ENGLISH Wed Jan 2018 28 Jan —Sun 24 ACADEMY ACADEMY BRUGES Bach rearranged BACH BACH — 01 — 01

BACH BEWERKT Dear lover Festival summary

Welcome to this eighth Bach than composing for religious services: WED 24 JAN 2018 15.00 Concert hall 17.00 Chamber music hall seeking the essence of music, distilling out BELGIAN PREMIERE Oxalys & Bojan Cicic Academy, with a programme that its language as far as he was able. 19.15 Stadsschouwburg Dietrich Henschel All roads lead to Bach focuses on the parody. The last ten years of his life saw the Introduction by Gloria Schemelli’s Gesangbuch p. 20 composition of the second part of the Carlier (in Dutch) p. 10 Well-Tempered Clavier, the Goldberg 19.15 Chamber music hall As you undoubtedly know, Bach frequently Variations, the Von Himmel Hoch choral 20.00 Stadsschouwburg 17.00 Chamber music hall Introduction by Ignace drew on music by other composers or his variations, The Musical Offering, the Mass Mass B Christine Busch & Bossuyt (in Dutch) own earlier work to mould into new works of in B minor and The Art of the . None Béatrice Massin & Jörg Halubek his own. The , for example, of these compositions was written on Compagnie Fêtes galantes Bach. Violin sonatas 20.00 Concert hall is a brilliant interweaving of largely commission. For these works, Bach was i.c.w. Cultuurcentrum Brugge p. 11 Collegium Vocale Gent refashioned parts of earlier cantatas with driven only by artistic inspiration. They So singen wir recht das earned him nothing, and only thirty copies 19.15 Chamber music hall Gratias newly-composed passages. So although THU 25 JAN 2018 the work as a whole is made up of quite of The Art of the Fugue were printed; in Introduction by Ignace p. 21 COMMISSIONED BY disparate material – stile antico, stile the end, the type from which it was set Bossuyt (in Dutch) nuovo in the German, French and Italian was melted down for financial reasons. 20.30 KAAP | De Werf styles – it is amazing how seamlessly But from that time on, silence would sound Bram De Looze 20.00 Concert hall homogeneous the Mass finally sounds. forever different. Bach and jazz Ricercar Consort i.c.w. KAAP Bach’s Stabat mater Your applause is given Monteverdi’s Vespers were formed in the The most sublime music ever devised p. 13 additional colour by the same way, and in this masterpiece he too emerged from the heart and mind of FRI 26 JAN 2018 flowers of Bloemblad. wanted to show off his complete mastery a superlatively brilliant Homo Faber. 19.15 Chamber music hall 22.30 Chamber music hall PREFACE of a variety of styles and leave a historical Bach had a formidable musical culture, Introduction by Ignace Stephane In cooperation with our SUMMARY synthesis for posterity. possessing countless manuscripts Bossuyt (in Dutch) Ginsburgh festival partner and printed versions of the works of Preludes & Unlike the music of Obrecht, Gombert, Frescobaldi, Corelli, Legrenzi, Reincken, 20.00 Concert hall p. 15 The programme and the Crequillon, Vittoria and Lassus, whose Böhm, Kerll, Zelenka and Benda, as well Collegium Vocale Gent organisation of Bach masses were frequently built on a cantus as numerous other works that he had Gottes Glanz und Ebenbild SUN 28 JAN 2018 Academy Bruges are the firmus (basic melody, ed.) borrowed from copied by hand, including the organ works p. 6 11.00 Sint-Walburgakerk result of close collaboration another composer, in the Baroque, and also of Grigny and Dieupart. His library was Reitze Smits between Collegium Vocale in Bach’s work, the parody was essentially immense: he read and reread the most 22.00 Chamber music hall Bach & Mendelssohn Gent and Concertgebouw more far-reaching. Complete passages, important theological and rhetorical Winter guests p. 16 Brugge, under the with only minimal musical alterations, were treatises of his day. Quite unlike Bruckner, A heart full of music curatorship of Philippe inserted as such into new compositions. who only had two books on his shelves: the (in Dutch) 13.30 Chamber music hall Herreweghe. In the days to come, you will discover that Bible and, symbolically enough, Robinson p. 4 Fugues for dummies Bach too was a great master of this subtle Crusoe. With the building blocks he had Music lesson with Frank Concertgebouw Brugge process of ‘refashioning’. collected by dint of his boundless energy, SAT 27 JAN 2018 Agsteribbe (in Dutch) is part of REMA-EEMN, Bach constructed a new world. His own… 11.00 Sint-Godelieveabdij p. 4 European Early Music It is possible that as the years went by, and ours. But is it Bach? Network. Bach made increasing use of parody, and Benjamin Glorieux, 15.15 Concert hall ultimately abandoned the composition of — Heleen Van Haegenborgh Il Suonar Parlante new cantatas so as to leave himself time & Christian Mendoza B-A-C-H and energy for what was closer to his heart p. 8 p. 18

