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1 Contents Introduction 3 First edition 4 Venues 5 Concerts 6 Other events 10 Organized by Actions & Réalisations pour la Démocratisation culturelle, artistique et musicale 3 rue des fossés Saint-Marcel 75005 Paris, FRANCE Association loi 1901 | APE 9003B | SIRET 539 475 178 00015 | TVA FR 43539475178 Cover : François Lemoyne, L'apothéose d'Hercule (Château de Versailles) 2 Introduction A baroque festival in the heart of Paris The Festival Paris Baroque gathers a team with common values and ambitions. – Develop baroque music concerts, its repertoire andmilieu, in the heart of Paris. – Promote a cultural life in historical places of the city, in addition to the seasons of great music halls of the right bank. – Give access to high culture for the youth and new audiences, with low prices and educational initiatives. The team Director Julien Le Mauff Coordinator Marie-Adeline Tavares ARDeCAM Actions and Realizations for the Democratization of Culture, Art and Music ARDeCAM is a nonprofit organization dedicated to new projects which aim to enhance the access of the public to classical culture. ARDeCAM supports the Festival Paris Baroque with its expertise and its human ressources and funds. Contact for the press Marie-Adeline Tavares. Téléphone : 06 65 26 25 89 Email : [email protected] 3 First edition Defending a legacy About 50 years ago, a revolution started in the interpretation of ancient music, from the Renaissance towards the end of the 18 th century, and even further. The « Historically informed performance » movement, playing on ancient instruments, followed its pioneers Alfred Deller, Nikolaus Harnoncourt, Gustav Leonhardt, and their fellow colleagues and pupils, to rediscover an entire section of our musical history, to change its approach, to resurrect instruments and their technique. Decade after decade, the « HIP » movement remained lively. Permanent structures were established, teaching courses, ensembles. Its musicians acquired a growing success in all Europe and beyond, reaching a public sometimes wider than other classical musicians. Paris experienced this baroque music spree in the 1980s, and the public still remembers fondly the Matthäus Passion performed in 1980 by Philippe Herreweghe and La Chapelle Royalle, in Saint-Étienne-du- Mont, or the opera production of Atys , by Jean-Marie-Villégier and William Christie, with Les Arts Florissants. Unfortunately, since these years of revival, most baroque ensembles have settled in other French cities and baroque concerts in the capital city are not so frequent anymore. Paris, despite its rich history, its unique cultural heritage, and the extensive seasons of its concert halls, is off the life and excitement of baroque events, festivals, institutions. The public regrets this situation, as the artists do, many of them living and teaching in Paris, without frequent opportunities to perform here. An independent and prestigious event, committed to promoting culture ! The Festival Paris Baroque takes on the challenge of creating a new musical event in the heart of Paris, in its most historical parts and in venues which have survived since the 17 th and the 18 th centuries. An event wich could compare with the most prestigious european festivals of baroque music (Utrecht, Innsbruck, Ambronay...). An event allowing internationally renowned artists and ensembles to play for Parisians every year. But also an event with unique characteristics to ensure its success and give it an identity worthy of Paris. First, this new festival is independent of all existing concert institutions, in Paris and its area, as were originally all the initiatives created by the « HIP » movement. Paris and its new festival should not be considered as an achievement for a movement contemplating its 50 years of history, but must become a new starting point, a new setting for the research to blossom in new directions. For this reason, the Festival Paris Baroque works from its first edition with young ensembles, and offers rarely performed works, or even unpublished, as the Te Deum by Colin de Blamont. Second, the festival will offer, starting this year, concerts which will reflect the whole european baroque landscape, its different national traditions, its different periods and musical colors. In order to achieve that, we have asked for the participation of artists who benefit from a well known reputation. Some of them are experienced, and can be considered as pioneer members of this movement (Hopkinson Smith, the Academy of Ancient Music); others are younger and claim this legacy, and they want to go further in the discovery of the baroque repertoire, as Benjamin Alard or the ensemble Les Ombres. Finally, the Festival Paris Baroque aims to initiate a new relationship with the public and to create at the end of each year, the excitement of a true festival. This is why we have decided to offer low rates, with 5 000 among 7 500 seats costing 25 euros or less. The festival will also offer other projects beside the concerts : free meetings with the artists, conferences, movie screening. There are many ideas which will certainly multiply in future years, thanks to the soppurt of the public and all its partners. 