Camiel about this programme: ”…It is no coincidence that Schubert and Mozart are two favourite composers of Camiel Boomsma and Iyad Sughayer. Mozart and Schubert both share a special kind of purity and sensitivity.
Such is also the case with the musicianship of Boomsma and Sughayer. When both pianists met each other in London they immediately engaged in lively conversation about their shared passion.
Boomsma and Sughayer strongly sense each other’s individual interpretation. Sughayer’s natural feeling for the profound bright music of the Viennese masters, and Boomsma’s strong intuition for the romantic soul complement each other like yin and yang. Their shared love for poetic and romantic music is expressed in the ever so beautiful Dolly Suite by Fauré and in Dvorak’s picturesque Slavonic dances. A perfect match!…”
Piano Sonata for 4 hands, KV 521 (15’)
Fantasie in F minor for Piano Four Hands, D940 (20’)
The performance Ten Songs of Change is a Concert Poem. It is based on the Yi Jing, the ancient Chinese book of wisdom, possibly the oldest book on the planet. Like other monuments of human culture, it was a cooperative effort spanning many centuries. The oldest ideas in the book were probably handed down by the elders of nomadic tribes. These early authors observed the stars and tides, plants and animals, various cycles of natural events, as well as patterns of relationship in families and societies, the practice of business, craft of government and the grim art of warfare and the eternal human dramas
of love, ambition, conflict and honour. And instead of creating a fixed chart of the cosmos, they put together a guide to the way things change: a fluid interconnected system of relations: the 8 trigrams and 64 hexagrams. My inspiration for the music came from the emotional aspects attributed to the eight trigrams, which form the basic elements in nature. During the process of writing the music, something special happened: the energy of each trigram I was composing the music for, appeared in various areas of my life. Having such tangible experience of the trigrams enabled me to transform the experience in a very direct way into music. The order of the trigrams presented in our performance forms an entire cycle of day and night, as each trigram also represents a specific time of day. We begin and end at nighttime. (Marion von Tilzer)
The Rubens Consort is a flexible ensemble made up of world-class musicians who share friendship and a passion for chamber music. Rooted in the rich and refined tradition of the former Rubens Quartet, the leaders of the Consort interpret masterpieces for small and large ensembles from all periods in music history. The musicians of the Rubens Consort gratefully play on instruments on loan to them from the Dutch Music Instrument Foundation.
For the coming seasons they have planned two programmes:
Bach / Sitkovetsky
Five Stringquartets (opus 3, 8 and 9:1-3) in a series of two concerts, completed with Duet mit zwei obligaten Augengläsern (viola/cello)
As part of his Chopin piano concerto no. 2 album recording and concerts with the North Netherlands Symphony Orchestra, Camiel has joined hands with Amsterdam based Club Classique to play Chopin’s piano concerto in an arrangement for piano and string quintet (string quartet optional). Club Classique regularly appear on television for Podium Witteman and has performed at the Concertgebouw Amsterdam.
Programme 1 with string quintet:
Quintet for piano, violin, viola, cello and double bass D667
Piano Concerto no 2, opus 21 for piano and string quartet
Programme 2 with string quartet:
Gretchen am Spinnrade (arr. Franz Liszt for piano solo)
Four Impromptus, D. 899, Op. 90: No. 1 in C minor – No. 2 in E-flat
major – No. 3 in G-flat major – No. 4 in A-flat major
Piano Concerto no 2, opus 21 for piano and string quartet
Jean and Steven about the programme: “…The music on this programme draws inspiration from our love of jazz and jazz-influenced music, as well as celebrates two composers who were great champions of both clarinet and piano, Johannes Brahms and Carl Maria von Weber. As a clarinettist, I love playing lyrical music with lines that sing and speak, and this program is full of great melodies. All the pieces on this programme are equally weighted for both players, always being music for clarinet and piano just as much as it is for piano and clarinet.
George Gershwin is a composer whose music is deeply ingrained in the American subconsciousness. His beautifully crafted compositions secured a place for jazz and other music from the Americas into the essential American classical repertoire. It is a pleasure to play this arrangement of the Three Preludes for clarinet and piano, especially when we take a peek and see the audience’s feet tapping all together with the music.
This (2018) is Bernstein’s 100th birthday year, and the Clarinet Sonata was a young Bernstein’s first published piece. The Sonata follows on nicely from Gershwin with its hints of Copland, Hindemith, and the jazzy sounds of Manhattan.
The Sonata by Poulenc was one of the last pieces he wrote. Intended for the “King of Swing” Benny Goodman, the style is in contrast, or even in rebellion to, the impressionistic style of Debussy and Ravel and the other excesses of 19th-century music that Poulenc felt were present in the likes of Wagner. Instead, Poulenc writes clear lines reminiscent of French popular song and jazz found in the Music Hall. Poulenc passed away before he could perform the piece with Goodman, and so it was premiered in Carnegie Hall with Leonard Bernstein on the piano in 1963.
The Brahms Sonata No 2, Op 120 in E flat is one of the pieces that established us as a duo several years ago. The Opus 120 Sonatas are Brahms’ very last works and are the output of an inspired, fully-formed, master composer. The Sonata in E flat is full of friendliness, intimacy, lyricism, and conversation, and it delights in the sonority and capability of the modern piano.
The Weber Grand Duo Concertant is a brilliant showcase for both players and is an opportunity for us both to be dramatic, operatic, and display our virtuosity…”