Tue 15 Jan – Sun 20 Jan 2019

BACH ACADEMY BRUGES

Heaven on earth © Rune Guneriussen Rune © FOREWORD the hereafter almost superfluous. the hereafter for yearning much-sung that make did art his but earth, on lie not did heaven Bach’s that We know all pleasure. musical immense an and soul the for abalm always is season, a times three or two Ido which world, inner his into delving and Bach to fascinating discovery. Butreturning a and challenge adelightful both was Songbook American Great Porter’s Cole into adip and comedy hearted light- some with year the starting me For Concertgebouw! Bruges’ in Academy, Bach the to again once you welcome to happy exceptionally I’m Year’s month, New this In most definitely the Akademie für Alte Musik Musik Alte für Akademie the definitely most is highlight Another contemporaries. his and by Bach work, instrumental pure us bring Vicens Catalina organist and Bernardini Cecilia violinist Brantelid, Andreas cellist Danish as such Top talents works. vocal the own delve Hildebrandt deeper into Consort our and Ensemble Marsyas Scotland’s as such Ensembles aplatform. with talent(s) young provide to and context offer to are Academy the of aims Two important basis. religious original their transcends that arelevance and character universal more adeeper, acquire thus Bach’s role. leading unmistakable the plays live music Bach’s in which drama, family apoignant Pons: Clara director by young Lebenslicht of premiere world for instance, opens the weekend with the Gent, Vocale Collegium performances. alongsidepaths traditional concert unfamiliar wander to us challenged and us inspired again once has cantatas Bach’s of persuasiveness the edition, this In Dear music lover music Dear , a silent film film , asilent

— 2 — Philippe — Your cantor, devoted the ineffable essence that connects us. perhaps lies together come earth and heaven in which moments magical those in And audience! interested genuinely and a music, performers between interaction scintillating that as vital as is Nothing beauty! this of all with you present –to team enthusiastic his and Vanacker Jeroen with course of together – pleasure and my is honour curator, it As moment. the of orchestras best the of one doubt without are They harpsichords. four and three for concertos Bach’s of Berlin’s on Saturday evening performance

© Michiel Hendryckx Erik Bosgraaf Erik 4 p. by ECCE Lecture-performance homage to Bach Idiosyncratic hall music Chamber 20.00 Festival summary p. 4 p. Dutch) (in music of full A heart guests Winter hall music Chamber 22.00 7 p. Lebenslicht Pons & Clara hall Concert 20.00 6 p. i.c.w. Cultuurcentrum Brugge /ECCE Croizé Claire (we are) Flowers Magdalenazaal20.00 (in Dutch) Belder De Steven by Introduction 19.15 Magdalenazaal KAAP i.c.w. sides both from Bach ReijsegerErnst & Werf |De KAAP 20.30 CO-PRODUCTION WORLD PREMIERE CO-PRODUCTION WORLD PREMIERE COMMISSIONED BY CONCERTGEBOUW WORLD PREMIERE TUE 15 JAN 2019 JAN 15 TUE FRI 18 JAN 2019 JAN 18 FRI 2019 JAN 17 THU 2019 JAN 16 WED

European Early Music Network. European Early Music Network. BruggeConcertgebouw is of part REMA-EEMN, Herreweghe. Philippe of curatorshop the under Brugge, Concertgebouw and Gent Vocale Collegium between collaboration aclose of result the are Bruges Academy Bach of organisation the and programme The 17 p. canons Riddle Bach. CONTINUUM hall music Chamber 22.30 14 p. concertos Harpsichord Bach. Berlin Musik Akademie für Alte hall Concert 20.00 (in Dutch) Bossuyt Introduction by Ignace hall music Chamber 19.15 12 p. Suites Cello Bach. Brantelid Andreas hall music Chamber 16.30 11 p. Dutch) (in Close-up Bach Bossuyt Ignace Consort & Hildebrandt hall Concert 14.00 10 p. on(Ammer)Bach organ Catalina Vicens OLV-van-Blindekenskapel and 14.00 11.00 SAT 19 JAN 2019 SATJAN 19 — 3

festival partner our with cooperation In flowers ofBloemblad. additional colour by the given is Your applause 22 p. O ewiges Feuer Vocale Gent Collegium hall Concert 20.00 (in Dutch) Bossuyt Introduction by Ignace hall music Chamber 19.15 21 p. Biber. Rosary Sonatas Cecilia Bernardini hall music Chamber 16.30 19 p. dialogues Heavenly Marsyas Ensemble hall Concert 14.30 18 p. Telemann & Hotteterre Bach, Sua Sponte hall music Chamber 11.00 SUN 20 JAN 2019 JAN 20 SUN

SUMMARY HEAVEN ON EARTH Flowers (weFlowers are) for aticket with Free Brugge i.c.w. Cultuurcentrum (weFlowers are) latest production: their of kitchen creative the into aglimpse us give team artistic her and Croizé ECCE choreographer Claire ECCE by Lecture-performance homage to Bach Idiosyncratic hall music Chamber 20.00 Context summary Translation: Smith Stephen ticket concert 2019 Bruges Free with a Academy Bach process. growth artistic personal a very often is what witness to We get scenes. the behind apeek us give Herreweghe Philippe and Gent Vocale Collegium rehearsals, open their During Collegium Vocale Gent Open rehearsals hall Concert 10.30-13.30 16.00-19.00 THU 17 JAN 2019 JAN 17 THU 2019 JAN 16 WED 2019 JAN 15 TUE VOCAL LECTURE &DISCUSSION

.

Ryelandt-Chembaleros. the collection of François this festival comes from keyboards played during the of majority The project film unique the of the premiereAfter Dutch) (in music of full A heart guests Winter hall music Chamber 22.00 Academie Davidsfonds i.c.w. cantatas. in Bach’s earth and heaven between relationship the to paid is attention Special oeuvre. Bach’s through us takes Academy, Ignace Bossuyt ofthe concerts the Bach to introduction of way By Listening course Heaven on earth hall music Chamber 10.30-17.00 Bruges 2019 concert ticket concert 2019 Bruges Free with a Academy Bach music. and man between relationship the about chat acosy for couch interview Olav Grondelaers on the Clara Pons and interviewer filmmaker joins Herreweghe Philippe conductor FRI 18 JAN 2019 JAN 18 FRI 2019 JAN 18 FRI LECTURE &DISCUSSION LECTURE &DISCUSSION

Lebenslicht — 4 (in Dutch) (in ,

(arr. Leen ‘t Hart) ‘t (arr. Leen Air Cosaert) (Koen BWV1041 Allegro (arr.BWV1056 Brecht Berteloot) Harpsichord Concerto Sinfonia/Arioso Bach Sebastian Johann / Fugato Preludium / /Inventio /Menuetto Toccata onB.A.C.H. Miniatures (1967) Berteloot Wim (arr.BWV1031 Peter Bremer) Siciliano (arr. Deleu) Frank carillon. 18th-century the on others and by Bach works plays carillonneur Bruges Wim Berteloot Bach on carillon Belfry 11.00 Bruges 2019 concert ticket concert 2019 Bruges Free with a Academy Bach celebrated . the of work and career life, the about more learn illustrated panels, you’ll richly of anumber In Huys by Johan Exhibition Bach on Eyes parterre Foyer Prelude Winsemius) (arr.BWV997 Bernard Preludium (arr. Peter Bremer) nr.1 Suite Cello (1685-1750) Bach Sebastian Johann Bach J.S. Reminiscing Willem Créman (1895-1970) SAT 19 & SUN 20 JAN 2019 JAN 20 SUN & SAT 19 PERMANENT EXHIBITION from Suite from from Violin from Concerto

