Wed 15 Jan – Sun 19 Jan 2020

BACH ACADEMY BRUGES Chez Bach © Rune Guneriussen Rune © FOREWORD Dear music lover music Dear timeless masterpiece Bach’s on perspective afresh us give who Collectief, Het of gentlemen and ladies the and pianoforte, on Gratton Maude with in duo Lischka Romina gambist Masques, Ensemble and Fortin Olivier Helmchen, Martin pianist the friend my good as such ensembles, and soloists fantastic of awealth have we side, instrumental the On varied. is it as sublime as is programme week’s this usual, As musician. unparalleled and teacher tireless citizen, respected father, man, afamily as life: private his of aglimpse catch to shoulder Chez Bach avisit paying be we’ll which in edition, year’s this about enthusiastic so why weare That’s time. after time performers, and audiences both affect and astound captivate, to opportunities limitless almost offers oeuvre Bach’s rich enigmatic and coincidence: no is years past over the Cantor the of world social the and music the with you enrapture to able been wehave That Academy, in Brugge! Concertgebouw Bach the of edition tenth this to Welcome and peering over the Cantor’s Cantor’s over the peering and The Art of of Art The . — 2 — Philippe — Your cantor, devoted house. wonderful this of corridors in the simply just even or concerts… or of the introductions open rehearsals, one at week this you meeting to forward We look beauty. this all with you present to curator as honour and pleasure my is great it team, enthusiastic his Together with Jeroen Vanacker and cantatas. seldom performed but beautiful Mendelssohn’s Felix on influence to Bach’s highlight Romanticism in ourselves immerse we as orchestra, and extensive amore with experimenting be also We will cantatas. exquisite most Bach’s of anthology an you bring –will Gent Vocale Collegium fifty-year-young – the ensemble my own Iand concert, closing the In central. is tradition existing the and oeuvre Portense Florilegium the on Vox focus –which Luminis and Ensemble Pluto the of concerts the In – the interweaving of Bach’s vocal vocal Bach’s of interweaving –the

© Michiel Hendryckx Bobo Stenson Werf |De KAAP 20.30 Festival summary Music Network. Early European REMA, of part is Brugge Concertgebouw Translation: Smith Stephen 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 8 p. &Couperin Bach Frankenberg & Emmanuel Fortin Olivier Jesu, Mendelssohn. hall Concert 20.00 i.c.w. Cultuurcentrum Brugge Christos Papadopoulos Opus & Elvedon Magdalenazaal20.00 T’Jonck by Pieter Introduction 19.15 Magdalenazaal KAAP i.c.w. by Bach Honed 22.30 hall music Chamber 22.30 5 p. meine Freude WED 15 JAN 2020 JAN 15 WED FRI 17 JAN 2020 JAN 17 FRI 2020 JAN 16 THU

p. 20 p. Bach chez galante Fête GrattonMaude Romina Lischka & hall music Chamber 22.30 16 p. Leipzig to road The Vox Luminis hall Concert 20.00 15 p. Partitas Bach. Helmchen Martin hall music Chamber 16.30 13 p. Portense Close-up Vox Luminis & Bossuyt Ignace hall music Chamber 14.00 10 p. Bach’s at time party Quodlibet: Ensemble Pluto hall music Chamber 11.00 SAT 18 JAN 2020 SATJAN 18 Florilegium Florilegium — 3

festival partner our with cooperation In flowers ofBloemblad. additional colour by the given is Your applause 26 p. Ewigkeit süßen der In Collegium Vocale Gent hall Concert 20.00 24 p. Zimmermann’s at Coffee Ensemble Masques hall Concert 16.30 22 p. an Anamorphosis Fugue, of Art The Het Collectief hall music Chamber 14.30 21 p. FluteBach. Wolfs Julien Stefanie Troffaes & hall music Chamber 11.00 SUN 19 JAN 2020 JAN 19 SUN

SUMMARY Context summary FRI 17 JAN 2020 Collegium Vocale Gent

WED 15 JAN 2020 SAT 18 & SUN 19 JAN 2020 Mendelssohn. Jesu, meine Freude 16.00-19.00 11.00 Belfry, Market Square Sinfonia/Arioso from Brugge , BWV1056 THU 16 JAN 2020 Bach on carillon (arr. Brecht Berteloot) 10.30-13.30 Wim Berteloot 20.00 Concert hall Mendelssohn following Cello Suite no.4, BWV 1010 Concert hall 19.15 Introduction by Ignace Bossuyt Prelude / Allemande / in Bach’s footsteps Willem Créman (1895-1970) Open rehearsals Courante / Sarabande Herinneringen aan — The name immediately Collegium Vocale Gent / Bourrée 1 / Bourrée 2 / J.S. Bach conjures up the historic revival of the Gigue choir & orchestra St Matthew Passion he conducted in During their open (arr. Arie Abbenes) Collegium Vocale Gent: Johann Sebastian Bach rehearsals, Collegium Philippe Herreweghe: conductor Leipzig in 1829, at the age of twenty. (1685-1750) Vocale Gent and Philippe : soprano Mendelssohn’s interest in and knowledge of Preludium from Lute Suite, FRI 17 — SUN 19 JAN 2020 Herreweghe give us a peek Thomas Hobbs: tenor the Bible – which stemmed from his Jewish BWV997 30 min. before most behind the scenes. We get Tobias Berndt: bass ancestry and his forefathers’ conversion (arr. Bernard Winsemius) concerts to witness what is often to – go hand in hand with Air from Pastorale, BWV590 Entrance hall a very personal artistic — his enthusiasm for Bach’s music, with (arr. Bernard Winsemius) growth process. Students which he came into contact very early. Bist du bei mir from Zweiten Conservatory Bruges Felix Mendelssohn (1809-1847) Notenbuch der Anna Free with a Bach Academy Bach’s salon O Haupt voll Blut und Wunden (1830) His grandfather, the philosopher Moses Magdalena Bach, BWV568 Bruges 2020 concert ticket Jesu, meine Freude (1828) Mendelssohn, and his great aunt Sarah Levi (arr. Ronald Barnes) Bach’s house was brimming Wer nur der lieben Gott lässt walten (1829) both studied music under the composer- SUMMARY VOCAL Prelude for lute, BWV998 with pupils, all levels and Verleih’ uns Frieden (1831) theorist Johann Philipp Kirnberger, 2020 JAN 17 (arr. Frank Deleu) ages, all mixed together. Mitten wir im Leben sind, opus 23 no.3 (1830) who was one of Bach’s most significant Air from Suite, BWV1068 Young Bruges talents of the Nicht unserm Namen, Herr, students. In 1823 Mendelssohn’s maternal (arr. Leen ‘t Hart) conservatory each take on Psalm 115, opus 31 (1830) grandmother Bella Salomon gave him a FRI 17 JAN 2020 Jesus bleibet meine Freude one Bach work and delight copy of the score of the St Matthew Passion 10.30-17.00 Forum 6 from Cantata, BWV147 us on the in the — as a Christmas gift. Mendelssohn’s teacher, At home with Bach (arr. Wim Berteloot) Entrance Hall. the composer Carl Friedrich Zelter, was not and his heirs Siciliano from Flute , p. 30 With Dutch surtitles only director of the Berlin Singakademie, Listening course BWV1031 which had an excellent music library, but YOUNG TALENT (arr. Peter Bremer) This concert is being broadcast live on Klara. also an enthusiastic admirer of Bach’s work. The life and works of J.S. Thank you for keeping noise to a minimum, Mendelssohn’s memorable production of the Bach hold no more secrets Wim Berteloot (1967) also between movements and pieces. St Matthew Passion was the start of a series for Ignace Bossuyt. In this Miniatures on B.A.C.H. of performances of Bach’s work, especially listening course (in Dutch), (selection) during the years when Mendelssohn was he untangles the lines that Toccata / Menuetto / director of the Gewandhaus Orchestra in run from father Bach to Inventio / Preludium / Leipzig. So great was his enthusiasm for his (musical) heirs, such as Fugato Bach that he himself regularly played the Felix Mendelssohn. piano in Bach’s keyboard and published a number of Bach’s organ works. i.c.w. Davidsfonds Academie It goes without saying that Mendelssohn LECTURE & DISCUSSION looked to the great Thomas Cantor for inspiration for his own religious music. GENRE VOCAL