— 02 — — 03 — Context summary

WED 24 JAN 2018 FRI 26 JAN 2018 SAT 27 & ZO 28 JAN 2018 16.00-19.00 22.00 Chamber music hall Wim Berteloot THU 25 JAN 2018 Winter guests Bach on carillon 10.30-13.30 A heart full of music Concert hall Free with a Bach Academy p. 9 Bruges 2018 concert ticket Open rehearsals Collegium Vocale Gent Cosy chat with FRI 26, SAT 27 & SUN 28 JAN 2018 During their open Philippe Herreweghe Foyer parterre rehearsals, Collegium and Paul Robbrecht Vocale Gent and Philippe Late in the evening - Eyes on Bach Herreweghe give us a peek after Bach Academy Exhibition by Johan Huys behind the scenes. We get Bruges’s opening In a number of richly to witness what is often concert - conductor illustrated panels, you’ll a very personal artistic Philippe Herreweghe joins learn more about the life, growth process. Concertgebouw architect career and work of the Paul Robbrecht on the celebrated Thomaskantor. Free with a Bach Academy interview couch for a cosy Bruges 2018 concert ticket chat about music and life. Free with a Bach Academy (In Dutch) Bruges 2018 concert ticket

VOCAL LECTURE & DISCUSSION BACH REARRANGED BACH FRI 26 JAN 2018 10.30-17.00 Chamber SUN 28 JAN 2018 music hall 13.30 Chamber music hall

Bach rearranged Fugues for dummies Listening course Music lesson with Lecturer Ignace Bossuyt Frank Agsteribbe takes a closer look at the Have you always found ‘Bach rearranged’ theme. the term ‘counterpoint’ In Dutch. confusing? Are you curious about how a fugue actually i.c.w. Davidsfonds Academy works? Never fear, Frank Agsteribbe is here! And Frank has all the answers. LECTURE & DISCUSSION After an introduction explaining the basic building blocks, he leads us through Bach’s famous Toccata and Fugue in D minor – with the help of violin player Bojan Cicic. (In Dutch)

— 04 — — 05 — FRI 26 JAN 2018

doctrinal. From the story of the miraculous multiplication of bread in the gospel of St Collegium Vocale Gent Mark, the poet distilled the message that Gottes Glanz und Ebenbild the Christian who suffers on Earth will be crowned in heaven.

As usual, an extensive initial chorus solo is ‘Bach provided a followed by alternate recitatives and arias. 19.15 Introduction by Ignace Bossuyt new cantata for From Concerto to Cantata The chorus Ärgre dich calls the faithful (in Dutch) not to be vexed by Christ’s humility as a every Sunday and 20.00 Concert hall When Bach was appointed Thomaskantor in human. What is typical of Bach is the artful Leipzig in May 1723, a serious task lay ahead interweaving of all the instrumental (strings holiday, four or — of him. In addition to teaching music at the and oboes) and vocal parts so that the sometimes five Thomasschule, he also had to supervise the religious message of the cantata is already Collegium Vocale Gent: ensemble liturgical repertoire of four churches where given great weight from the beginning. In the per month.’ Philippe Herreweghe: conductor music was played every Sunday and other recitatives and the arias we mainly hear two : holy days. He himself was responsible for extremes: doubt and hope. It is striking that : soprano the two main churches, the Thomaskirche in many cantatas there is an evolution from Alex Potter: countertenor and the Nikolaikirche, where he mainly negative to positive feelings: the closing duet Thomas Hobbs: tenor presented cantatas for vocal soloists, chorus Laß, Seele, kein Leiden has the character of Peter Kooij: bass and instrumental ensemble. The cantata a restrained dance. The most notable thing is came between the Gospel and the sermon the increase in instrumentation in the arias, — and alternated between the two churches as a climax leading to the close: from basso Sunday by Sunday. continuo alone (bass aria Bist du) through (1685-1750) violins in unison (tenor aria Mein Heiland,