for from Sonata from Lute Suite Lute from

lute , BWV1068 , BWV1010 , BWV998 , BWV998 from

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, , , — 5 17 JAN 2019 Claire Croizé /ECCE Claire Flowers (we are) Clavier wohltemperirte Das from Selection (1685-1750) Bach Sebastian Johann — Sorgeloos Herman to thanks Special STUK and In with cooperation Workspacebrussels coproduction Kunstencentrum Kaaitheater BUDA, Brugge,Concertgebouw wpZimmer, ECCE vzw Meijer Hans Kunz Anne-Catherine Etienne Guilloteau Fargion &Francesca Fargion Matteo Fargion &Matteo Bach Sebastian Johann Gorka Gurrutxaga Emmi Väisänen, Claire Godsmark & Claire Croizé — 31) p. (see Magdalenazaal 20.00 Dutch) (in 19.15 introduction by Steven De Belder Belder De by Steven introduction 19.15 Cultuurcentrum Brugge Brugge Cultuurcentrum In with cooperation THU 17 JAN 2019 JAN 17 THU DANCE WITH LIVE MUSIC LIVE WITH DANCE , BWV846-869 (1722) , BWV846-869 : music : production : light design : concept : dramaturgy : dance

: costume design : costume : :

— 6 and between text, music and dance. and music text, between and old and between newgenerations, music different between different personalities, between bridges build to call a heartfelt tributecontemporary is simultaneously This Rilke. Maria Rainer of poems the from excerpts with homage Bach playful HERO EVOL performances earlier in her As life. to it bring dancers three and music his daughter Francesca the perform and Fargion fabric. musical the provide for four and hands, new compositions Clavier from the preludes of his Wohltemperirtes Excerpts Bach. Sebastian Johann Baroque: the of master great the from inspiration their draw they live music, to performance dance this For Fargion. Matteo composer: collaboration with a contemporary (weFlowers are) bridges and flowers Bach, , Croizé adds a poetic touch to this this to touch apoetic adds , Croizé , transcriptions of his chorales is Claire Croizé’s first first Croizé’s Claire is and and

© Marc Wellens Lebenslicht Pons & Clara Vocale Gent Collegium Collegium Vocale Gent: — hall Concert 20.00 Els Wuyts Els Duthie Barbara Schockaert Sanne Samyn Annabell Van Acker Benedict Gysel Leonie Lisa Lapauw Viel Martial Cyrille Nathan Meynsbrughen Hermant, & Chassaignon &Julien Speyer Benjamin Fernandez Garcia Maxime Abdel Mouhssin Tom Gineyts Doan Son Bente Peeters Pons Clara crew: Film Lottery National Belgian the of support the With Brugge Concertgebouw Collegium Vocale Gent Van Durme Jens Pons Clara Dexter Van der Vieren Valentijn Dhaenens Pauw De Josse Bosschere De Sara Actors: bass Kooij: Peter Thomas Hobbs: alto Potter: Alex soprano Mields: Dorothee conductor Herreweghe: Philippe 26 p. see FRI 18 JAN 2019 JAN 18 FRI : cinematographer : cinematographer : location scout : director : film director : film : grip : : focus puller puller : focus : make up artist up : make : stylist : assistant director : assistant : grandfather : assistant location manager manager location : assistant : gaffer : assistant set dresser dresser set : assistant : music dramaturgy : music : location manager : location manager : mother : set dresser dresser : set : father : son : production choir & orchestra &orchestra choir : coproduction : electrician : key grip : key grip — 7 • • • • • • • • • • • • • • (1685-1750) Bach Sebastian Johann — Elbers Marleen Maurissen, Maria Heleven, Johan Verbiest, Hermine Van der Vieren, Antoinette Schraepen, Dimitri Embrechts, Tinne to thanks Special Meet Tomas -Minds Leyers Schreurs -Bert Collegium Vocale Gent; TerrinSabrina Films Cobalt Loup Brenta Devuyst Lionel Lucien Keller Paul Millot Bernd Seliger lebens Licht, BWV118/1 Chorale Aria BWV20/6 Seele, deine Aria Choir Christ,Jesu BWV166/3 Chorale Tür, der vor BWV61/4 zwingen könnt, BWV4/3 Duet Aria BWV27/1 Ende, mein mir nahe Chorale/recitative liebstes Leben, BWV11/4 Aria BWV2/1 darein, sieh Chorale BWV48/6 Sünden, Aria Aria BWV21/1 Sinfonia, VOCAL Es ist vollbracht, BWV159/4 vollbracht, ist Es errette OMensch, Qui tollis peccata mundi, BWV234/4 mundi, peccata tollis Qui mein doch, bleibe Ach meine Vergib Jesus mir Ich wünsche mir den Tod, den mir BWV57/3 wünsche Ich Den Tod niemand Tod Den niemand Ach Gott, vom Himmel vom Himmel Gott, Ach

O Jesu Christ, meins meins Christ, OJesu Ich bitte dich, Herr Herr dich, bitte Ich Ich elender Mensch, BWV48/1 Mensch, elender Ich : editor FILM Siehe, ich stehe stehe ich Siehe, : postproduction : facility : : VFX : VFX

: trainee : trainee : executive producer producer executive : : colorist Wer weiss, wie weiss, Wer : producer

18 JAN 2019 18 JAN 2019 ears and eyes and ears Bach for 21st-century 21st-century for Bach — Clara Pons — Clara intertwined. and stirred be –will loss and –love emotions their cross, will paths Their by responsibility. down weighed sometimes their feelings, sometimes full of self-pity, to true sometimes fate, with odds at but to subject fleeing, them of each expectations, their and longings their escape to try this During regrets... their others, on blame they mistakes the mistakes, their guilt, of sense their abandonment, of fear their love, their of object the of loss the reality. Together with we them, experience reinterprets and dreams, boy The son. his of mother the wife, his left just has life, own his of maelstrom in the up caught son, His dying. is days, his of twilight in the man, fromgenerations, to father The old son. three men, three of family, consisting Lebenslicht of story The listeners. among extent alimited to already generally onlysomething present dimension, ritual its of stripped is form, concert in its which, music, spiritual highly this to meaning new give then experiences Those experiences. own people’s onto graft and imagination the of doors the open Stories them. hear who those of memories the into experience a visual etch stories that noticed had way. They in afresh audiences 21st-century to music Herreweghe’s desire to present Bach’s Philippe and Gent Vocale in Collegium lie project cinematographic this of roots The via dolorosa , real or imaginary, they they imaginary, or , real is that of a a of that is

— 8 — John Berger, A Fortunate Berger, Man — John accidents take place.’ and achievements struggles, their which behind acurtain than life of its inhabitants be less for asetting the a landscape seems to Sometimes deceptive. ‘Landscapes be can The son departs into the night. night. the into departs son The remains. what ponders aged, now man, abandoned the grandfather, The in dreams. and in people space, and in time It is reflected longs. child The mother. his losing is he realises child The wife. his leaving is He night. the through angrily drives son abandoned The alone. meal final his eats aged, now left, she man The world. the to farewell bids She life. her and family her leaves A woman birds. of by aflight abandoned darkness, into dissolves A landscape Genealogies — 9 — Clara Pons — Clara remains. it waits, landscape The him. for waiting been had he if as dies, grandfather the son, his sees he When dying. is grandfather the arrive, they When grandfather gets ready. The up. wakes child The life from fled mother the where bridge, the on are they morning the In grandfather. the engulfs Water The landscape shrouds the mother. his dreams. drowns landscape The recognises the landscape. child the dreams, his In himself. about dreams child the Asleep, longings. his about dreams child The road. the along glide Lights Death roams the landscape. the roams Death landscape. the roams Death (see also p. 25) p. also (see collection boxes. the of one into money some by dropping too, tonight centre this carer.or Support together with their partner in comfort, aholiday enjoy can people ill chronically Villa Health Centre Royal Ostend’s of work the you areconcert supporting this for ticket your with earth’: on ‘heaven motto its to credit The Academy Bach does Benefit concert