— 4 — — 5 — Collegium Vocale Gent

‘I composed religious his trust in God. The intimate, consoling ending is particularly impressive. music because I felt Choir Orchestra flute a need to compose The intimate and moving single movement Amélie Michel Verleih’ uns Frieden – a setting of Luther’s soprano concert master Jan Van den Borre it, just as people feel translation of the antiphony for peace Da Dorothee Mields Christine Busch pacem – was composed in Rome in 1831. The Gunhild Alsvik clarinet a compelling urge to chorale melody is presented three times as Annelies Brants first violin Nicola Boud read a certain book, a crescendo by the addition of instruments Chiyuki Okamura Baptiste Lopez Jean-Philippe Poncin and voices: first bass, then alto and then Magdalena Podkoscielna Felicia Graf such as the Bible, and finally the four-part choir. The orchestral Elisabeth Rapp Meng Han oboe parts are beautifully elaborated, from the Dietlind Mayer Marcel Ponseele find that satisfying.’ opening with two cellos to the tutti with alto Maria Rocca Taka Kitazato strings and woodwinds (flutes, clarinets Anne-Lou Bissière — Felix Mendelssohn and bassoons). In 1828 Bach’s Jesu, Marlen Herzog second violin bassoon meine Freude inspired Mendelssohn to Cécile Pilorger Isabelle Farr Julien Debordes base a cantata on that same chorale, Alexander Schneider Marieke Bouche Carles Cristobal a brilliantly contrapuntally elaborated Julia Spies Corrathu Masoni composition, in which every voice and Bart Uvyn Anna Sager Horn instrument is featured independently. Verena Sommer Anneke Scott tenor Lotta Suvanto Mark Demerlier From 1830 onward, in addition to chorale Thomas Hobbs His chorale-based cantatas are the most cantatas, Mendelssohn also composed Malcolm Bennett viola representative examples of the influence a number of liturgical works based on Peter Di-Toro Deirdre Dowling 17 JAN 2020 JAN 17 of similar Bach works. His cantata O Haupt psalms. His earliest psalm setting is Nicht Johannes Gaubitz Donata Böcking 2020 JAN 17 voll Blut und Wunden, based on the chorale unserm Namen Herr – the German version Vincent Lesage Kaat De Cock primarily known from Bach’s St Matthew of Psalm 115 – a prayer and a hymn, for Hitoshi Tamada Pablo de Pedro Passion, dates from 1830. This work has soloists, choir and orchestra. The strict Wendy Ruymen three movements that reflect Bach’s in the opening chorus contrasts bass composition techniques,: (1) an opening with the solemn chordal declamation of Tobias Berndt cello chorus, in which the melody is set in broad the closing chorus (Die Todten werden Nikolaus Fluck Ageet Zweistra note values in the soprano part, against dich loben) and the more lyrical soloist Philip Kaven Louise Audubert contrapuntal lower voices based on the intervention of the arioso for baritone (Er Eddie Mofokeng Harm-Jan Schwitters chorale and with the essential participation segne euch). Besides Bach, Mendelssohn’s Robert van der Vinne Gésine Queyras of the orchestra; (2) an aria for baritone model for this was his copy of the psalm Bart Vandewege and orchestra that references the chorale settings Handel composed in Rome. double bass melody; and (3) a choral stanza for choir Miriam Shalinsky and orchestra in a simple chordal style. The In these religious works, Mendelssohn Joe Carver Wer nun den lieben Gott was not simply trying to imitate Bach (or läßt walten is based on the same pattern. In Handel). He wanted to breathe new life organ 1830, in his opus 23, Mendelssohn bundled into the sterility of the dry-as-dust 19th- together three religious works for soloists, century church music by reaching back to choir, and organ, including an eight-voice the work of the composer who combined setting of Luther’s chorale Mitten wir im the religious message with top-quality Leben sind, in which drama and reflection music, brimming with technical mastery. go hand in hand as an expression of the conflict between the weakness of man and — Ignace Bossuyt GENRE

— 7 —

— 6 — 17 JAN 2020 With the support of Piano’s Maene Piano’s of support the With in C two for Concerto Bach Sebastian Johann Chaconne La Favorite La Lugubre Sarabande Couperin François in c fugue and Prelude Bach Sebastian Johann Les Barricades mystérieuses Les Bergeries Couperin François in Es fugue and Prelude (1685-1750) Bach Sebastian Johann claveçins àdeux Allemande (1668-1733) Couperin François — harpsichord Olivier Fortin & Emmanuel Frankenberg: — (doors open from 22.15) hall music Chamber 22.30 Bach &Couperin Emmanuel Frankenberg & Olivier Fortin

FRI 17 JAN 2020 JAN 17 FRI KEYBOARD , BWV545 , BWV552 , BWV1061

— 8 style brisé style the with along music, keyboard French of – characteristics charming most also – and typical most the ornements so-called such of use The much. too melody the obscure to tended which ornamentation, of use exuberant sometimes his on keen so not was he Couperin, admired Bach while that adds Forkel voices. inner important the of playing the facilitate to and performance asmooth promote to playing, keyboard in thumb the of use the recommended and introduced have to said are Bach and independently of each other, both Couperin totally detail: interesting an mentions Forkel Nikolaus Johann biographer first Bach’s L’art claveçin le toucher de 1716 from Couperin’s theoretical important work knew also Bach that likely highly is It claveçins deux à Allemande the copied Friedemann Wilhelm son Bach’s Magdalena. Anna wife his for Anna Bach Magdalena for Notebook in the volume, second the Les Bergeries popular Couperin’s included Bach 1730. and 1713 between volumes in four published were them, school. These harpsichord French the of culmination the are suites harpsichord 27 whose composer French the Couperin, François of work the of knowledge Bach’s emphasise to 1740 in words these wrote Marpurg Wilhelm Friedrich theorist music and Composer him.’ of highly very thought Bach learned the that you inform to than praise higher no Couperin give can ‘I From Bach’s library ordres from the same collection. collection. same the from , as Couperin called called Couperin , as he compiled in 1722 in 1722 compiled he style luthé style or is indeed one of of one indeed is , from , from . , weight, Bach made his mark on those those on mark his made Bach weight, equal of parts dialoguing for preference of his preferred With his models. emphatic one as Vivaldi Antonio taking south, the to eyes his turned also Bach concertos, and sonatas his In styles. Italian and French the of tastes) expressive réünis title Les Goûts the with music chamber of collection interesting by his evidenced is This music. Italian inclined melodically purely more the for afondness had Couperin Like Bach, suchtitles, as the ‘pastoral’ Les Bergeries refined character pieces with descriptive more into transformed are most but gigue, and sarabande courante, allemande, standard, emotionally rather neutral dances ordres his In arpeggio. an other, as each after but together played not are achord of notes the in which playing, lute of in imitation , a title that reflects a coming together together coming a reflects that , atitle Couperin still includes the

(Reunited (Reunited . — 9 — Ignace Bossuyt — Ignace development in mutual dialogue. by lyrical-melodic dominated is which movement, middle the to in contrast movements are pronouncedly rhythmic, outer The glory. crowning the –as quartet afascinating form on moment that from and introduced gradually are voices four the –in which fugue closing abrilliant with principle, this to according constructed is ensemble and dialogue. Each movement part, each of independence the repetition, principle’:‘concert statement and reply, by the understood initially was what of example arepresentative is work The essential. not are these but strings, for parts added later Bach keyboards, solo two for version To original the example. for BWV1061, harpsichords, two for Concerto in his genres, instrumental

17 JAN 2020 SAT 18 JAN 2020 Pluto Ensemble Quodlibet: party time at Bach’s

11.00 Chamber music hall Balthasar Resinarius (1485-1544), Dieterich Johann Sebastian Bach Georg Forster (doors open from 10.45) Buxtehude (1637-1707), Johann Christoph Canon zu 8 Stimmen, BWV1072 & 1073 Der Pfarer von Sant Veit * Bach (1642-1703) & Johann Sebastian Bach Canon after — (1685-1750) Canon zu 4 Stimmen, BWV1077 Johann Sebastian Bach Erhalt uns Herr Allegro ma non tanto from Gamba Sonata Pluto Ensemble Anoniem in G, BWV1027 Michaela Riener: soprano (1571-1621) & Philipp Kraut und Rüben / Ich bin so lang nicht Marnix De Cat: alto & musical direction Spitta (1841-1894) Melchior Franck Geoffrey Degives & Tore Denys: tenor Kirchen-Quodlibet, reconstruction Redeker Johann Sebastian Bach Weinlied Harry van der Kamp: bass & Hilgenfeldt Canons from BWV 1087 Wim Maeseele: lute • Durch Adams Fall Variations on the bass line from the Johann Sebastian Bach Dimos De Beun: organ, harpsichord & flute • Wir glauben all an einen Gott Goldberg Variations Quodlibet, BWV524 Nicholas Milne: viola da gamba • Vater unser • Ach Gott, vom Himmel sieh Ludwig Senfl (ca.1489-1543) Johann Conrad Geisthirt (1669-1724) & — • Erhalt uns Herr Das Gleut zu Speyer ° Marnix De Cat (1967) Fuga from Daran ist erschienen die Johann Göldel Mathias Greiter (ca.1495-1550) Liebe Gottes 18 JAN 2020 JAN 18 Glaubens-Quodlibet, reconstruction Quodlibet, Fürt yede stymm ir eigen text ° 2020 JAN 18 Redeker & Hilgenfeldt Johann Sebastian Bach • Vater unser Jobst von Brandt (1517-1570) Goldberg Variation no.30, BWV988 • Wir glauben all an einen Gott Stand auf Käterlein * • Jesus Christus unser Heiland • Christ unser Herr Mathias Greiter • Mensch will du leben seliglich Quodlibet Zum Biere °

