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Bach Academy Bruges Wed 15 Jan – Sun 19 Jan 2020 BACH ACADEMY BRUGES Chez Bach © Rune Guneriussen Rune © Dear music lover Festival summary WED 15 JAN 2020 SAT 18 JAN 2020 SUN 19 JAN 2020 20.30 KAAP | De Werf 11.00 Chamber music hall 11.00 Chamber music hall Bobo Stenson Pluto Ensemble Stefanie Troffaes & Honed by Bach Quodlibet: party time Julien Wolfs at Bach’s Bach. Flute Sonatas i.c.w. KAAP p. 10 p. 21 THU 16 JAN 2020 14.00 Chamber music hall 14.30 Chamber music hall 19.15 Magdalenazaal Ignace Bossuyt & Het Collectief Introduction by Pieter T’Jonck Vox Luminis The Art of Fugue, Close-up Florilegium an Anamorphosis 20.00 Magdalenazaal Portense p. 22 Opus & Elvedon p. 13 16.30 Concert hall Christos Papadopoulos © Michiel Hendryckx 16.30 Chamber music hall Ensemble Masques i.c.w. Cultuurcentrum Brugge Martin Helmchen Coffee at Zimmermann’s Bach. Partitas p. 24 FRI 17 JAN 2020 p. 15 Welcome to this tenth edition of the Bach 20.00 Concert hall 20.00 Concert hall Academy, in Concertgebouw Brugge! In the concerts of the Pluto Ensemble and 20.00 Concert hall Collegium Vocale Gent Collegium Vocale Gent That we have been able to enrapture you Vox Luminis – which focus on the Florilegium Vox Luminis In der süßen Ewigkeit SUMMARY FOREWORD Mendelssohn. Jesu, with the music and the social world of the Portense – the interweaving of Bach’s vocal The road to Leipzig p. 26 meine Freude Leipzig Cantor over the past years is no oeuvre and the existing tradition is central. In p. 16 p. 5 coincidence: Bach’s rich and enigmatic the closing concert, I and my own ensemble oeuvre offers almost limitless opportunities – the fifty-year-young Collegium Vocale 22.30 Chamber music hall 22.30 Chamber music hall to captivate, astound and affect both Gent – will bring you an anthology of Bach’s Romina Lischka & Your applause is given audiences and performers, time after time. most exquisite cantatas. We will also be Olivier Fortin Maude Gratton additional colour by the That’s why we are so enthusiastic about this experimenting with a more extensive choir & Emmanuel Fête galante chez Bach flowers of Bloemblad. Frankenberg year’s edition, in which we’ll be paying a visit and orchestra, as we immerse ourselves in p. 20 Chez Bach and peering over the Cantor’s Romanticism to highlight Bach’s influence Bach & Couperin In cooperation with our shoulder to catch a glimpse of his private life: on Felix Mendelssohn’s beautiful but p. 8 festival partner as a family man, father, respected citizen, seldom performed chorale cantatas. tireless teacher and unparalleled musician. Together with Jeroen Vanacker and As usual, this week’s programme is as his enthusiastic team, it is my great sublime as it is varied. On the instrumental pleasure and honour as curator to side, we have a wealth of fantastic soloists present you with all this beauty. We look The programme and the organisation of Bach Academy and ensembles, such as my good friend forward to meeting you this week at one Bruges are the result of a close collaboration between the pianist Martin Helmchen, Olivier of the open rehearsals, introductions Collegium Vocale Gent and Concertgebouw Brugge, Fortin and Ensemble Masques, gambist or concerts… or even just simply in the under the curatorshop of Philippe Herreweghe. Romina Lischka in duo with Maude corridors of this wonderful house. Gratton on pianoforte, and the ladies Translation: Stephen Smith and gentlemen of Het Collectief, who Your devoted cantor, give us a fresh perspective on Bach’s Concertgebouw Brugge is part of REMA, European Early timeless masterpiece The Art of Fugue. — Philippe Herreweghe Music Network. — 2 — — 3 — Context summary FRI 17 JAN 2020 Collegium Vocale Gent WED 15 JAN 2020 SAT 18 & SUN 19 JAN 2020 Johann Sebastian Bach Mendelssohn. Jesu, meine Freude 16.00-19.00 11.00 Belfry, Market Square Sinfonia/Arioso from Brugge Harpsichord Concerto, 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 Felix Mendelssohn 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 Dorothee Mields: 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 Protestantism – 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 piano 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 Sonata, 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 concertos 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 motet 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.
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