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18 JAN 2019 19 JAN 2019 (Ammer)Bach on organ organ on (Ammer)Bach Vicens Catalina Kleines harmonisches Labyrinth harmonisches Kleines (1685–1750) — Vicens Catalina — OLV-van-Blindekenskapel (see p. 31) and 14.00 11.00 With the support of Piano’s Maene Piano’s of support the With ▲ ● seyn Nöthen wir in höchsten Wenn Johann Sebastian Bach (toegeschreven) Tact duplen langen den auff Itali Passametzo Kindt dein Venus und du Elias Nikolaus Ammerbach • • • Musica’ della mezzo per trastullato e malinconico ‘Saul seconda Suonata Johann Kuhnau Seligkeit mein und Licht mein ist Gott Elias Nikolaus Ammerbach • • • agonizzante e risanato’ ‘Hiskia quarta Suonata (1660–1722) Kuhnau Johann mir von ferrn nicht sey Herr, und mich Bewar Elias Nikolaus Ammerbach (1530–1597) Gott frommer du O Gott, SAT 2019 JAN 19 from: from:

L’animo tranquilo e content di Saulo di L’animo econtent tranquilo Davide di dell’arpa refrigerativa Canzona La Rè del ilfurore ed tristezza La L’allegrezza del Rè convalescente Iddio in confidenza lui di La ardenti preghiere sue ele annonciatagli morte la per Hiskia di lamento Il KEYBOARD Introitus / Centrum /Exitus /Centrum Introitus biblischer Historien from: Orgel oder Instrument Tabulatur Instrument oder Orgel Musicalische Vorstellung einiger Vorstellung einiger Musicalische : Berger organ (1731) organ : Berger , 1700

▲ ● , BWV767 , BWV591 , BWV591 , BWV Anh.78 , BWV , 1571/83 ▲ ● ● ● — 10 — — 10 a 3is Variation passages. scale into expanded is 4this in variation motif; aunifying is fourth falling and arising 2, variation In dominates. motif opening chorale’s the aduet, 1, variation In ways. diverse most in the interpreted and compositionally and expressively explored is theme the in which variations by eight representation of the chorale is followed a chordal Gott frommer du OGott, partita the In 1700. around of music organ German the of figureheads two Böhm, Georg and Pachelbel Johann of works the were models His works. organ earliest his among –are chorales on –variations partitas chorale Bach’s variation ofrefined The art — Ignace Bossuyt — Ignace wealth of ornamentation. a with varied artfully was original the time, the at widespread was which practice, this In use. domestic for intended sacred, and secular both music, vocal polyphonic of arrangements Thomaskirche, brought together forty the of organist the Ammerbach, Nikolaus new künstlich Tabulaturbuch Ein title the inunder published was music organ of acollection 1575 In -piano). (forte technique echo the forefront: the to comes element new a variation, final the In by chromaticism. permeated completely is 7, which variation with strongly contrasts this level, expressive an On character. dancing agile, an music the 6gives in variation metre ternary to binary from move The bass. the in motifs rhythmic by complex enriched is melody chorale familiar the voice, upper the in 5, variation In semiquavers. in continuous perpetuum mobile perpetuum , with the melody running running melody the , with . In it Elias Elias it . In Yun Kyung Kim: Yun Kim: Kyung Nakamaru: Madoka Favette: Philippe Van Elsacker: Jan Helen Cassano: Wilde: De Lieselot Hildebrandt Consort: — hall Concert 14.00 Bach Close-up Bach Bossuyt Ignace & Consort Hildebrandt Ignace Bossuyt: Bossuyt: Ignace Dekoninck: Wouter Strabioli: &Chiara Pustlauk Anne Hendrik-Jan Wolfert: Michel Boulanger: Staripolsky: Karina artistic direction artistic Erwünschtes Freudenlicht Erwünschtes (1685-1750) Bach Sebastian Johann — complete performance of the cantata. the of performance complete by a followed in Dutch, is lecture This SAT 2019 JAN 19 VOCAL

LECTURE &DISCUSSION alto second violin second lecturer bass soprano tenor cello organ, organ, viola first violin first double bass

, BWV184 traverso — 11 — — 11 it exuberantly at the end ( end the at exuberantly it joy, lauding heavenly about sings tenor the chorus Segen und Glück aria tenor in the solo violin with a polonaise Christen Gesegnete alto and soprano for duet cheerful the in transverse and rhythms: a passepied with sprightly strings dance French lively on based are chorus Freudenlicht ( atmosphere apastoral creates flutes transverse two and tenor for recitative accompagnato extensive An there. and here it adapting possibly music, the of much retained undoubtedly Bach cantata. Pentecost this for text fitting and anew wrote alibrettist basis, his –as lost now is which Year’s cantata, New a or tribute asecular –probably composition Taking earlier, an festive them. for life His down lay even will He that much so people His loves who shepherd, agood be to world, the into Son his sent has God joy,with because Freudenlicht Erwünschtes cantata the composed Bach 1724, 30, May on in Leipzig day that To celebrate Pentecost. of day third the on John of Gospel the from reading the end Jesus from words These sheep.’ the for life his down lays am The the‘I shepherd shepherd. good good Shepherd Good A hymn to the — Ignace Bossuyt — Ignace moment before the joyous closing chorus. penultimate movement, as a contemplative je hoff ich Herr, is it case, this In chorale. appropriate an be to has naturally there cantata any sacred Guter Hirte Guter , which Bach unusually places as the the as places unusually Bach , which ). The two arias and the closing closing the and arias two ). The

; and a gavotte in the final final in the agavotte ; and . In a second recitative recitative asecond . In

So freuetSo euch , which is radiant radiant is , which Erwünschtes Erwünschtes ). In In ). ;

19 JAN 2019 19 JAN 2019 • • • • • • BWV1011 nr.5 in c, Suite Cello • • • • • • BWV1008 in d, nr.2 Suite Cello • • • • • • nr.1 Suite BWV1007 in G, Cello (1685-1750) Bach Sebastian Johann — Brantelid Andreas — hall music Chamber 16.30 Bach. Cello Suites Brantelid Andreas SAT 2019 JAN 19 Gigue 1&2 Gavotte Sarabande Courante Allemande Prelude Gigue 1&2 Menuet Sarabande Courante Allemande Prelude Gigue 1&2 Menuet Sarabande Courante Allemande Prelude CHAMBER MUSIC : cello — 12 — — 12 and six Cello and six Violin Bach’s to Sonatas refers explicitly Kirnberger omission’, of ‘art this of example an As impossible. well-nigh becomes voice asecond of addition the that away in such melody asimple pen can counterpoint and harmony of points finer the of masters only more: is Less importance. compositional great their emphasised also Kirnberger Musik der in Satzes Reinen Kunst des Die treatise his In century. eighteenth in the appreciated already –was stops triple and double as such complex, most the to simple the from – techniques playing of a compendium as suites the of nature ground-breaking Despite their slow-burning the success, repertoire. the of part indispensable an become since –have strings gut with instruments period on performed –sometimes suites These 1939. and 1927 between them, recorded eventually and them in performing concerts started antiquarian in bookshop He Barcelona. in an edition an discovered Casals Pablo cellist Catalan 1890 In century. twentieth the of beginning the until etudes as image didactic their escape not did BWV1007-1012 six Cello Bach’s Sebastian Johann that asurprise as comes it To us of most more is Less imagination are constantly challenged. listener’s the and power suggestive maximal harmonic The richness. performer’s generate to manages he means minimal With mastery. absolute his displays Bach sound, polyphonic creating or chords playing a with melodic limited instrument, options for from 1771, Bach’s pupil Philipp Philipp pupil Bach’s 1771, from