Johann Michael Bach (1648-1694) Melchior Franck Ich weiss, dass mein Erlöser lebt / Bierlied Christus der ist mein Leben Wolfgang Schmeltz l(ca.1500-1564) Johann Sebastian Bach Quodlibet, Fürt yede stymm ir eigen text ° Gib dich zufrieden, BWV512, from Da trunken sie ° Notenbüchlein für Sarabande en Double from Partita no.1, Georg Forster (1510-1568) BWV1002 Quodlibet Presulem sanctissimum *

Melchior Franck (1579-1639) Lorenz Lemlin (1495-1549) Viva la musica Der Guzgauch auf der Zäune saß *

* from Frische Teutsche Liedlein (Georg Forster, 1539-56) VOCAL ° from Guter, seltzamer, und künstreicher teutscher Gesang (Wolfgang Schmeltzl, 1544)

— 10 — — 11 — SAT 18 JAN 2020

Whatever pleases you… instantly recognisable to listeners at the time, with or without their lyrics. Ignace Bossuyt & Vox Luminis Family parties chez Bach were legendary Close-up Florilegium Portense affairs. Big or small, anyone who could For his imaginary celebration, hold an instrument or sing more or less in Marnix De Cat has dug up some wonderful tune took part – and there were lots who specimens, among them the exemplary could. Just like this concert, these festivities Glaubens Quodlibet, in which Johann Göldel 14.00 Concert hall invariably began with a chorale, before blends together no less than five chorale (doors open from 13.45) — New Testament family and friends really let go in ever less melodies. Canons also feature, because modest songs. they too apply the art of combination. There — (1564-1612) will also be some of the earliest German Pater noster One special genre of these was the quodlibet examples of quodlibets, from the collections Vox Luminis – or ‘whatever pleases you’ – which appeared of Wolfgang Schmeltz and Georg Forster. Lionel Meunier: bass & musical direction Sethus Calvisius (1556-1615) in Europe in various forms from the late Zsuzsi Tóth & Stefanie True: soprano Quaerite primum Middle Ages on. The German early By the way, even the great Johann Sebastian Alexander Chance, Jan Kullmann & Dina variant combines witty humour with a sort of himself composed a quodlibet with text: a König: alto Roland de Lassus (1532-1594) party game for music nerds by intertwining light-hearted piece, which was probably Philippe Froeliger, Raphael Höhn & Jacob Tristis est anima mea two or more popular melodies and their performed at the celebration of his first Lawrence: tenor texts. The most well-known example of marriage, to Maria Barbara Bach. Sebastian Myrus: bass Christian Roth (ca.1585-ca.1640) this nowadays is undoubtedly Bach’s 30th Bart Jacobs: organ Allein zu dir, chorale cantata Goldberg Variation, which is based on several — Albert Edelman German folk songs that must have been Ignace Bossuyt: lecture Johann Sebastian Bach (1685-1750) Allein zu dir, Herr Jesu Christ, final chorale — from cantata BWV33 18 JAN 2020 JAN 18 2020 JAN 18

— Old Testament

Melchior Franck (ca.1579-1639) Wenn ich nur dich habe, psalm 73

Christian Erbach (1568-1635) Deus, Deus meus, respice, psalm 22

Valentin Haussmann (1565-1614) Man wird zu Zion sagen, psalm 87

Teodore Riccio (ca.1540-ca.1600) De profundis, psalm 130

Bach’s manuscript of Quodlibet, BWV524 VOCAL LECTURE & DISCUSSION

— 12 — — 13 — SAT 18 JAN 2020

Bach’s musical bible In 1729 Bach purchased a collection of Bach. Partitas polyphonic music for Leipzig’s Thomas School, a collection that was already more than a century old: the now legendary 16.30 Chamber music hall Prayer and dance Florilegium Portense, the ‘Pforta Anthology’. (doors open from 16.00) — on the keyboard Pforta was – and still is – an elite school near Naumburg, on the river Saale, about Martin Helmchen: piano Among the core works of Bach’s keyboard 60 km southwest of Leipzig. The composer repertoire are the six partitas, or suites, Sethus Calvisius, the school Cantor, was a — that he published in 1731. The suite’s basic central figure in Pforta history. During his concept was the alternation of instrumental years there, he assembled a rich collection Johann Sebastian Bach (1685-1750) dances, dance-like pieces and more abstract of sacred polyphonic to use for Partita no.2 in c, BWV826 (1726) movements that contrasted in tempo, metre, instruction at the school, a collection that • Sinfonia texture and character. Sometimes, the dance Erhard Bodenschatz, who was Cantor from • Allemande feel was retained, but usually the dance was 1600 to 1603, expanded considerably (to 265 • Courante worked out in a more complex compositional compositions). Most of these works are in • Sarabande style, in a fugue, for example, as in the Latin, with a few in German. They are mainly • Rondeau Overture and the Gigue of Partita no.4. The • Capriccio eight-voice, double-choir motets, usually four ‘standard’ dances (allemande, courante, written in a chordal style, in which the voices sarabande and gigue) were supplemented 5 chorale preludes declaim the text simultaneously, shunning with other dances, such as the minuet, and Nun komm, der Heiden Heiland, BWV659 ° learned techniques and virtuosic show. with a rich variety of other pieces, such as Wachet auf, ruft uns die Stimme. BWV645 ° 18 JAN 2020 JAN 18 the rondeau, capriccio and aria. The opening 2020 JAN 18 Nun freut euch, lieben Christen g’mein, The collection contains works by both BWV734 ° movements (sinfonia, overture) are generally Catholic and Protestant composers, mainly Herzlich thut mich verlangen, BWV727 * elaborate and very individually conceived, Germans and Italians, from ca.1560- Nun danket alle Gott, BWV657 * thanks to the mixing of styles, for instance, ca.1620. For most composers of that time, as in the sinfonia, where a typically lively the ideal model for a Latin motet was the Partita no.4 in D, BWV828 (1728) French start is followed by an Italian-tinted, work of Roland de Lassus, Kapellmeister of • Ouverture violinistic andante, followed by a fast fugue the Bavarian dukes in Munich. His work is • Allemande (Bach’s favourite). therefore well represented in the Florilegium. • Courante • Aria In Bach’s organ music, chorale arrangements This collection was widely circulated and • Sarabande play a central role. They were usually reprinted, but by Bach’s day the polyphonic • Menuet intended as a prelude to the liturgy, in which motet was nevertheless widely regarded • Gigue the chorale served as a . as an old-fashioned and almost extinct Bach often adds beautiful counter-melodies, genre. Bach’s purchase of the Florilegium met de steun van Piano’s Maene as he does in the well-known Wachet auf Portense shows, however, that the genre (BWV645), for example. Later composers who still had a place in the religious repertoire, admired Bach – such as Ferruccio Busoni for instruction in the Thomas School, but and Max Reger – made many arrangements also in the liturgy. In Leipzig there was, after ° arr. Ferruccio Busoni of these works for piano, sometimes adding all, a mandatory motet at the start of every * arr. Max Reger personal touches, sometimes true to the service. model.

