Brussels Philharmonic | Concert + Lecture: Atelier Palazzetto Bru…

Atelier Palazzetto Bru Zane

Brussels
Flagey

Step into our atelier and become part of our creative process. ----- Welcome in our workshop, temporarily transformed into a time capsule: the legendary Studio 4 at Flagey. On the workbench, unpublished manuscripts for orchestra and tenor from the collections ...

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Tickets

PROGRAMME

music byn Louis Vierne / Félicien-César David / Théodore Dubois / Benjamin Godard / Charles-François Gounod / Fernand de La Tombelle / Camille Saint-Saëns / Gabriel Fauré / César Franck / Jules Massenet / Ambroise Thomas / Benjamin Godard / Fernand de La Tombelle

YOUR CONCERT DAY

∙ 13:00 doors open
∙ 14:00 concert + lecture Alexandre Dratwicki (FR) (without intermission)
∙ 15:00 end

PRACTICAL

Flagey, Studio 4 ∙ Place Sainte-Croix, 1050 Ixelles ∙ how to reach the venue

with the support of Beside Tax Shelter and the Belgian Tax Shelter

"When the team at the Palazzetto Bru Zane took an interest in the lesser-known works of Camille Saint-Saëns a few years ago, a series of manuscripts for voice and orchestra emerged from the collections of the Bibliothèque nationale de France. They formed a varied and appealing set of mélodies with orchestra, in the tradition of Berlioz’s famous Nuits d’été. Could it be that such a body of work had remained unpublished for so long?

A letter from the composer to his colleague Marie Jaëll shed more light on his aim: “If you want to use orchestra for your Lied, don’t hesitate; the Lied with orchestra is a social necessity. If we had more of them, we wouldn’t always have to sing opera arias in concerts, where they so often cut a poor figure” (1876).

As research continued, an entire musical continent soon emerged, seemingly endless. This archipelago—undoubtedly more than a thousand titles—consists mostly of unpublished scores, which have therefore never been recorded. This treasure hunt is only just beginning, as evidenced by the program offered here by tenor Cyrille Dubois, under the baton of Pierre Dumoussaud."

– Alexandre Dratwicki

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