Suites . Restricted to writing for for writing to . Restricted

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richness.’ maximal harmonic generate to means he manages With minimal mastery. absolute his displays ‘Bach between between repeated) first apair, the (always with of acouple inserts Bach six suites, the of courante allemande century: seventeenth the of end the since in Germany form customary order, the in fixed dances suite the is works cello solo these of point starting The the the been lost, it is difficult to date these these date to difficult is it lost, been has manuscript original the Because tension. dialectical unprecedented creates thus Bach centre) emotional the as movement structure (with the sarabande six- symmetrical, the and contrasts mutual those With intimate. profoundly to extrovert playfully from character, expressive own its with (slow -fast), tempo and triple) or metre (duple specific a has dances these of Each character. improvisational even or afree of generally whole with a prelude the precedes he case, each In 6. 5 and gavotte the and 4, 3and in suites galanteries menuet sarabande , sarabande bourrée the 2, 1and in suites , dances of French origin origin French of , dances , a series of four stylised stylised four of , aseries and gigue and , an introduction, introduction, , an and gigue and , such as as , such . In each each . In in suites ,

— 13 — — 13 — Jens Van Durme — Jens plan. precise and predetermined a indicate strongly also scope emotional expanding and difficulty of level increasing The six. of aset as presented were which of both Magdalena, Anna wife by Bach’s copy later asomewhat and 1726 from Kellner Peter by Johann acopy sources: oldest by up the backed is This cycle. systematic a as six suites the planned Bach that certain almost seems it above, described suite each of structure the of because and parallel this of in Weimar.living Because was he when composed Bach keyboard for Suites English the to similar very is however, structure, tonal Their Köthen. Anhalt- of Prince Leopold, of court the at Kapellmeister as serving was Bach when 1723, and 1717 between composed probably were they works, instrumental his of exactly. other Like many compositions

© Marios Taramides

19 JAN 2019 19 JAN 2019 Petteri Pitko Petteri Michaela Hasselt Raphael Alpermann — hall Concert 20.00 Bossuyt by Ignace Introduction 19.15 concertos Harpsichord Bach. Berlin Musik Alte Akademie für — Christian Beuse Rumer Walter double bass Geusen Antje Freiheit Jan cello Graewel Anja-Regine Sieben Stephan Nuszbaumer Clemens-Maria viola Forck Edburg Peters Uta Mai Rahel Mai Stephan violin second Thomas Graewe Halfter Barbara Kerstin Erben violin first master concert Kallweit: Georg Berlin Musik Alte für Akademie VenanzoniFelice SAT 2019 JAN 19 ORCHESTRAL

: harpsichord : harpsichord KEYBOARD : harpsichord : harpsichord : harpsichord : harpsichord : harpsichord : harpsichord ● u : orchestra ▲ Q — 14 — — 14 With the support of Piano’s Maene Piano’s of support the With pieces. and movements between also aminimum, to noise keeping for you Thank Klara. live on broadcast being is concert This (1729/30) in G(1729/30) nr.2 suite Orchestral Bach Bernhard Johann (1735-45?) BWV1063 in d harpsichords three for Concerto Bach Sebastian Johann interval BWV1065 (naar Vivaldi, 1730?) 1730?) Vivaldi, (naar BWV1065 in A harpsichords four for Concerto Bach Sebastian Johann • • • • • • • (1735-45?) BWV1064 in C harpsichords three for Concerto (1685-1750) Bach Sebastian Johann • • • • • • nr.1 suite in g(1729/30) Orchestral (1676-1749) Bach Bernhard Johann Without tempo indication / Largo /Allegro /Largo indication tempo Without Alla siciliana /Allegro siciliana Alla / indication tempo Without /Allegro /Adagio Allegro Gigue Menuet grave Air: gayement Bourrée: Sarabande rondeau and Gavotte Ouverture Passepied Fantaisie Loure Rondeau Air Ouverture ▲ Qu Q ●u

Q ▲●u Q Q , , , orchestra and His soloists. predilection between dialogue the on Vivaldi than more focuses he parts, the of interweaving contrapuntal the for apreference has with soloistic Bach interventions. Because movements material tutti is interspersed sequence fast-slow-fast. In the brisk outer in the movements, three have they model, their as in particular Vivaldi Taking concerto. Italian the of structure All the follow concertos the classical violins C Vivaldi’s Antonio of harpsichords, four for another composer: the Concerto by awork of however, atranscription is traverso as soloists. One concerto, and violin, had which concertos, (lost) own his of transcriptions are concertos harpsichord Bach’s of Most strings. the with performed or along played have well may himself Bach Philipp Emmanuel. Carl and Friedemann Wilhelm sons eldest two his of those primarily pupils, his of talents the showcase to intended probably were 1736 and 1729 between composed harpsichords Bach four to two for six concertos The Musicum. Collegium the with performance for intended mainly were continuo, basso and strings with harpsichords, four to one for Theconcerto. fourteen surviving concertos harpsichord the created: had himself he agenre introduced Bach director, as years first his During contemporaries. by his and by Bach composed music instrumental and vocal of consisted programme The gates. city the of one to near garden coffee in his or house, coffee Zimmermann’s in Gottfried aweek twice or once together played They university. the at recruited them of many musicians, talented amateurs or semi-professional either were members society’s music This Musicum. Collegium Leipzig’s of director became Bach Sebastian Johann 1729 In house coffee the in Cosy music-making , op.3, no.10, RV580. no.10, , op.3, BWV1065 is an arrangement arrangement an is BWV1065 oncerto for four four for oncerto

— 15 — — 15 orchestral suites). It is light-hearted music music light-hearted is It suites). orchestral four in his showed himself Bach as (such Telemann, with a strong French influence Philipp Georg of style in the composed Bernhard Johann Bach. Bernhard Johann relative: adistant was performed Bach work whose contemporaries the of One the four harpsichords. of beauty enchanting the to thanks refined averse to complexity, but exceptionally exceptional of atypical atmosphere, Bach: an create arpeggio violinistic a typically and Chords timbre. and sound on focused without melodic development, but purely atheme, without intermezzo, remarkable a is movement middle The predominate. clearly soloists the Here movement. in every felt be can Vivaldi of spirit the Concerto for four harpsichords four for Concerto the In movement. middle in the especially striking, is harpsichords the to in relation strings the of independence greater the Here in Cmajor, BWV1064. harpsichords Co the of basis the also are virtuosity and ensemble Dialogue, (Bach himself?). harpsichord does dominate the finalpages first the although shine, to achance given is soloists three the of each fugue, closing the In cadenza. virtuoso abrief with ending deviates, occasionally harpsichord first the Only fraternally. together play violin first the and harpsichords three The siciliana’. ‘alla awonderful is movement second the openingpermeates movement. The that unison the is BWV1063 concerto in the Typically Vivaldian kind. in their unique are BWV1065 harpsichords, four for Concerto the and 1064 and BWV1063 harpsichords, three for Concertos two The and end. beginning atutti with often prevails, usually movement, lyrical-melodic development middle slow the In 1064). and (BWV1063 fugue the with form refrain the combines sometimes he in which movements, closing in the apparent particularly is writing of way ‘strict’ or ‘learned’ the for ncerto for three three for ncerto , BWV106 5 ,