— Ignace Bossuyt — Ignace Bossuyt KEYBOARD

— 14 — — 15 — 18 JAN 2020 Ronan Kernoa: Benny Aghassi: oboe Moisio: Jasu Miranda: Mieneke van der Velden & Ricardo Rodriguez violin Frisch: &Johannes Tuomo Suni Sebastian Myrus: Höhn: & Raphael Froeliger Philippe alto König: &Dina Chance Alexander True: soprano Tóth &Stefanie Zsuzsi Lionel Meunier: Vox Luminis — Bossuyt by Ignace Introduction 19.15 hall Concert 20.00 The road to Leipzig Vox Luminis With Dutch surtitles ZagenWeinen, Sorgen, Klagen, dir, mich Nach Herr, verlanget interval Herr, zu dir ich, rufe Tiefen der Aus Zeit allerbeste die Zeit ist Gottes (1685-1750) Bach Sebastian Johann — Jacobs: Bart SAT 2020 JAN 18 VOCAL viola da gamba da viola organ cello recorder & bassoon bass & musical direction &musical bass bass , BWV150 , BWV12 , BWV106 , BWV131 tenor — 16 — — 16 sterben! – Ja, komm, Herr Jesu, komm Jesu, Herr komm, –Ja, sterben! musst du Mensch, Bund: alte der ist Es Zeit Gottes from fragment Abrilliant interruption. without another one into merge that passages contrasting of individual movements sometimes consist the that is cantatas in these striking also is Zeit in Gottes gamba) da violas and instruments (recorders sonatina for ‘soft’ opening hushed the as such introduction, an independent atmospheric instrumental is cantata of Typical type this of . plus Testament New the and Old the both from verses Bible of – consists cantatas best-known Bach’s of one and Mass funeral a for Zeit –composed Zeit allerbeste die is Gottes of text The poetry. rhyming free with 25 Psalm from verses –combines salvation finding thus and danger of in times God mich dir, Nach Herr, verlanget stanzas. chorale with the addition of some appropriate Lord’), Thee, to Icry depths the of (‘Out profundis De psalm penitential Latin the of translation German the on based –is liturgy dir Herr, zu ich, rufe Tiefen der Aus cantata The diversity. in their precisely lies cantatas early these of richness The present. yet not –is poetry free (especially) and chorales verses, Bible of consisting texts on based chorales, and arias recitatives, of alternation –asystematic cantatas Leipzig tradition. The stereotypical structure of the 17th-century the with consistent atype of are in Leipzig, Cantor Thomas appointed was he before 1714, and 1707 between and in Mühlhausen composed Bach cantatas The to Leipzig Mühlhausen From – presumably for a composed penitential – about man putting his trust in in trust his putting man –about is the passage passage the is . What : the : the

appropriate chorale ( an with combined is murderer) good the to sein im Paradies mir mit du ( fragment aria an in which here, technique combination typical Bach’s hear other. We also the on continuo basso with solo for style Baroque ‘new’ the and hand one the on style contrapuntal ‘old’ the employing by way in agrandiose them symbolises Bach other: each against set are Christ) through life to opposed as (death Covenants New the and Old The soprano. solo the of entrance the by followed is fragment four-voice first, The The freuen. nicht Feinde meine sich dasz werden zu Schanden nicht mich lass at down slowing acceleration at ich hoffe Herr dir, Nach of opening chromatic slow, The continuo. basso and bassoon violins, two of orchestration amodest for written was cantata the of chorus opening the dominates also medium expressive an as Tempo change meine Stimme (vivace) Herr, höre at plea lively emphatic introduction slow the of mood melancholic the diptych: a is chorus opening The chorale. the with hand in hand goes always thus reflection Sinn in meinen denn ich wenn Und Herrn den auf wartet Seele Last in solcher mein dich Erbarm stanza the sings soprano zurechnen Herr, Sünde wilsst, du So oboe with solo bass the In fragment. aria an with in combination chorale same the from In fahr dahin Aus der Tiefen , for instance, is followed by a ‘positive’ by a‘positive’ followed is instance, , for allegro by the rescinded is Nach dir, mich Nach Herr, verlanget ). turns into an into an turns Tiefen der Aus . Meine Meine tenor for solo ; in the Bach quotes two stanzas stanzas two quotes Bach Mit Fried und Freud ich ich Freud und Fried Mit , after which a a which , after , the alto sings sings alto , the , Jesus’s promise promise , Jesus’s Heute wirst wirst Heute : personal : personal on on , the , the , which — 17 — — 17 — Ignace Bossuyt — Ignace joy.’ into turned be shall ‘Your sorrow John: of Gospel in the Jesus of words the illustrates aptly cantata Freude meine Jesu, melody chorale in the trumpet by a triumphant supported getreu Sei aria in the tenor the sings sunshine’: to ‘rain from evolves cantata the entirety its the tempo accelerates to allegro. Taken in refers to Jesus ( Jesus to refers positively more text the When heartrending. is dissonances, with peppered chorus, This lamentation. and sadness intense express to foundation its as bass achromatic chooses Bach solo, oboe amasterful and strings of same principle. an opening After sinfonia this of examples poignant most and typical Zagen Sorgen, Klagen, Weinen, cantata the of chorus opening The his of finale the for Bach from theme bass this borrowed Brahms foundation. aunifying as serves line bass repeated aconstantly which –in Bach’s of form –afavourite chaconne Tage a is Leide Meine in dem chorus closing Fourth Symphony Nach dem Regen blüht der Segen der blüht Regen dem Nach die das Zeichen Jesu tragen Jesu Zeichen das die . is one of the most most the of one is . This . This , suitably , suitably ), ),

18 JAN 2020 10 YEARS 2011 2012 2013 BACH 2016 2017 2018 ACADEMY BRUGES

2014 2015 2019 2020

Jeroen Vanacker intention to get as close to Bach as possible, Pedro. The day was rather tense, as he Yves De Bruyckere artistic director Concertgebouw Brugge the atmosphere of the baroque church would arrive only just before the concert, production manager Concertgebouw Brugge Looking back on 10 years Bach Academy was even more fitting. That afternoon we and even though we had rehearsed a lot, What makes the Bach Academy so Bruges, one thought keeps coming back: stepped outside of the usual concert habits, about a week had passed since we’d seen exceptional? Not a single room in the Bach is ageless, and his inspiration something we only rarely get a chance to do. each other. The concert in the wonderful Concertgebouw sits idle. Walking behind without bounds. Each year, the emotional Chamber music hall wasn’t perfect, but the scenes, you’ll hear music from each and performances by Philippe Herreweghe and another more important feeling prevailed: every corner of the building. And then there his Collegium Vocale Gent are the starting Katherina Lindekens surrounded by our Bruges audience we are ensembles like Collegium Vocale Gent point for an annual trip taking us also to new ex- artistic coordinator knew: Pablo had to be our new member. and Freiburger Barockorchester, well-oiled creations in jazz, contemporary dance and Concertgebouw Brugge concert machines, but just that little bit theatre (also for children). Chez Bach is the From ‘my’ Bach Academies – I co-created Albert Edelman more at home when they land in Bruges. ideal moniker for this jubilee: for ten years the 2011 and 2012 editions – the trip to idyllic artistic coordinator You can feel it, and it’s that feeling I live for. we’ve formed an international community Hoeke has a special place in my heart. There Concertgebouw Brugge of artists and audience, a real Bach family. the audience met Marcel Ponseele in concert The most beautiful moments during the Ignace Bossuyt and his brother Francis in his workshop Bach Academy happen late a night for musicologist where he recreates historic oboes. The day me, when the Chamber music hall sits Ten years Bach Academy: each of over a Jens Van Durme made me feel nostalgic, it gave a glimpse of in almost complete darkness. This was hundred concerts provides a new piece artistic coordinator Collegium Vocale Gent a bygone era, somehow slower, with attention especially true for my first edition in 2012, of the ‘Bach in context’ puzzle, adding to One moment I won’t soon forget happened to craft. An excursion as a time machine. when we listened with bated breath to the vibrant landscape in which beauty in Luther year 2017, when Collegium more pianist Maude Gratton. There she sat by and depth are revealed step by step, or less reconstructed a service in the Ageet Zweistra herself in the middle of the room, caught towards a horizon that keeps receding. Walburga Church. With every element cellist Collegium Vocale Gent in a thin ray of light, but what worlds didn’t present – motet, communal song, organ, the My strongest Bach Academy memory she open up! The connection between cantata Ein feste Burg, and the ‘sermon’ by would have to be our Edding concert with music, artist and audience was intense. Josse De Pauw – we were immersed, and Beethoven’s Grosse Fuge in 2014, the the audience with us. While it was never our first with our then new violist Pablo de 18 JAN 2020 Adagio (1723-1787) Abel Friedrich Carl — Gratton: Maude Romina Lischka: — (doors open from 22.15) hall music Chamber 22.30 Fête chez galante Bach Gratton LischkaRomina &Maude • • • in g Sonate Fantaisie Freie • • • (1745) Wq136 in C, Sonate Carl Philipp Emanuel Bach (1714-1788) (1765–1781) WK186&212 SAT 2020 JAN 18 CHAMBER MUSIC Allegro assai Allegro Larghetto moderato Allegro Arioso Allegretto Andante &Allegro , Wq88 (1759) , Wq88 , Wq67 (1787) , Wq67 pianoforte viola da gamba da viola from Drexel-manuscript from , — 20 — — 20 Sofie Taes and Music BOZAR to thanks — With dialectics. by inner fed monologue amusical eloquent: particularly also is It energy. and panache with brimming and ideas with bursting is music this expression, free and formalism classical between Balancing craftsmanship. & Allegro York Drexel Manuscript the as in New stored now is manuscript Abel’s masters. gamba great last the of one and friend afamily Abel, Friedrich Carl with aconnection indicate may passages virtuosic particularly Some registers. deeper and qualities chordal gamba’s the utilises he create exceptionally magical when moments does Bach if even gamba, the than other instrument an for written been have easily each of these compositions Bach could that remarkable is It feelings. and moods of range endless an express to seeks that language musical natural amore promotes opposes artificiality andcomplexity and that manifesto artistic an as seen be can context Enlightenment in an that idiom in an –composed father his as regarded highly as least at was –who Bach Emanuel Stil Empfindsame the of master a As Classical. early the to Baroque late the generations from of German composers, several of buds taste the titillated gamba da viola the days glory final its In virtuosos gamba Europe’s last are a visiting card for Abel’s Abel’s for card avisiting are