4 Venues Église Saint-Sulpice (Paris 6 e) – 2 000 seats Behind its neoclassical front, Saint-Sulpice remains the largest church the 17 th century gave to Paris, and the largest religious building in the capital, after Notre-Dame de Paris. Designed by Gittard and Oppenord (a pupil of Mansart), its unique outline with one nave, typical of Jesuit architecture, offers the listeners a CC BY-SA Cezary Piwowarski Cezary BY-SA CC unique acoustic and visual experience. Église Saint-Étienne-du-Mont (Paris 5 e) – 600 places One of the most beautiful churches of Paris, built between the end of the Middle Ages and the 17 th century, Saint-Étienne-du-Mont is easy to recognize, thanks to its superb jube, its Renaissance nave, and its baroque front. But it is also a legendary venue for the HIP movement, since the performance of Bach's Matthaüs Passion by Philippe Herreweghe in 1980. Niermann CC-BY-SATill Église Saint-Louis-en-l'Île (Paris 4 e) – 500 places ARDeCAM With its many mansions among the most beautiful in Paris, the Île Saint- © Louis is a district marked by its design made in the 17 th century, and its authenticity is admired and sought. Drawn by François Le Vau, the Saint-Louis church is built from 1664 and finished in the 18 th century, on a Gothic plan following the italian influence. The inner decoration is modified during two centuries to strengthen a specific baoque identity which has no equivalent in Paris.. Église des Billettes (Paris 4 e) – 270 places ARDeCAM © Finding its origins in the 13 th century, and rebuilt in the 1750s under the guidance of Jacques Hardouin-Mansart de Sagonne, the church and cloisters of Les Billettes, situated at the entrance of the Marais, are assigned to Lutheran worship since 1808. The church is noted for its musical programming throughout the year, for its marvelous accoustics and its intimate atmosphere. e Chapelle du lycée Henri-IV (Paris 4 ) – 350 places ARDeCAM © Settled in the ancient Sainte-Geneviève abbey, the Lycée Henri-IV is a high point of cultural and intellectual life in France, where concerts are frequently organized in its rooms. The current chapel occupies the ancient refectory of the abbey. 5 Concerts La Simphonie du Marais : « Sacred music from Richelieu to Louis XIV » Friday Nov. 23 – Église Saint-Sulpice – 8:30pm For the opening concert of the Festival Paris Baroque, the soloists, chorus and orchestra of La Simphonie Marais, directed by Hugo Reyne, will play in the church of St. Sulpice a program entirely devoted to the masterpieces of French Guy Vivien Guy sacred music, among which the famous Te Deum by Marc-Antoine Charpentier, © but also the equally remarkable one by Michel-Richard Delalande, and motets by Guillaume Bouzignac and Jean-Baptiste Lully. These works are representative of the reign of Louis XIII and his minister Richelieu, whose capture of La Rochelle inspired motets attributed to Bouzignac, and of the reign of Louis XIV, until its end, while the court of Versailles was dominated musically by Delalande. Program : Bouzignac (6 motets) / Charpentier ( Te Deum ) / Lully ( Motet de la paix ) / Delalande ( Te Deum ) Cast : Stéphanie Révidat (soprano) / Anne Magouët (soprano) / François-Nicolat Geslot (haute-contre) / Sébastien Obrecht (tenor) / Aimery Lefèvre (baritone) / La Simphonie du Marais / Le Chœur du Marais / Hugo Reyne (cond.) Hopkinson Smith : « From Renaissance to Baroque » Saturday Nov. 24 – Chapelle du lycée Henri-IV – 8:30pm Hopkinson Smith is acknowledged since the 1970s as the most influential master of the lute and the guitar from the Renaissance and Baroque, a tireless pioneer of a whole underestimated repertoire, and co-founder of Hespèrion XX with Jordi Savall! This recital, presented for the first edition of the Festival Paris P .Franke/Bariloche P Baroque, will explore the evolution of the lute repertoire from the lively colors of © the European Renaissance with Francesco Da Milano and Anthony Holborne, until the first years of the Baroque, with John Dowland and Johannes Kapsberger. Program : Francesco da Milano / Holborne / Dowland / Kapsberger Cast : Hopkinson Smith (lute) Elizabeth Wallfisch trio : « Un Grand concours » Monday, Nov. 26 – Chapelle du lycée Henri-IV – 8:30pm No source proves it, but it is said that in 1728, in Kassel, the two greatest european figures of the european violin would have played a musical duel during Ealovega B. © the same concert. It is also said that the French Jean-Marie Leclair would have played "like an angel" and his rival Pietro Antonio Locatelli "like the Devil" - at least according to their contemporary, the organist Johann Wilhelm Lustig. This meeting has captured the imagination of generations of performers and now serves as a pretext for Elizabeth Wallfisch, for the present program to be played at the Festival Paris Baroque.

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