19 JAN 2019 19 JAN 2019 the director.’ then was Bach which of Musicum, Collegium performance the with intendedmainly for were continuo, basso and strings with harpsichords, four to for one concertos ‘The fourteen surviving — 16 — — 16 the the as –such dances of by aseries followed is section, and sprightlyintroduction second amarching with overture, French A typical works. his of in some wrote Bach as mind, the delight to Gemüthsergötzung’, ‘zur gigue not, such as the air the as such not, free pieces, some dance-related, some character. These are supplemented with own its with each and tempo, and in metre — Ignace Bossuyt — Ignace storm scene. inevitable opera’s Baroque French the to in Gmajor Suite this closes tempeste La greatly. vary can and character aspecific to tied not are which gavotte , loure , and passepied and sarabande , fantasia , bourrée , is a reference areference , is – contrasting – contrasting and rondeau and , menuet , which , , • • • • • • (1685-1750) Bach Sebastian Johann — works organ the of arrangements and direction Albach Elina Liam Byrne Rosin Daniel Bartz Johanna Medina Santiago Rún Kristinsdóttir Elfa CONTINUUM: — hall music Chamber 22.30 from from Ricercar the and canons The • • • • • • • • • • Bach. Riddle canons Riddle Bach. CONTINUUM SAT 2019 JAN 19 modo alio Gebot, zehen heiligen die sind Dies contrarium motum a2per Canon BWV678 Gebot zehen heiligen die sind Dies in unisono a2violini Canon a2cancrizans Canon d’orgue Piece Passacaglia in c Passacaglia a4 Canon a2 Canon regium thema super perpetuus Canon hier wir sind Jesu, Liebster a6 Ricercar BWV684 kam Herr, zum Jordan unser Christ, in epidiapente canonica Fuga tonos a2per Canon motu contrario augmentationem a2per Canon CHAMBER MUSIC Das musikalischeDas Opfer , BWV679 , : viola da gamba da : viola : cello : harpsichord, musical : traverso : , BWV572 : violin : , BWV582 : violin : , BWV731

are taken , BWV1079 , , — 17 — — 17 — Albert Edelman — Albert explicitly never Bach that atype of music consort to rise gives this And instruments. our with registers its and organ an imitate can we how at looked have we but latter, those of anote changed actually not We’ve works. organ Baroque typical the alongside especially me, for music like contemporary work to started almost they theme, Cminor same that with always pieces, monthsreaders? of After playing with these other and students his for riddle of akind as them wrote Bach perhaps so format, concert any into fit don’t canons ‘The aim: their about wonders Albach Elina that abstract so are canons The missed. have not will monarch laws’, Enlightenment the a connotation ‘ecclesiastic as read be also can ‘canon’ here and counterpoint, of laws the with experiments purest his of some are ‘royal theme’ the on Opfer in his later alittle published was solution Bach’s spot. the on complete couldn’t Bach even achallenge it, on fugue asix-voice improvise to him challenged and theme musical acomplex Bach gave he visit that During in Potsdam. Palace Sanssouci his at Bach aged the received had Frederick 1747 In voices. musical interweaving of art the govern that rules stimulating yet and strict the counterpoint, of typical naturally are activities these and examine, to out, is no coincidence. Ricercar means to search ‘ricercar’ spell words the of letters first the that fact The style’. canonic in the treated been have rest the and theme the Great] the II, [Frederick king, the of order ‘By reads: Musikalisches Opfer R ‘ law the before Equal R esoluta’ is the inscription Bach gave his his gave Bach inscription the is esoluta’ egis egis I ussu ussu wrote.’ C antio E . Freely translated this t R eliqua eliqua C anonica anonica . The canons canons . The A rte rte

19 JAN 2019 20 JAN 2019 BWV1034 (1724) BWV1034 &Adagio allegro in C Sonata Flute (1685-1750) Bach Sebastian Johann (1733) nr.12 flute in gfor Fantasia (1681-1767) Telemann Philipp Georg opus 2 continuo nr.1 and Suite traverso in dfor 7(1719) opus in D Prélude (1673-1763) Hotteterre Jacques-Martin — Asako Ueda Pablo Sosa del Rosario — hall music Chamber 11.00 Telemann & Hotteterre Bach, Sua Sponte be postponed to a later date. alater to postponed be Wolfs’ planned had to concert Julien and Troffaes’ Stefanie SUN 20 JAN 2019 JAN 20 SUN CHAMBER MUSIC (1708) : lute , from L’art , from préluder de Flute Sonata in e Sonata Flute from , BWV1033 (1736) , BWV1033 : traverso : , TWV40:13 TWV40:13 , , — 18 — — 18 — Jens Van Durme — Jens provided music for royal occasions. that ensemble an Écurie, Grande XIV’s Louis in virtuoso aflute as engaged was Hotteterre traversière flûte la pour pièces livre de Premier his from 2 op. Suite First in Hotteterre’s audible undeniably is time that at court European in every popular becoming was that taste and atmosphere The Frenchconstructed, connected parts. in Gminor no.12 Fantasia the series, in this last The Hamburg. in Flute Solo for Fantasias 12 his published he example, for 1732-33, In traverso. for works unaccompanied demanding technically composed Telemann also Like Bach, genres. vocal and instrumental of sorts in all limits the to Telemann explored Philipp Georg and Bach as such composers that a potential potential; greater far have to proved traverso the expressively, and technically Both France. in Hotteterre Jacques-Martin and Germany in Quantz Johann-Joachim as such flautists of influence the under disappeared, themid-Baroque, recorder gradually the After nowhere. from appear just not did traverso in the interest Bach’s accompaniment. an as serves mainly - lute the case -in this continuo The minuet. adouble is which of last the movements, four of consists work traditional rather this style, concerto in Vivaldi’s sonatas three-part the Unlike BWV1033. in C, Sonata Flute his of true is same The in Köthen. Kapellmeister as serving was he when 1723, and 1717 between from date probably sonatas flute Bach’s transverse flute For the . This suite of galant style dances dances style galant of suite . This dates from 1708, the year in which in which year the 1708, from dates , consists of six clearly six clearly of , consists With Dutch surtitles Ensemble Marsyas — hall Concert 14.30 Ach Gott, wie manches Herzeleid wie manches Gott, Ach wird verwirret Seele and Concerto Mann der ist Selig (1685-1750) Bach Sebastian Johann — Grisvard Philippe Guttiérez &Rodrigo Sterck de Lidewei Moisio, Jasu Sticher Christine McMahon Sarah Ojo del Leal Alfonso Tong &Henry Gent Sophie André Morsch Redmond Rachel direction artistic Whelan Peter Heavenly dialogues Heavenly Ensemble Marsyas SUN 20 JAN 2019 JAN 20 SUN VOCAL : oboe : harpsichord & & : harpsichord Sinfonia : baritone : cello : soprano : double bass : double : organ , BWV57 : ensemble : viola , BWV35 Geist und und Geist from : violin :

, BWV58 — 19 — — 19 Köthen. in Köthen. composed he (or concerto violin) oboe an from amovement reworked Bach this, For 1726. from BWV35 wird verwirret, Seele und Geist cantata alto-solo the of movement opening the is panache, and drive rhythmic of full example, Acatchy himself. played probably he that part organ avirtuoso with instrumentalintroductory sinfonias, often into concertos own his from movements adapts Bach that fact the is finally, new, is What most. the at chorale aclosing given only is choir the in which cantatas dialogue and solo of anumber are too Striking authors. by various written librettos, older of sorts all recycles often Bach cycle; third this from missing is thread a conceptual cycles’, cantata ‘chorale so-called the Unlike Bach. Ludwig Johann cousin his as such composers, other of work the uses regularly he so and cantatas new write to him for time enough always not is There cycle. the complete to 1727) spring to (mid-1725 time much as twice needs He slows. production –Bach’s penned were programme in this cantatas the which during period –the on cycle annual third the From inventiveness. superhuman energy, enthusiasm and well-nigh Bach’s to testify preserved, completely almost been have which cycles, annual these of two year. first The church the of day feast and Sunday every for music cantatas: of volumes five with Leipzig left Sebastian –Johann Agricola Friedrich Johann pupil former and Emanuel Philipp Carl son by his in 1754 published works and life Bach’s of description Nekrolog –the the from know we As Heavenly dialogues