. The Adagio . The , Carl Philipp Philipp Carl ,

• • • b in Flute Sonata Toccata in e • • in A Sonata Flute (ca.1736) Allegro • • • • E in Flute Sonata (1685-1750) Bach Sebastian Johann — Julien Wolfs: Flute Sonatas Bach. Wolfs &Julien Troffaes Stefanie Stefanie Troffaes: Stefanie — (doors open from 10.45) hall music Chamber 11.00 SUN 19 JAN 2020 JAN 19 SUN CHAMBER MUSIC Presto Largo e dolce Andante Allegro Largo e dolce assai Allegro Siciliana Allegro tanto non ma Adagio Violin Sonata in g Sonata Violin from , BWV914 harpsichord , BWV1030 (ca.1736) , BWV1030 (1741) , BWV1035 , BWV1032 (ca.1736) , BWV1032 traverso , BWV1019 , BWV1019 — 21 — — 21 — Jens Van Durme Van Durme — Jens Berlin. in Great the Frederick of court the visited he 1741 when it Philipp Emanuel. probably Bach composed Carl son Bach’s of style ‘sentimental’ the of reminiscent is BWV1035 orchestra. the with dialogue in constant is soloist virtuosic the in sonata, which movement, concerto-style in A Sonata like the Just Zimmermann. Café famous in the concerts weekly gave who musicians of a group Musicum, Collegium Leipzig’s of director as time his from dates It sonata. flute ambitious and elaborate most Bach’s is BWV1030 sonatas. flute in his potential this explores fully Bach and potential greater and expressively this instrument had far technically Both flute. transverse by the superseded gradually was recorder – the in France Hottetere and in Quantz as such virtuosos of influence the – under mid-Baroque the In evolution. changing game- a with coincides flute traverse in the interest Bach’s case, the Whatever scarce. are Köthen from manuscripts original and compositions older on based are sonatas some as certain however, from far is This, period. this from date also harpsichord and flute for sonatas Bach’s that suggested often is It music. keyboard and chamber of alot composed he there, time his During the orchestra of the princely in court Köthen. of Konzertmeister as employed was Bach in Leipzig 1723, for left he until 1717 From away us blows virtuoso Bruges , it is a three athree is , it

19 JAN 2020 19 JAN 2020 The Art of Fugue, an Anamorphosis an of Fugue, The Art Collectief Het — Thuriot: Philippe Rousseau: Pascal Pire: Alain Kristina Mascher-Turner: French horn trumpet Rudder: De Alain Tomonori Takeda: clarinet bass Julien Hervé: Toon Fret: Jonathan Focquaert: Vink: Martijn Vincent Hepp: Aerts: Wibert Dieltjens: Thomas Johannes Schöllhorn: Collectief: Het — (doors open from 14.15) hall music Chamber 14.30 SUN 19 JAN 2020 JAN 19 SUN CHAMBER MUSIC (alto) flute trombone cello (bass) clarinet & basset clarinet violin viola ensemble accordion bass tuba piano double bass conductor — 22 — — 22 • • • • • • • • • • • • • Collectief) Het (instrumentation: Fuge Kunst der Die (1685-1750) Bach Sebastian Johann Anamorphoses Johannes Schöllhorn (1962) motu Canon per augmentationem in contrario clarinet, cello basset flute, alto V, viola, Contrapunctus XI Contrapunctus clarinet basset flute, alto Decima, alla Canon X Contrapunctus piano and accordion &inversus, rectus XIII Contrapunctus IX Contrapunctus clarinet, cello basset viola, flute, alto II, Contrapunctus VIII Contrapunctus quartet brass inversus, XII Contrapunctus IV Contrapunctus clarinet, cello basset violin, flute, VII, Contrapunctus VI Contrapunctus , BWV1080 , BWV1080 his subject anew, whilst remaining close close remaining whilst anew, subject his develops Bach them of each In perspective. approached from a fresh compositional Fugue of Art The on based movements of collection his Anamorphoses calls Schöllhorn ways. in unexpected played and combined often are which instruments, twelve of To it he employs perform an ensemble unrecognisable. sometimes is music Bach’s in which sounds, unusual rather with brimming composition, idiosyncratic an produced has He work. this with done has Schöllhorn what exactly is that And perspective. adifferent from it view we if image ahidden such discern only We can perspective’. hidden the of art ‘the anamorphosis called Dürer Albrecht theorist and Artist skull. ahuman be to revealed is side, the from seen when which object, identify to difficult astrange, shows The Ambassadors Younger’s the Holbein Hans probably is this of example famous most The sense. any make to it for in order point vantage of ashift requires that image a distorted shows painting anamorphic An painting. especially and arts visual the with but music, with associated generally not is anamorphosis term The reworking. complete Fugue of Art The of a transcription simply not is this that –indicates distort from the Greek for to transform or to The title Anamorphoses music. own in his for strives also he simplicity and complexity, something between balance its is music Bach’s in much so Schöllhorn attracts What present. and past between and new and old between confrontation the is music his of characteristic essential An repertoire. existing from inspiration drawing to comes it when newcomer no is Schöllhorn then but risks, its without not is Bach master great of works finest the of one with Meddling inBach anamorphosis ’. ‘Each movement has been been has movement ’. ‘Each . In the foreground it it foreground the . In – which is derived derived is –which , but a a , but ‘a ‘a

— 23 — — 23

(adaptation: Julie Mosar) Julie (adaptation: Hondré Emmanuel to thanks — With on Bach’s perspective afresh us give undoubtedly will present clash and converse. This experience and past today, experience will ourselves objets trouvés as ‘inventions’ my own Iregard Sometimes recycling. little a involves always composing that forget mustn’t ‘We material: existing on based actually are ideas ‘new’ many that aware well is He work. authentic completely a of creation the than more is composition As far as Schöllhorn is concerned, Schöllhorn. says forms,’ and styles colours, new to rise give to way in a similar varied are technique arrangement the of mirrors Anamorphoses In concerto. Italian the or overture French the as such forms, musical other to The Art of Fugue of Art The .’ In Anamorphoses.’ In the conical and cylindrical cylindrical and conical the . , as we we , as

19 JAN 2020 19 JAN 2020 Olivier Fortin: Olivier Ensemble Masques: — (doors open from 16.15) hall Concert 16.30 Coffee Zimmermann’s at Ensemble Masques Mer hahn en neue Oberkeet neue en hahn Mer • • • harpsichords two in c for Concerto nicht plaudert stille, Schweigt (1685-1750) Bach Sebastian Johann — Anna Besson: Benoit Van den Bemden: Corriveau: Mélisande Kajioka: Kathleen violin &Tuomo Sumi: Gent Sophie Emmanuel Frankenberg: Marcel Raschke: Thomas Hobbs: Jenny Högström: direction musical SUN 19 JAN 2020 JAN 19 SUN VOCAL Allegro assai Allegro Andante indication] tempo [no CHAMBER MUSIC flute harpsichord & tenor bass soprano viola ensemble cello double bass harpsichord , BWV212

