to king louis xiv, who founded in 1661 the académie royal de dance, dance became an inspirational model for instrumental music written by the greatest french composers of the time, many of whom danced themselves. jean baptiste lully, for instance, was a very good dancer. the french style became fashionable in the whole of europe and inspired composers such as telemann, handel and j.s. bach. for musicians today, an experience with 17th-century dance will help to make clear the characteristic rhythms and tempi of baroque music. the course will include: basic baroque dance steps, arm movements, and various dance rhythms in relationship to the music. in addition, the feuïllet dance notation will be explained. we will also be working on an authentic choreography, along with the music belonging to it.
  willem de fesch: oratorio "joseph"
these are two splendid arias these are two splendid arias these are two splendid arias
  w. de fesch: i'll the lion dauntless mee...
willem de fesch (1687, alkmaar -- january 3, 1761) was a virtuoso dutch violone player and composer. the pupil of karel rosier, who was a vice-kapellmeister at bonn, willem later married his daughter, maria anna rosier. de fesch was active in amsterdam between 1710 and 1725. from 1725 to 1731 he served as kapellmeister at antwerp cathedral. thereafter he moved to london where he gave concerts and played the violone in händel's orchestra in 1746. in 1748 and 1749 he conducted at marylebone gardens. he apparently made no public appearances after 1750. his works included the oratorios willem de fesch (1687, alkmaar -- january 3, 1761) was a virtuoso dutch violone player and composer. the pupil of karel rosier, who was a vice-kapellmeister at bonn, willem later married his daughter, maria anna rosier. de fesch was active in amsterdam between 1710 and 1725. from 1725 to 1731 he served as kapellmeister at antwerp cathedral. thereafter he moved to london where he gave concerts and played the violone in händel's orchestra in 1746. in 1748 and 1749 he conducted at marylebone gardens. he apparently made no public appearances after 1750. his works included the oratorios willem de fesch (1687, alkmaar -- january 3, 1761) was a virtuoso dutch violone player and composer. the pupil of karel rosier, who was a vice-kapellmeister at bonn, willem later married his daughter, maria anna rosier. de fesch was active in amsterdam between 1710 and 1725. from 1725 to 1731 he served as kapellmeister at antwerp cathedral. thereafter he moved to london where he gave concerts and played the violone in händel's orchestra in 1746. in 1748 and 1749 he conducted at marylebone gardens. he apparently made no public appearances after 1750. his works included the oratorios
  w.de fesch:o'er the desearts,o'er the ma...
willem de fesch (1687, alkmaar -- january 3, 1761) was a virtuoso dutch violone player and composer. the pupil of karel rosier, who was a vice-kapellmeister at bonn, willem later married his daughter, maria anna rosier. de fesch was active in amsterdam between 1710 and 1725. from 1725 to 1731 he served as kapellmeister at antwerp cathedral. thereafter he moved to london where he gave concerts and played the violone in händel's orchestra in 1746. in 1748 and 1749 he conducted at marylebone gardens. he apparently made no public appearances after 1750. his works included the oratorios willem de fesch (1687, alkmaar -- january 3, 1761) was a virtuoso dutch violone player and composer. the pupil of karel rosier, who was a vice-kapellmeister at bonn, willem later married his daughter, maria anna rosier. de fesch was active in amsterdam between 1710 and 1725. from 1725 to 1731 he served as kapellmeister at antwerp cathedral. thereafter he moved to london where he gave concerts and played the violone in händel's orchestra in 1746. in 1748 and 1749 he conducted at marylebone gardens. he apparently made no public appearances after 1750. his works included the oratorios willem de fesch (1687, alkmaar -- january 3, 1761) was a virtuoso dutch violone player and composer. the pupil of karel rosier, who was a vice-kapellmeister at bonn, willem later married his daughter, maria anna rosier. de fesch was active in amsterdam between 1710 and 1725. from 1725 to 1731 he served as kapellmeister at antwerp cathedral. thereafter he moved to london where he gave concerts and played the violone in händel's orchestra in 1746. in 1748 and 1749 he conducted at marylebone gardens. he apparently made no public appearances after 1750. his works included the oratorios
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