20 JAN 2019 20 JAN 2019 (Vox Christi) and soprano (Anima/Soul). soprano and (Vox Christi) in dialogo aconcerto work the calls and concept this up takes Bach life. eternal attain to face to has Christian every trials the of example an as martyr Christian first this of suffering the takes Lehms’ Christian Georg Soul, faithful the and Jesus between dialogue allegorical an In December. 26 on falls also day feast whose Stephen, Saint commemorates actually BWV57, erduldet, Anfechtung die der Mann, der is Selig cantata the 1725, Christmas, of Day Although expressly for written the Second confusion. to human of like asort –acts continuo basso and two strings, –here ensemble and organ solo interaction between continuous The and gives mobile expressionperpetuum , a dialogue cantata, for bass bass for cantata, , adialogue — 20 — — 20 constructed constructed symmetrically this Epiphany. In and Circumcision) the of Feast the historically (church- Year’s Day New between Sunday the 1727, 5, January on performed first manches Herzeleid wie Gott, Ach cantata his of true certainly is That content. dramatic its of terms in opera to close very is that a genre cantatas, dialogue so or ten wrote Bach — Jens Van Durme — Jens in God). Itrust because sorrow, Zuversicht’ meine ist Gott denn Leiden, in meinem vergnügt bin ‘ text paradoxical us for the and violin solo obbligato with aria soprano dancing the is movement central under. The and old years two of children male all of slaughter Herod’s and Egypt to flight the about text Gospel abackground against converse, Dialogus , BWV58, which was was which , BWV58, (I am happy in my (I happy am , Jesus and the Soul Soul the and , Jesus Ich Ich

© Jen Owens Passacaglia Biber von Franz Ignaz Heinrich Vorstellung prelude from Musicalische Johann Kuhnau Krönung Mariae nr.15: Sonata Rosary Biber von Franz Ignaz Heinrich Vorstellung prelude from Musicalische Johann Kuhnau Kreuzigung Christi Die nr.10: Sonata Rosary Biber von Franz Ignaz Heinrich Vorstellung prelude from Musicalische Johann Kuhnau Darstellung im Tempel nr.4: Sonata Rosary Biber von Franz Ignaz Heinrich (1700) Historien biblischer einiger Vorstellung prelude from Musicalische (1660-1722) Kuhnau Johann (1674?) Christi Geburt der nr.1: Ankündiging Sonata Rosary (1644-1704) Biber von Franz Ignaz Heinrich — harpsichord & virginal Emmanuel Frankenberg Fortin, Olivier Sempé, Skip Bernardini Cecilia — hall music Chamber 16.30 Biber. Rosary Sonatas Biber. Rosary Bernardini Cecilia SUN 20 JAN 2019 JAN 20 SUN CHAMBER MUSIC : violin : : organ, : organ, — 21 — — 21 — Ignace Bossuyt — Ignace gems. sublime are they sonatas, violin Like Biber’s emotionally. it feel also but intellectually, it understand only not will she or he that so listener, the to directly music the of effect and power expressive the convey to was aim here primary His programme. narrative adetailed have to compositions Sonatas Biblical Kuhnau’s performance. the during out read also preferably were texts These stories. Biblical of interpretations musical of series in a texts explanatory quoting by explicitly further astep went in Leipzig, Thomascantor as predecessor Bach’s Kuhnau, Johann combinedmasterfully with deep expression. is playing virtuoso in which works all are exceptional sonorities and tone They colours. creating thereby differently, tuned violin the had Biber sonata, each In rosary. the of praying the during on meditated were which Mary, Virgin the and Jesus of lives the in events important fifteen are ‘Mysteries’ the ed. melody, bass recurring ( passacaglia violin and continuo, basso with an added for sonatas fifteen of acycle wrote he instance, for in Salzburg, Kapellmeister was scenes and religious depictions. When Biber inspiration from natural battle phenomena, draw to liked also composers Baroque but Romantic, the with associated usually is programme extra-musical an with Music scenes religious brilliant in emotion and Reflection Mystery Mystery Rosary Sonatas Rosary the or a slow dance over a constantly over aconstantly dance a slow were the first keyboard keyboard first the were ), known as as known ), . The . The

20 JAN 2019 20 JAN 2019 (Himmelfahrts-Oratorium) inLobet seinen Gott Reichen Bach Sebastian Johann interval Also die hat Gott Welt geliebt BWV34 Liebe der Feuer, oUrsprung O ewiges (1685-1750) Bach Sebastian Johann — Kooij:Peter Thomas Hobbs: Alex Potter: Mields: Dorothee Herreweghe: Philippe 26 p. see orchestra and choir Collegium Vocale Gent — hall Concert 20.00 Bossuyt by Ignace Introduction 19.15 Feuer ewiges O Vocale Gent Collegium With Dutch surtitles SUN 20 JAN 2019 JAN 20 SUN VOCAL bass alto tenor soprano conductor :

, BWV11 , BWV68 , , — 22 — — 22 chorus, chorus, closing the opens which peace, for call solemn The calm. unearthly an radiates sordino con violins and flutes two of timbre heavenly the Seelen ihr ausgewählten Wohl euch, aria alto The accentuates the Liebe strings, oboes, and . and trumpets oboes, strings, Wunderhänden joy, of den höchsten Dankt song enthusiastic ewiges the to in addition choir, in which the heard be clearly then can interpretation right the is this That eternal. the for stands the of tone sustained long- the violins, the up in flare flames the Feuer Oewiges chorus, opening the of introduction instrumental The timpani. and trumpets are there so composition, afestive is This 23). 14: (John him’ with home Our make and him to come We will and him, love will Father My and word; My keep will he Me, loves anyone ‘If John: of Gospel the from reading Pentecostal the of verse first the using link, that makes librettist The resides. God where place the as heart the of metaphor used often the is theme central Its 1726. or in 1725 written work earlier an from adapted case, in this or composed, he cantatas last the of 1747. or one is 1746 It year the for probably Sunday, Pentecost for composed Bach acantata of chorus opening the is Liebe der Feuer, oUrsprung ewiges O love. and faith kindles that fire the Spirit, Holy the mankind sent has God promised, Jesus as just in awe: sky the at stare apostles –the Pentecost and Ascension gaze heavenward Bach’s , immediately interprets that text: text: that interprets , immediately is a wonderful pastoral idyll, in which in which idyll, pastoral awonderful is Friede über Israel über Friede garland the singing voice. This This voice. singing the garland , with the full complement of of complement full the , with with lavish melisma. and Feuer and , shifts into an an into , shifts also also an ihn gläubet Wer chorus, closing the of text The in God. faith about sings oboes, by three enhanced nicely bass, the zugute mir geboren bist Du aria the In piccolo. violoncello and oboe violin, with rejoicing, for call spirited ahigh- is dictates, sing frohlocke, Herze, glaübiges Mein text its as aria, soprano joy. The restrained with permeated oboes, and strings with song love lyrical-pastoral a but timpani, and trumpets with jubilation world) the loved so God (For geliebt Welt die Gott hat Also reading: Gospel the of words first the with begins It composition. fittingly concertato amagnificent into adapts he which melody, chorale arecycled on based is chorus opening the Bach, with case the often is Ziegler. As von Mariane poet talented of oeuvre the from in 1725 selected Bach texts nine the of one to Pentecost, of day second the Monday, Whit for composed was Also die hat Gott Welt cantata geliebt The , once again taken from the the from taken again , once . This is not an exuberant exuberant an not is . This