, BWV211 , BWV1062 — 24 — — 24 exchanges Liesgen between and her father. sharper the conveying arias the with story, may enter her house. Recitatives outline the coffee drinking her stop to wants who suitor no that contract marriage in the insists Liesgen cunning the But husband. a her find to promises he when agree, does she Finally, gifts. with her persuade to or threats with her in deter vain to tries He coffee. daily her (‘Rut’!), Liesgen absolutely refuses to give up Schlendrian father her of dismay the to much simple: is story The coffee. drinking of habit fashionable highly then the at fun pokes Cantata Coffee the a.k.a. nicht plaudert stille, Schweigt cantata the In 1739. from again and 1737 and 1729 between Collegium the directed . coffee Zimmerman’s in Gottfried aweek twice or university played students, together once were members whose of many society, music This Musicum. Collegium Leipzig’s of context the within composed often cantatas, secular of anumber of page every from radiates pleasure same The charm. infectious and with technical compositional dexterity dosed masterfully delight, musical purest Brandenburg Concertos Orchestral his as Suites such his and scores, when countless pages of his instrumental this and acknowledged, seldom –is diversion pleasant and –humour talent Bach’s of side other The redemption). of hope the with optimistically, finish generally do they (even if cantatas liturgical his of in many sinners miserable us overwhelms that gloom and doom the with associated often is Bach Cantor Thomas the of side The other , are gems of the the of gems , are , librettist Picander Picander librettist ,

, cantata, German Bach expert Alfred Dürr Dürr Alfred expert Bach German cantata, this of discussion his In jocosity. vulgar into compositional metier and never descends the for respect his maintains always Bach but movements, other the and this both in up bubble constantly melodies Folk Dukaten Dukaten zehntausend Es nehme song hunting the süße und zart so in Klein-Zschocher, ( life of sweetness the of in praise minuet the In continuo. basso and viola violin, music: folk from drawn also is instrumentation trio The bagpipes. as such sounds, rural with infused is fragments, contrasting short of sinfonia, opening The dance). a peasant ‘paysanne’, and passepied minuet, mazurka, sarabande, polonaise, (bourrée, dances popular diverse of style in the arias short with peppered scenes, in rustic nobleman the of praises the sing a woman and man –a dialect Saxon in the text their of part –with cantata this In Leipzig. near Zschocher Klein- of village in the estate an inherited had in 1742 who Dieskau, von Heinrich Carl collector tax and nobleman Leipzig to Cantata Oberkeet neue en The ‘burlesque hahn cantata’ Mer story. the of moral the underlines that dance afolk is trio closing The dance. joyous by a husband a finding of prospect melody; and Liesgen’s excitement at the chromatic by the evidenced is solution devious a devising in difficulty Schlendrian’s flute; by aseductive supported is coffee, her enjoying Liesgen, strings; insistent has are central: Schlendrian, the choleric father, Purely musically, arias four the contrasting , was written as a rustic homage homage arustic as written , was an appropriately illustrative horn. Peasant Peasant the as known , popularly ) Bach adds a flute and in in and aflute adds ) Bach Klein-Zschocher müsse — 25 — — 25 — Ignace Bossuyt — Ignace ideas. wonderful most Bach’s bar, of one delightful cantilena develops from the first Concerto Thirdhis of Brandenburg movement first the alsoshort-short-long that rhythm dominates the motifs: elementary most and favourite Bach’s of one from organically grows finale The unfolds. soloists two the and ensemble string the between dialogue inspiring and inspired an movement, faster the In movements flank a slower middle movement. fast two Vivaldi, Antonio of model the After Two for Violins Concerto well-known his of Harpsichords, Two for Concerto The asoloist. as performed himself he and Emmanuel, Philipp Carl and Friedemann Wilhelm sons his of talents the showcased he works, catchy these In violin). for melodic instruments (oboeconcertos and own his of arrangements harpsichords, four to one for concertos of aseries composed also Bach concerts, Collegium the For compositions.’ his into artistically strikingly so them incorporated has and chorale the and song music, folk dance, to relationship close his maintained has he age old his to youth his from because admiration, our command does he But works. major Bach’s among Cantata Peasant the counting of extreme the to go won’t ‘We follows: as concludes . In the middle movement, a a movement, middle the . In BWV1062 is a transcription atranscription is BWV1062

.

19 JAN 2020 19 JAN 2020 With Dutch surtitles Strahl einen noch laß Fürstin, Laß, Bach Sebastian Johann interval BWV78 Seele, meine du der Jesu, Bach Sebastian Johann Portense Florilegium Herr, wenn ich nur dich habe dich nur ich Herr, wenn (ca.1579-1639) Franck Melchior BWV45 ist, gut was Mensch, gesagt, dir ist Es (1685-1750) Bach Sebastian Johann — Kooij:Peter Thomas Hobbs: Alex Potter: Mields: Dorothee Herreweghe: Philippe Collegium Vocale Gent: — Bossuyt by Ignace Introduction 19.15 hall Concert 20.00 sü der In Vocale Gent Collegium SUN 19 JAN 2020 JAN 19 SUN VOCAL bass contratenor β en Ewigkeit en tenor soprano conductor choir &orchestra choir , from , from , BWV198 — 26 — — 26 intensely lyrical song of thanks. The two arias arias two The thanks. of song lyrical intensely durchstreicht Schuld meine so Blut, Das flute) (with transverse aria tenor hopeful the is movement central the Here salvation. of hope the to sin of despair the from positive: to negative from evolves Seele meine du der Jesu, cantatas, Bach’s of Like many prayer for assistance. a is Fleiß tu mit ich daß Gib, chorale closing bekennt Rechte ( punishment eternal to and salvation of hope the to both refers text the which in reflections, intimate are arias two the acounterweight, As evildoers!’ my sight, from Begone you. known never have ‘I complaint: sagen zu mir viele werden Es Matthew: of Gospel the from in aquote word voice) the takes bass traditional (the Christ in which movement central the flank symmetrically arias two and Two God.’ recitatives your before humble be to and love practice to word, God’s keep to namely: you, from expects Lord the what and good is what mankind, you, to told been has ‘It appeal: aserious for tone the sets This dialogue. in mutual message religious the explore instruments and voices in which movement, choral elaborated abroadly with starts cantata the usual, As hymn. resounding a is chorale closing the and poetry free with ist gut was Mensch, gesagt, dir ist Es cantata in his this on expands Bach wolves.’ ravening are inwardly but clothing, in sheep’s you to come who prophets, false of ‘Beware listeners: His warns –Jesus Matthew of Gospel the in –recounted Mount the on Sermon the In favouritethree cantatas Philippe Herreweghe’s . Sumptuous strings underline Jesus’ Jesus’ underline strings . Sumptuous , in which bible excerpts alternate alternate excerpts bible , in which Wer Gott Gott Wer and strings, and tenor , for , for alto and transverse flute). The The flute). transverse and alto , for Weiß ich Gottes Gottes ich Weiß

