Johann Christoph PEZ, Ouvertures — Concerti Johann Christoph Pez, Ouvertures — Concerti

It still seems that occasionally musical pearls that have remained hidden by the veil of history resurface. This is without any doubt true for the concerti and overtures of Johann Christoph Pez. Pez clearly demonstrates in his concertos and suites that he was capable of much more than simply composing in the styles of his more famous peers: his unusual personality is especially expressed through the great dramatic power of his French overtures, worthy of Keiser, or a young Handel; through the sublime fusion of French and Italian stylistic elements, where he reaches at least the level of his German contemporary Muffat, also a proponent of the Vermischter Geschmack; and through his seemingly inexhaustible melodic inventiveness, that would only be equalled after his death by as great a figure as Telemann. In short, Johan Christoph Pez isn't just one of the many composers that could be resurrected from obscurity simply in order to satisfy a desire for originality: his work is surely of much greater importance than has yet been recognised, and his concertos and suites represent if not the most essential certainly the most varied and attractive part of it his oeuvre.

Peter Van Heyghen

les Muffatti  LES MUFFATTI came into being to satisfy the need felt by several young Brussels musicians — with an eye to performing Baroque orchestral repertoire — to establish a professional working environment where the basic pleasure of music-making, the refinement of skills, and the investigation of content could be equably combined. Their enthusiasm, application and idealism resonated with Baroque specialist Peter van Heyghen, who joined the ensemble as permanent coach and conductor. They presented their debut concert in Brussels in 2004, and have since performed in Belgium, The Netherlands, France, Germany, Italy and Portugal. They have appeared numerous times in the Concertgebouw in Bruges, at the Musica Sacra festival in Maastricht, and at the renowned Early Music festivals in Bruges and Utrecht.
The ensemble's name refers to the cosmopolitan composer Georg Muffat (1653-1704), a key figure in the orchestra's history, and one of the first writers to describe in detail the great stylistic differences between French and Italian Baroque music. LES MUFFATTI's first recording was devoted to the works of this composer.
The central element of LES MUFFATTI's performance practice is their permanent endeavour to perfect a musical approach grafted to the inherent theatricality so elemental to Baroque art. This goal — one reaching much further than simply the correct performance of a score — is based on the conviction that this highly affective and rhetorical form of communication is not only typical of the Baroque, but is essentially universal in character. A thorough knowledge of style, appropriate playing techniques and a carefully assembled instrumentarium allow LES MUFFATTI to continually entertain, move and convince modern audiences with historic repertoire.

Peter Van Heyghen, direction
Sophie Gent (KM), Marie Haag, Laurent Hulsbosch, Marcin Lasia, Catherine Meeùs, Tuomo Suni, Benedicte Verbeek, violins
Wendy Ruymen, Julie Vermeulen, Heidi Verbruggen, Manuela Bucher, violas
Marian Minnen, Corentin Dellicour, Marc Vanscheeuwijck, cellos and bass violins
Benoît Vanden Bemden, double bass and violone
Kris Verhelst, harpsichord
Bart Jacobs, organ
Bernard Zonderman, archlute, theorbo and guitar
Vinciane Baudhuin, Taka Kitazato, Benoît Laurent, Stefaan Verdegem, oboes and taille
Kamila Marcinkowska, bassoon


PETER VAN HEYGHEN was trained as a recorder player and singer at the Royal Conservatory in Gent (Belgium). Through the years he developed into an internationally acknowledged specialist in the field of historical performance practice of both Renaissance and Baroque music. He performs worldwide as a soloist, with the recorder consort Mezzaluna, with the chamber music ensemble More Maiorum, as the co-director of the Dutch vocal Renaissance ensemble Cappella Pratensis and as the conductor and artistic director of the Brussels Baroque orchestra Les Muffatti. He is a regularly invited guest at the early music festivals of Bruges, Antwerp, Utrecht, and St.Petersburg, among others.
In 2005 he was selected as the »festival star« of the Bruges Musica Antiqua festival by the Flemish radio channel Klara. Between 2007 and 2009 his ensembles will be in residence at the Centre for Early Music Augustinus in Antwerp. He has recorded for the labels Passacaille, Eufoda, Accent, Opus 111, Klara and Ramée.
Peter Van Heyghen is also active as a researcher, publicist and teacher. He is professor of Historical Performance Practice at the Early Music Departments of the Royal Conservatories in Brussels and The Hague, and is also regularly invited to give masterclasses, lectures and conduct workshops throughout the world.
In more recent years, Peter Van Heyghen has been increasingly active as a conductor and teacher in the field of the Baroque operatic repertoire. Together with stage-director and choreographer Sigrid T'Hooft he has conducted the opera workshop at the Händel-Akademie in Karlsruhe since 2003, and they have been invited to be the artistic directors of a full-scale production of Handel's opera Radamisto at the Badisches Staatstheater in Karlsruhe in February 2009.

Ouverture 1.Ouverture — Presto — Lentement
B flat major (R.9) 2. Allemande
  3. Aria: Largo
4. Rondeau: Presto alternativement avec le Trio
  5. Aria: Adagio
  6. Menuet alternativement avec le Trio
  7. Gavotte: Presto
  8. Gigue en Rondeau: Presto
Concert Sonata 9. Adagio
F major (R.15) 10. Presto — Adagio
  11. Fuga: Alla breve
  12. Presto — Adagio — Presto — Adagio
  13. Allegro
Concerto Grosso / Sinfonia 14. Sinfonia: Adagio e dolce
G minor (R.18) 15. Rondeau: Allegro
  16. Aria: Andante e dolce
  17. Menuet — Trio
  18. Aria: Presto
  19. Aria: Allegro
  20. Chaconne
  21. Bourrée: Presto
Sonata / Concert Simphonia 22. Sinfonia: Grave e dolce — Presto — Adagio
G major (R.11) 23. Fuga: Allegro assai
  24. Aria: Presto
  25. Aria: Adagio
  26. Menuet — Trio
  27. Rondeau: Presto
  28. Gigue: Presto
Ouverture / Pièces pour la Musique de Table 29. Ouverture — Presto
D minor (R.24/D.7) 30. Entrée
  31. Air
  32. Rondeau
  33. Menuet alternativement avec le Trio suivant
  34. Gique
Concert Pastoral 35. Pastorella
D major (R.16) 36. Allegro — Largo/Adagio — Allegro
  37. Andante