— 23 — — 23 Unlike the and the Christmas Christmas the and Passions the Unlike ( prayers zurück Abschied ( departure Jesus’s on reflections are two The Passions. in his did he as texts, Gospel from taken element anarrative with oratorio, an of form in the acantata composed Bach in 1738, Ascension the of Feast the For word. God’s of truth eternal the to areference is voices of interweaving endless almost complex, the a brilliant double ‘old-style’ fugue, in which compose to Bach inspired reading, Gospel dir ( end the at and Reichen ( God praising chorus a with begins cantata The in unison). strings and oboe traversos, two soprano, deine Gnadenblicke Jesu, and violins, Wenn soll es doch geschehen doch es soll Wenn and ) and the arias are conceived as as conceived are arias the ) and ) and it has chorales in the middle middle in the chorales has it ) and Ach bleibe doch, Ach ja! So komme bald bald komme So ja! Ach and Nun lieget alles unter unter alles lieget Nun Ach, Jesu, ist dein dein ist Jesu, Ach, Lobet Gott in seinen in seinen Gott Lobet for alto and and alto for ). ). , for

20 JAN 2019 20 JAN 2019

© Michiel Hendryckx deine Gnadenblikke zurück bald komme So ja! Ach reflection alto brief by a interrupted in white’, dressed men ‘two the about narrative Biblical by the followed is then dich über alles lieget Nun his Dei Agnus the for reworked later Bach bleibe Ach, doch aria alto beautiful a this, of extension an as and, departure; Jesus’s for lament a flutes, with recitative Ach, Jesu, bass, the for Jesus Herr timpani. The first Gospel narration ( narration Gospel first The timpani. and trumpets with flutes and oboes strings, the up backs Bach chorus opening the festive element is lacking: in the grand however, that mean, not does Reflection angels. two for briefly except characters, featured no with work areflective primarily is oratorio this oratorios, Easter and Mass in Bminor Mass ) is followed by two solos: one one solos: by two followed ) is Jesu, Jesu, aria soprano the . In . The simple chorale chorale simple . The the absence of the an accompagnato an accompagnato , which Der Der of of — 24 — — 24 — Ignace Bossuyt — Ignace ensemble. full the for concerto instrumental jubilant a into chorale the integrates masterfully Wenn sol ich doch geschehen chorale, closing the In world. the from free rising gaze, heavenward the symbolises underpinning harmonic as continuo basso , Bach , Bach Centre in Ostend in Centre the Royal Villa Health Benefit concert for also welcome in the Royal Villa. Villa. Royal in the welcome also with other pathologies are meanwhile Patients effect. encouraging and astrengthening has which patients, fellow with interaction group by the enhanced greatly is benefit This treatment. after and during both life of quality patient’s acancer increases vision holistic with rehabilitation Oncological treatment. their after possible as soon as society reintegrate into patients help cancer to aim was its beginning very the from for specialised cancer rehabilitation and aneed meet to started was programme care Ostend Villa Royal This experiences. similar with others with mingle and meet can friends and relatives their patients, cancer programmes, rehabilitation various its In wellbeing. and lifestyle ahealthy on focus aparticular with life, of quality and life promotes Villa Royal the hotel, acare and centre ahealth As rehabilitation centre, in Ostend. own the country: Royal Villa oncological in our acharity of in support concert abenefit as January 18 evening, Friday Lebenslicht Clara Pons’s film-concert and Gent Vocale Collegium of premiere world the programmed To have we end this 2019. in cooperation such continue social entrepreneurship, we intend to responsible of acontext Within Congo. in Katako-Kombe, in projects medical of support in concert benefit successful ahighly held Gent Vocale Collegium and Brugge year,Last Concertgebouw on on — 25 — — 25 www.koninklijkevilla.be to revitalise. and recover, to relax to patients and hence the ideal place for tranquillity of oasis areal is Villa Royal The needs. care patients’ the to adapted are rooms The sea. by the holiday recovery orcomfortable a guarantee rooms designed heritage. ergonomically 10 coastal the of part beautiful in a relax completely can one hotel care the In IMBO. Centre rehabilitation the of extension an is Villa centre within the Royal rehabilitation The home. care and a hospital rehabilitation a centre, a rehabilitation the group also includes Villa, Royal the to Next Ostend). Initiatives Care of (Bundling group BZIO the of part is Villa Royal The

BENEFIT Collegium Vocale Gent Biographies

Choir Orchestra traverso Patrick Beuckels Collegium Vocale Gent (BE) was soprano first violin Jan Van den Borre founded in 1970 on the initiative of Dorothee Mields Christine Busch Philippe Herreweghe. It was one of the The Akademie für Alte Musik Berlin (DE), Annelies Brants Isabelle Farr oboe first ensembles to apply new insights Akamus for short, was founded in 1982. It Chiyuki Okamura Maria Roca Marcel Ponseele about Baroque performance practice is one of the world’s top orchestras, with Magdalena Podkościelna Taka Kitazato to vocal music. For each project, the its own concert series in its home city and second violin Timothée Oudinot ▲ ensemble brings together the ideal cast, in Munich, and regular collaborations with contratenor Dietlind Mayer which allows them to perform a wide the Staatsoper Unter den Linden, the RIAS Alex Potter Marieke Bouche cornet repertoire, from Renaissance polyphony Kammerchor, Sasha Waltz & Guests, and Piotr Olech Lotta Suvanto Marleen Leicher to contemporary music. Baroque music, René Jacobs. Bach’s dialogue cantatas, Cécile Pilorger particularly that of J.S. Bach, is central the most recent of its many acclaimed Alexander Schneider viola to the ensemble’s concert calendar. recordings, features Sophie Karthäuser Deirdre Dowling Simen Van Mechelen Collegium Vocale Gent have made dozens and Michael Volle as vocal soloists. tenor Kaat De Cock Claire McIntyre of recordings: featuring Renaissance Raphael Alpermann (DE), who has been Thomas Hobbs Joost Swinkels polyphony, Baroque music, Classical and involved with Akamus since its foundation, Malcolm Bennett cello Romantic oratorios and contemporary teaches at the Hanns Eisler School where Johannes Gaubitz Ageet Zweistra bassoon music. The ensemble and their conductor he himself trained. He is also regularly to Vincent Lesage Harm-Jan Schwitters Julien Debordes are the central guests at the annual be heard with the Berliner Philharmoniker Bach Academy Bruges in January. and other famous orchestras. As a child bass piccolo cello trumpet Michaela Hasselt (DE) tried out all Peter Kooij Ageet Zweistra ▲ Alain De Rudder ▲ kinds of instruments before ultimately Philipp Kaven Steven Verhaert ▲ Philippe Herreweghe (BE) is undeniably choosing the harpsichord, which she one of the specialists in Renaissance and studied in Munich, Berlin and finally Robert van der Vinne double bass Yorick Roscam ▲ BIOGRAPHIES Baroque music. This is amply evidenced Leipzig. Based in that latter city, she HEAVEN ON EARTH Bart Vandewege Miriam Shalinsky tromba da tirarsi by his work with Collegium Vocale Gent, performs with a wide range of ensembles, organ Alain De Rudder ● La Chapelle Royale and the Ensemble from Baroque to Contemporary. Felice Maude Gratton Vocal Européen. His energetic, authentic Venanzoni (IT) is a harpsichordist, timpani and rhetorical approach to this repertoire coach and conductor, for instance at Michael Juen ▲ is universally praised. Since 1991, he Oper Frankfurt and the Semperoper in has also devoted his attention to the Dresden. He also regularly participates in Classical and Romantic repertoire, with the opera productions of the renowned the Orchestre des Champs-Elysées. Ensemble Matheus, with which he has Since 1997, he has been a regular guest appeared in New York, Beaune, Stockholm conductor of the Antwerp Symphony and the Salzburger Festspiele. Petteri Orchestra, with which he has focussed Pitko (FI) leads the Finnish Baroque on a refreshing interpretation of (pre) Orchestra and also performs regularly Romantic music. A few years ago Philippe with the Sheridan Ensemble. Interested Herreweghe founded the record label in new harpsichord music, he has Phi, which has meanwhile released premiered work by Misato Mochizuki, over 30 CDs featuring very diverse Sarah Nemtsov, Perttu Haapanen, repertoire from Collegium Vocale Gent, Sebastian Fagerlund and Jyrki Linjama. the Orchestre des Champs-Elysées and various soloist and ensemble friends. In 2010 the city of Leipzig awarded Philippe ● 18 January Herreweghe its prestigious Bach Medal. ▲ 20 January