, an , an ( death and suffering Christ’s for sorrow with Seele meine du der Jesu, chorus opening grandiose the gratitude and even joy. They contrast with hope, with brimming songs, delightful equally oboe schwachen mit eilen Wir alto and soprano for duet – the The opening chorus, a song of mass mourning mourning mass of asong chorus, opening The harpsichord, supplemented with lutes. two and organ includes that continuo a basso d’amore)and oboes two and flutes transverse two (including instruments wind gamba), da violas two also but violas and violins only not (including strings soloists, vocal choir, four unusually extensive configuration: a four-part an for it scores Bach quotes. Bible or chorales sacred no with poetry, homage secular purely –is time the of poet acelebrated Gotsched, Christoph by Johann –written text The deceased. the of qualities the and population the of grief the themes: central two are there – comfort and mourning –praise, elegy an of elements classic three the with in keeping and ode funeral a hour. befits an As for rang city the of bells church the All oration. funeral the by parts two into divided was work the which in ceremony afuneral of part as October, 17 on acclaim great to performed was It ode. funeral her as compositions, grandiose most Fürstin, laß einen noch Strahl Laß composed Bach University, Leipzig of request At the in Dresden. died Eberhardine Christiane Saxony of Electress 1727, In glaube Herr, ich chorale closing the in confirmed is offer arias the that solace The damned. the curse will that judgment terrifying the mentioning when outburst afurious with even drama, that accentuate deinen bittern Tod are –are stillen Gewissen mein wirst du Nun and the aria for bass, strings and and strings bass, for aria the and , a poignant lament brimming brimming lament , apoignant ). The two recitatives recitatives two ). The , one of his his of , one . — 27 — — 27 — Ignace Bossuyt — Ignace 13-14). p. also (see in God trust about text aPsalm of voice eight- his instance, for includes, It Franck. Melchior German the is collection in this represented composers the of One students. his for acopy purchased had Bach anthology. Portense Florilegium 17th-century early the from motets German and Latin included repertoire regular ’s The her eternal sleep. in Electress the joy,of accompany to alullaby song arestrained alive: woman avirtuous of memory the keep to exhortation an is chorus closing her. The mourn exalt and in life visited the flowing rivers and theplaces the Electress in which recitative, by a‘geographic’ followed of eternity that now the bathes Electress, light radiant the of sings tenor the lute, and gamba da viola strings, d’amore, oboe flute, funeral oration), accompanied by transverse the (after part second the In example. for the mournful Heldin berceuse die starb Wie in lute and gamba the of intimacy the effect, desired the of function in configuration, adifferent foresees Bach movement, each For low. to high from instruments, the all of participation the with suggested, –is bells bronze larger the of resounding sustained sonorous, the to bell fast-ringing small, the –from bells Leipzig the of sound Getön GlockenDer bebendes recitative accompagnato the undoubtedly however, is résistance, de piece The aria. the subsequent recitative and the soprano dominates also Grief march. processional like a sounds orchestra, full and choir for Herr, wenn ich nur dich habe dich nur ich Herr, wenn , in which the the , in which , a setting , asetting

,

19 JAN 2020 Collegium Vocale Gent

Choir Orchestra

soprano concert master oboe Dorothee Mields Christine Busch Marcel Ponseele Annelies Brants Taka Kitazato CONGRATULATIONS Chiyuki Okamura first violin Magdalena Podkoscielna Meng Han bassoon Maria Rocca Julien Debordes COLLEGIUM alto Alex Potter second violin VOCALE GENT Cécile Pilorger Dietlind Mayer Alexander Schneider Verena Sommer Bart Uvyn Lotta Suvanto This year we have a double anniversary. During this tenth edition of Bach tenor viola Academy Bruges central guests Philippe Herreweghe and his Collegium Thomas Hobbs Deirdre Dowling Vocale Gent will be blowing out 50 candles! Our warmest congratulations Johannes Gaubitz Kaat De Cock to Philippe and his magnificent choir and orchestra on their half-century. Vincent Lesage On to a jubilee year! Der Himmel lacht! Die Erde jubilieret! Hitoshi Tamada cello Ageet Zweistra During this gold-rimmed edition, you naturally get to share in the festive bass Harm-Jan Schwitters fun, with two glittering concerts by this Gent-based choir and orchestra. Peter Kooij And your enjoyment needn’t stop there. You can continue it at home, 19 JAN 2020 JAN 19 Philip Kaven double bass thanks to the must-have CD box that is being released in March to mark 2020 JAN 19 Robert van der Vinne Miriam Shalinsky this 50th birthday. Bart Vandewege Joe Carver

organ Maude Gratton

viola da gamba Romina Lischka Nicholas Milne

lute Matthias Spaeter

traverso Patrick Beuckels Amélie Michel © Paul Willaert

— 28 — — 29 — FRI 17 — SUN 19 JAN 2020 Biographies Students Conservatory

Bruges Collegium Vocale Gent (BE) was founded Bach’s salon 50 years ago by Philippe Herreweghe. They were one of the first ensembles to apply new insights about Baroque performance Entrance hall practice to vocal music. For each project, the ensemble bring together the ideal complement, which allows them to perform FRI 17 JAN 2020 SAT 18 JAN 2020 SUN 19 JAN 2020 a wide repertoire, from Renaissance polyphony to contemporary music. Baroque 18.45-19.10 10.30-10.55 14.00-14.25 music, particularly that of J.S. Bach, is Suhail Fares Ella Cappelle Suhail Fares central to the ensemble’s concert calendar. Jolien Marlein Jürgen Lambrecht Aline Decraemer Collegium Vocale Gent have made dozens Carlos Vandaele Laure Rosiers of recordings: featuring Renaissance Floris Makay 13.30-13.55 Naomi Segers polyphony, , Classical and Emile Mosar Irini Beke Naomi Macarie Romantic and contemporary Jürgen Lambrecht Hannes Copman music. The ensemble and their conductor After training in Leipzig and Mannheim, 19.30-19.55 Merijn Calis are the central guests at the annual Bach Tobias Berndt (DE) won several song Sven Warmoes 16.00-16.25 Academy Bruges in January. competitions, including the prestigious Sofie Rogiers 18.45-19.10 Enya Depuydt Das Lied Competition that was founded in Esther Astaes Marie Verté Marie-Lou Salens Berlin by Thomas Quasthoff. Berndt has Johanna Sercu Klaas Goris Hanne Devlies Philip Herreweghe (BE) is the undeniable performed with renowned ensembles, such

Tibe Goris Stina Verhaeghe specialist in Renaissance and Baroque as the Gewandhaus Orchester Leipzig, The BIOGRAPHIES 17 — 19 JAN 2020 Lore Vanhaverbeke Bryn Laforce music. This is amply evidenced by his work English Concert, L’arpe festante, and the Marie Declerck Merijn Calis with Collegium Vocale Gent, La Chapelle Thomanerchor Leipzig. Fé Verheyen Elisabeth Watteyne Royale and the Ensemble Vocal Européen. Felix Claeys His energetic, authentic and rhetorical Gilles Desmet 19.30-19.55 approach to this repertoire is universally Wim Berteloot (BE) is city carillonneur of Mathias Nollet praised. Since 1991, he has also devoted his Bruges, where he previously assisted Frank 19.30-19.55 Martijn Vandamme attention to the Classical and Romantic Deleu for a number of years. He studied at Frederik De Keyser Lore Provoost repertoire, with the Orchestre des Champs- Ghent Conservatory and the Carillon School Hannes Copman Mia Van Damme Elysées. Since 1997, he has been a regular ‘Jef Denyn’ in Mechelen. He is conductor of Marte Huygens Joren Basyn guest conductor of the Antwerp Symphony the male-voice choir De Kerels. He regularly Gilles Desmet Darrell Buydaert Orchestra, with which he has focussed on a composes music for choir and for carillon. Fé Verheyen Victoria Dumortier refreshing interpretation of (pre)Romantic Felix Claeys Benedict De Clercq music. A few years ago, Philippe Herreweghe Frederik Dumortier founded the record label Phi, which releases Ignace Bossuyt (BE) is Professor Emeritus Jessie Van Kerckhove & CDs featuring very diverse repertoire by of Leuven University’s Musicology Research Lut Billiet Collegium Vocale Gent, the Orchestre des Unit. His research is primarily focussed on The programme will Griet Gabriëls Champs-Elysées and various soloist and Renaissance polyphony. He also regularly be announced at each Soumeye Taleb ensemble friends. In 2010 the city of Leipzig publishes for a wider audience. Among performance. awarded Philippe Herreweghe its prestigious others of his works, Leuven University Press . has published his monograph De oratoria van and his book about Bach’s . YOUNG TALENT

— 30 — — 31 — The Brussels ensemble Het Collectief performing all over the world. In 2012 she After studying singing in Sweden, repertoire. She can be heard on numerous (BE) focus primarily on music from the founded the Hathor Consort, with which Jenny Högström (S) perfected her CDs, with, among others, Collegium 20th century and the contemporary she performs not only Renaissance and historical performance practice at the Vocale Gent, Berlin, repertoire, but they are also known for Baroque music, but also modern works Schola Cantorum Basiliensis. She also Hille Perl and Stefan Temmingh. their idiosyncratic performances of works and world music. In 2019 VRT radio Klara participated in several masterclasses in by Bach and other great masters from the awarded her its Soloist of the Year Prize. singing and chamber music. She has since past. They prefer small-scale concerts, collaborated with several ensembles. Countertenor Alex Potter (UK) is a much which allow them room to experiment and sought-after interpreter of 17th and to premiere new repertoire. Composer- Maude Gratton (FR) studied in Poitiers 18th century music. Hailed as ‘a rising conductor Johannes Schöllhorn (DE) and Bordeaux. In 2005 she was a prize Thomas Hobbs (GB) studied at the Royal star of the countertenor world’, he has writes music that is performed by various winner at the Musica Antiqua competition College of Music and has since sung with performed as a soloist with illustrious international soloists, ensembles and in Bruges. She performs with many numerous ensembles. Fortunately for ensembles, such as the Symphony orchestras. Besides this, he also arranges ensembles, including Stradivaria, La us, he performs almost every year with Orchestra, the Holst Singers and Collegium and transcribes existing music. Schöllhorn Simphonie du Marais, Le Concert d’Astrée Collegium Vocale Gent during the Bach Vocale Gent. He can also be heard on studied composition under Klaus Huber and Pygmalion. Along with her sister Claire Academy. Together with gambist Romina numerous CDs, including a recording of and under Péter Eötvös. and violinist Stéphanie Paulet, Maude is a Lischka and lutenist Sofie Vanden Eynde, he Bach’s Mass in B minor, with Concerto Since 2017 he has taught composition at key member of the ensemble Il Convito. released the CD Orpheus’ Noble Strings. Copenhagen and Lars Urik Mortensen. the Institut für Neue Musik in Freiburg.

