If you follow this blog, you know I am an avid fan of the Utrecht Early Music Festival. For over two decades, I have been a regular visitor, often blogging about the festival’s fringe concerts.Sadly: not this year.
The Utrecht Early Music Festival may have ended; other festivals continue, will start, are scheduled. Some ensembles may have said goodbye or farewell to Utrecht, they will perform elsewhere.
My last fringe concert of this year’s Early Music Festival was another pot-luck affair. The fringe ticket boot had two last cards for an afternoon fringe concert. The ensemble was called Fabridoen and according to the festival’s mini-brochure, they were to perform chansons.
My first fringe concert during this year’s Early Music Festival was a performance by Alter Ego. This ensemble consists of Eleonora Biscevic and Arianna Radaelli. This was apparently, the ensemble’s first performance at this festival.
As mentioned before, like many other early music fans, I can no longer reach the Utrecht Early Music Festival’s fringe ticket boot in time. You need to visit this boot early morning, before concerts start, to obtain tickets for most free fringe concerts. This is the reason, I no longer post four or more times a day during this festival.
The first fringe concert I attended at Utrecht’s Early Music Festival, had been full of Schumann? This year’s festival theme is Naples? Italian music next; with Trio Rosa Mundi from Basel!
The Utrecht Early Music Festival closed with delightful concerts, delicious workshops, lectures, as well as its traditional market. The market draws crowds interested in early music CDs, sheet music and replicas of musical instruments. I was on my way to admire harps and harpsichords, when I stopped in my tracks: what on earth was that?
No need to start searching for this CD by the Clara Wieck Trio. It was produced in 1990, at Sandhausen; with Rudolf Bayer as producer. I bought it slightly later, at the annual Utrecht Early Music Festival.
Fanny Mendelssohn’s music was – dare one say ‘of course’ – not played during this literary evening. A few compositions by her brother were – dare one add ‘of course’. Regardless; this literary evening during which cellists and music took center-stage, was of course a huge success.
Inspired by Thea Derks’ short lecture on women composers, I searched for books on female composers. Turned out what was available at the library, had already been banned to the ‘open storage’. Shelved on a floor, from which the next step is being sold, given away, destroyed, for ever obliterated.
The only exception: ‘Liebste Fenchel!’, a German novel by Peter Härtling.