Performance in Asse

Thus, in his house in Uccle, there are a dozen miniature baroque theatrical scenes, carefully and lovingly assembled and painted, in which all sorts of characters are active - each in a space of about a cubic metre... Everything lives and talks in it, we are in the middle of it, so to speak... This is not a meticulous "reconstruction", but a powerful fantasy, a communicative energy, which blows over this "old" design!
The "baroque" bursts out everywhere in this simple house: everything is theatrical, artfully arranged and applied - the eye does not know where to look first. Even the modest garden contains many baroque and classical sculptures, as you would expect...
The painting studio itself, on the top floor, is relatively small. Everywhere there are folders containing gouaches (landscapes, figures, allegories, still lifes) and drawings for theatre sets.

Thierry is not aiming to receive many visitors, he seems to like being alone in his kingdom. As a visitor, you are welcome, but he is not an exuberant guide in his domain... This modesty characterises him. 

In 1993 we asked him to create the sets and costumes for Antonio Caldara's opera "I Disingannati" (a carnival opera based on Moliere's Misanthrope - Vienna, 1729), which we performed with LPB at the Innsbruck Early Music Festival, of which Réné Jacobs was then the artistic director. I can still see Thierry in front of me, there in the studio of the Landestheater, painting the costumes (yes!) in his dashing, baroque style. It was unforgettable and impressive - he was in his element! Later, in the nineties, he painted on a large window in our house in Asse: sometimes he worked with two brushes at the same time - one in each hand! In this way, the flowers came out of his imaginative brain incredibly quickly...
In 2001 he published a beautiful book on "Versailles Disparu" - On the one hand, he painted for this book many famous buildings and gardens still existing within this incomparable domain, but on the other hand, he also includes paintings of many constructions and views that unfortunately have disappeared by now.



In the spring of this year 2021, we asked Thierry Bosquet to create a painting for the 50th anniversary of La Petite Bande in 2022.

 

1. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Introitus: Requiem
2. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Kyrie
3. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Dies Irae
4. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Tuba mirum
5. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Rex tremendae
6. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Recordare
7. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Confutatis
8. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Lacrimosa
9. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Domine Jesu Christe
10. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Hostias
11. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Sanctus
12. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Benedictus
13. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Agnus Dei
14. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Lux aeterna

https://www.challengerecords.com/products/161409370377.01

This recording was made at the beginning of February 2020 in the somewhat futuristic theatre in Blaibach (Bavaria - you can see it via Google as soon as you enter "Blaibach"...) which was built in 2014 on the initiative of the German baryton Thomas Bauer. You can also listen to Thomas Bauer on this CD: he participated as a soloist and bass in the vocal quartet ! 

Finally, due to the corona crisis, this recording was the last activity of LPB this year 2020: all the other projects of 2020 were cancelled one by one from March onwards, or postponed to a later date, which often had to be cancelled again  ... 
The future of cultural life all over the world remains uncertain ... La Petite Bande has enough plans, the audience will be able to enjoy our performances again as soon as possible! 

How to proceed to donate?

1. Please, send us by mail (info@lapetitebande.be) the necessary information concerning your donation: your name, home address, the language in which you want to receive the book (English, French , German or Dutch), the number of books, the way of payment you will use.
2. For transmitting your donation, you can make a bank transfer to the bank-account of “Votre Petite Bande”
   IBAN: BE30 4310 6868 0111
   BIC: KREDBEBB

Mozart wrote these three concertos for harpsichord or fortepiano, with full orchestra. He also wrote them in such a way that the wind parts might be omitted, and the traditional four string quartet instruments used to create a chamber version of the work. Clearly, this called for very careful string writing and attention to balance. Colour, too, will have been a consideration for Mozart as he wrote for winds to enrich the orchestral texture.
This recording uses fortepiano with the quartet version but makes one important change. Conductor and, in this instance, first violinist Sigiswald Kuijken has replaced the cello with a double bass. His argu¬ment for this is that Mozart would likely have assumed that most private buyers of his published score owned harpsichords and would have chosen the chamber version, where the harpsichord was better balanced with the four string instruments. In choosing to record with the more robust fortepiano, the louder, richer bass was an equally robust alternative to the cello. Additionally, switching to double bass moves that pitch an octave lower, creating a fuller, more orchestral effect for the small ensemble.
The choice is a calculated but clever and effective one. It places a larger scale work in an intimate setting for a very satisfying and engaging performance.