Ensemble Masques (CA) derive their name Marcel Raschke (DE) studied in Berlin Pluto Ensemble (BE) are a vocal ensemble Martin Helmchen (DE) has had an from an English theatrical genre in which and Paris. He performs as a concert who focus on various genres, from mediaeval impressive career, performing with renowned all the art forms come together. They have and opera singer. He has, for instance, to contemporary. In 2010, in collaboration companies such as the recorded several acclaimed CDs, featuring sung the role of Sarastro in Mozart’s with il Gardellino, they brought us Bach’s St

BIOGRAPHIES and the London Philharmonic. In January music by Rameau, Schmelzer, Weichlein, Zauberflöte and Colline in Puccini’s La John Passion. They have also collaborated BIOGRAPHIES 2015 he was a highly-acclaimed last Telemann and others. Artistic director Bohème. He has been a guest at various with the Hathor Consort. The Pluto Ensemble minute replacement for Maria João Pires Olivier Fortin (CA) studied in Québec, Paris festivals, including the Musikfest Eichstätt also regularly perform purely vocal in the Netherlands’ Royal Concertgebouw and and regularly plays with and the Festival für Alte Musik Zürich. polyphonic programmes, contemporary Orchestra. Helmchen tours the world Skip Sempé and Pierre Hantaï in duo and music and minimal music. In 2017 they with his chamber music performances trio formation. He is also a member of other collaborated with Concertgebouw house and solo recitals. In 2019, he released ensembles, such as Capriccio Stravagantes. The bass Peter Kooij (NL) began his artist ECCE in of the dance two CDs on Alpha Classics, Messiaen’s He recently released Routes du café – a career at the age of 6 as a soloist in a performance Mer-. Counter tenor Marnix Vingt regards sur l’Enfant-Jésus and recording with Ensemble Masques, which boys’ choir. Some ten years later he went De Cat (BE) leads the ensemble. He is also Beethoven’s Piano Concertos no. 2 and 5. includes Bach’s Coffee Cantata – and a solo on to study singing at the Sweelinck a permanent member of the Gesualdo Martin Helmchen is an audience favourite CD of keyboard works by François Couperin. Conservatory in Amsterdam. His repertoire Consort Amsterdam and he regularly at Concertgebouw Brugge; last season ranges from Heinrich Schütz to Kurt collaborates with the , he showcased our new Steinway. Weill. He has already recorded more Collegium Vocale Gent, Currende and Emmanuel Frankenberg (NL) plays the than 100 CDs, including the complete the BL!NDMAN saxophone quartet. harpsichord and the natural horn. He has Bach cantatas, performed with Bach Romina Lischka (A) studied viola da performed with numerous ensembles, Collegium Japan, led by . gamba under Jorge Daniel Valencia and including Akamus, the Orchestra of followed master classes with Wieland the Eighteenth Century and Capriccio Kuijken and Jordi Savall before continuing Stravagante. He is also a member of The 17th and 18th centuries play a central her studies under Paolo Pandolfo and the acclaimed Goldfinch Ensemble, a role in the musical repertoire of soprano Philippe Pierlot. She now plays in acclaimed beneficiary of the emerging (Emerging Dorothee Mields (DE). Her flawless ensembles, such as the , European Ensembles) project. technique and ethereal tone also make her Collegium Vocale Gent and il Gardelino, an ideal performer of the contemporary

— 32 — — 33 — AD CGB BAB 2020.qxp_AD CGB BAB 2020 24-12-19 13:10 Pagina 1

Stefanie Troffaes (BE) studied transverse flute and recorder at the Brussels Royal Conservatory, where she was awarded the prestigious Ingeborg Köberle Prize. She 2 focusses on a repertoire that extends from 26– 31 JUL 2020 the Renaissance to the early Romantic. She COLLEGIUM performs with various ensembles, including Gli Angeli Genève and Les Muffati. In 2016, VOCALE together with harpsichordist Julien Wolfs, ARTISTIC DIRECTOR she released her first solo album, featuring CRETE SENESI PHILIPPE HERREWEGHE the works they play in this programme. Julien Wolfs (BE) studied in Amsterdam and Lyon. In 2007 he was first laureate at INTERNATIONAL MUSIC FESTIVAL ASCIANO – CASTELMUZIO – PIENZA | TOSCANA | ITALIA the Musica Antiqua Brugge International Competition. He has been a guest at ARABELLA QUARTET OF THE STAATSKAPELLE DRESDEN | BART MARIS | CHRISTOPH COIN | COLLEGIUM leading festivals in Europe and Japan, both VOCALE GENT & PHILIPPE HERREWEGHE | MALA PUNICA & PEDRO MEMELSDORFF | MAUDE GRATTON & performing chamber music and as a soloist. WINDS OF THE ORCHESTRE DES CHAMPS ELYSÉES | NELSON GOERNER | SEXTET OF THE ROYAL CONCERTGEBOUW ORCHESTRA | SYLVIA HUANG | THOMAS BAUER | ZEHETMAIR QUARTET | ETC...

www.collegiumvocalecretesenesi.com Con il patrocino del Comune di Asciano Founded in 2004 Vox Luminis (BE) have since become a force to be reckoned with. In recent years, and especially since winning the prestigious Gramophone Award for

BIOGRAPHIES their recording of Schütz’s Musikalische Exequien, they have been regular guests at every major (early music) event in Europe and the United States. Vox Luminis have made many recordings for Ricercar, Ramée GOLD — and Alpha, among them: Scheidt’s Sacrae cantiones, Keiser’s Brockes-Passion (with Les Muffatti) and four early Bach cantatas. 20 — 24 MAY At the end of 2019 they released their recording of Abendmusiken, a collaboration with Ensemble Masques that had also been BRUGES VOICES FROM performed in Bruges. Last year resident THE RENAISSANCE artists Vox Luminis, led by Lionel Meunier, GOLD interlinks the best of Bruges’s celebrated their 15th anniversary in the Golden Age: the city history, the Concertgebouw. After studying trumpet heritage architecture, the art treasures and recorder, Lionel Meunier (FR) went and above all the music. This second on to specialise in song. He has sung as festival edition explores the history an ensemble member and soloist with, of the thoroughly Bruges Lucca among others, Collegium Vocale Gent, the Netherlands and the Choeur de Choirbook, the connections between Chambre de Namur. Bruges and Italy, and the cultural significance of foreign merchants, such as Giovanni di Nicolao Arnolfini.

— 34 — XX JAN 2020 Let us know how you like the concert on concert the like you how know us Let these grandiose collections. evening with works concert from naturally, an and, heirs Venetian Gabrieli’s of music the featuring course, a lecture, a passionate concert a walk, aguided with Venice: century in 16th- ourselves immerse to get we symphoniae Sacrae Gabrieli’s to Thanks symphoniae Sacrae Gabrieli week Masterpiece Concertgebouw for... again us Join info & tickets 01-04 APR 2020 APR 01-04 GENRE @concertgebouwbr ConcertgebouwBrugge +32 70 22 12 12 —  12 12 22 70 +32 Brugge 34, Zand ‘t In&Uit: , weekend that ushers in Holy Week. in Holy ushers that weekend the during this of all And out. inside work this know to get we concert, a and Passion a contemporary disorders, voice with people for project original an films, of anumber course, alistening Via monumental. equally is Passion Matthew St his and Bach colossus the ignore can Nobody Passion Matthew St Bach week Masterpiece Concertgebouw 05-07 MAR 2020 MAR 05-07 concertgebouw.be

V.U. Katrien Van Eeckhoutte, 't Zand 34, Brugge