— 27 — BIOGRAPHIES music for choir and for carillon. composes regularly He Kerels. De choir male-voice the of conductor is He ‘Jef in Mechelen. Denyn’ School Carillon the and Conservatory Ghent at studied He years. of anumber for Deleu Frank assisted previously he where Bruges, of carillonneur city is (BE) Berteloot Wim the acclaimed Goldfinch Ensemble. of amember also is He Stravagante. Capriccio and Century Eighteenth the of Orchestra the Akamus, including with numerous ensembles, performed has He horn. natural the and harpsichord Emmanuel Frankenberg (NL) by Outhere. published recently was L’artkey clavecin work le toucher de Couperin’s of recording His Masques. ensemble own his of director artistic as and asoloist as renown world himself competition, success in the Bruges harpsichord great garnering Since tours. still that with Collegium Vocale a production Gent, Requiem Gilles’s Jean recorded Skip ago, years Afew music. early of forefront the at are Stravagante his and Capriccio (US) Sempé Skip Keiko Shichijo. pianist with in aduo plays also She Academy. Bach the at appeared previously has she whom with Consort, Dunedin the and Society Bach Netherlands the Salzburg, Camerata Orchestra, Chamber Scottish the as with illustriousperforms such ensembles, regularly now She start. aglorious to off (NL) Bernardini Cecilia of career the got prizes competition numerous winning and distinction highest the with Conservatory Amsterdam from Graduating Olivier Fortin (CA) Fortin Olivier in Bruges together plays the has won won has

— 28 — — 28 Andreas Brantelid (SE/DK) Brantelid Andreas in Bminor Mass Bach’s about book his Scarlatti van Alessandro oratoria De monograph his published recently Press University Leuven audience. awider for publishes regularly also He polyphony. Renaissance on focussed primarily is research His Unit. Research Musicology University’s Leuven of Emeritus is Professor (BE) Bossuyt Ignace artists space to explore and develop. and explore to space artists young gives which programme, fellowship #BeBeethoven Esslingen’s Podium of abeneficiary is She Lutz. Rudolf and Bötticher,Jörg-Andreas Ton Koopman as such teachers under family, studied (DE) Albach Elina Gwisdek. rapper Robert concept album collaboration with actor/ Traumwerk CD the released they Lastdeveloped year theatrical concept. aspecially with V, often Radialsystem Leipzig Bachfest Bachwochen, and Thüringer the at performed have they in 2015, debut their Since tradition. of boundaries the push and music early of young ensemble who explore the ‘essence’ (DE) CONTINUUM Sveaas. by him to Christen available Stradivarius,Hegar’ generously made ‘Boni- 1707 the plays Andreas note. of worthy are particularly Herreweghe Philippe of invitation the at performed his concerts orchestral performances, and recitals numerous his Among Concerto Cello Elgar’s performing 14, of age the at soloist orchestral an as debut his made and Ingemar father by his lessons music first his given was He starter. early , daughter of a musical Berlin Berlin amusical of , daughter with the Royal Danish Orchestra. are an adventurous are an adventurous

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was a member of Oper Oper of amember was , which brings together together brings , which are now an an now are . André André — 29 — — 29 The The Matters Music hosted has he autumn, last Since 3. Radio then was what at compiler amusic as work started he 1999 In Conservatory. Brussels the at in 1998 lute and in guitar degree master’s his awarded was He guitarist. aclassical became and calling late Olav Grondelaers (BE) languages, Germanic studying After Chairman of the Orpheus Institute. Orpheus the of Chairman also is He competition. Brugge Antiqua Musica the of chairman been has he 1977 Since 1996. to 1982 from principal Ghent where Conservatory, he was the at harpsichord taught also He music. in chamber and asoloist as both career, concert afine had He Ghent. in music chamber and history music organ, piano, studied (BE) Huys Johan Strings Noble Orpheus’ CD the released he Eynde, Vanden Sofie lutenist and Lischka Romina gambist With Bournemouth Symphony Orchestra. the and Berlin Musik Alte für Akademie Bizantina,Accademia Pygmalion, Classical Company, Opera Consort, Dunedin IFagiolini, as such ensembles with sung since has and Music of College Thomas Hobbs (GB) Clavier-Übung III aGrosseas Messe plays hisoften own transcriptions, such he ensemble, own his With in Leuven. church Gertrude’s in Saint (1714) organ Penceler historic the of organist titular Lemmensinstituut in Leuven and is the at studied (BE) Dekoninck Wouter Sportpaleis. in Antwerp’s Nacht Nekka for Snaar Nieuwe De with collaboration its as such cross-overs, into enters also consort the Baroque, Besides him. of highly very thought who Bach, Sebastian builder and of contemporary Johann Zachariasafter Hildebrandt, an organ Hildebrandt Consort (BE) Hildebrandt Consort

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CITY MAP Join us again for...

SATURDAY – SUNDAY WEDNESDAY – SATURDAY 23 – 24 FEB 2019 22 – 25 MAY 2019

Concertgebouw and various city locations Concertgebouw © Dries Segers

SLOW(36h) Masterpiece Week The slower the experience, Lassus the more intense the memory Psalmi Davidis Poenitentialies

During SLOW (36h), we invite you to slow In the sixteenth century Roland de Lassus down for 36 hours, from Saturday morning was an absolute world star. We travel to Sunday evening, and linger a while back almost 500 years in time with a with art. In a society that is constantly lecture, a concert with Ottoman music rushing forward, the second edition of this between heaven and earth with Tristan arts festival is a much needed pause, a Driessens, living legend Kudsi Ergüner and chance to get maximal enjoyment from the Lâmekân Ensemble, a project around minimal resources. With an exceptionally guilt and, of course, a concert featuring varied, multidisciplinary and surprising the masterpiece itself: the Penitential programme – from slow music, to video Psalms, performed by the unsurpassed and sound art, to slow walking and slow Vocalconsort Berlin led by Daniel Reuss. cooking – this festival is a massage for all the senses.

Let us know how you like the concert on

ConcertgebouwBrugge @concertgebouwbr

info & tickets +32 70 22 12 12 — In&Uit: ‘t Zand 34, Brugge concertgebouw.be V.U. KatrienV.U. Eeckhoutte, Van 't Zand 34, Brugge