26 JAN 2018 Harpsichord Concerto in D minor, 26 JAN 2018 From the very beginning, Bach conceived with duplication by the oboe, and the BWV1052 (1738-39) the plan of performing mainly his own work soprano aria Die Armen will) to strings (with chorus Wir müssen durch viel Trübsal. At Ärgre dich, o Seele, nicht, BWV186 (1723) rather than drawing on his predecessors’ oboes) in the duet. The fact that Bach took this point Bach intervenes superbly: over the

musical library. This meant that he had to his task of composing high-quality religious slow movement of the concerto for strings interval provide a new cantata for every Sunday and music very much to heart is apparent from and organ, he composed a completely new

holiday, a total of four or sometimes five per the ingeniously elaborated chorales, not in chorus, one of his most profound musical Johann Sebastian Bach month. In order to somewhat alleviate his a simple vocal performance, but with the reflections on the theme of sorrow and Wir müssen durch viel Trübsal, intensive labour as a composer during his essential participation of the instruments. suffering. In the inspired and inspiring aria BWV146 (1726) first year, he sometimes reworked earlier The cantata Wir müssen durch viel Trübsal for alto with organ solo, Ich will nach dem compositions, especially from his last few probably dates from 1726. Here too, the Himmel zu, we hear the ardent desire for the years at the court in Weimar (1714-1717). One words (and the music) evolve from sorrow union with God ringing out. The dramatic example of this is the cantata Ärgre dich, to liberating joy, linking up with the Gospel accompagnato recitative on the persecution o Seele, nicht, which was performed on 11th in which Christ speaks consoling words in by the evil world in Ach! Wer doch schon im July 1723. It is an elaborate composition in his farewell address: ‘Your sadness will turn Himmel wär is followed by a new climax: the two movements, with the second coming into joy’. In the first two movements, Bach moving soprano aria Ich säe meine Zähren, after the sermon. He adopted the arias from returns to a (lost) concerto for violin which he subtly instrumented with traverse flute and the Weimar cantata, but in the new liturgical later converted into a harpsichord concerto two oboe d’amores. In the end the heavens context he wrote new recitatives and ended (BWV1052). The introductory sinfonia, an clear up permanently and joy dominates the two movements with a different chorale adaptation of the first movement of the the duet Wie will ich mich freuen. In a simple (Ob sichs anließ and Die Hoffnung wart). concerto, with obbligato organ (instead chorale, the community of the faithful With Dutch surtitles The content of a cantata is usually linked of the original violin) is a monumental endorse the religious message. to the Gospel, though it is not narrative in introduction permeated with varying affects nature, but rather reflective, moralising and in preparation for the emotionally insistent — Ignace Bossuyt VOCAL

— 06 — — 07 — SAT 27 JAN 2018 SAT 27 & SUN 28 JAN 2018 The Abbey of Saint But is it Bach? Godelieve in Bruges Wim Berteloot — Benjamin Glorieux, Heleen Van Haegenborgh Carillon concerts & Christian Mendoza The religion wars of the sixteenth century set Flanders ablaze. Bosgeuzen, 11.00 Belfry feared throngs of robbers, targeted 11.00 Sint-Godelieveabdij (p. 31) countryside abbeys, churches and little Bach on location, dislocated — towns as reprisal against the Spanish — occupiers. The Benedictine sisters of What happens when you let Bach loose on Wim Berteloot: carillon Gistel, some 20 miles away from Bruges, a few of the most creative musical minds Benjamin Glorieux: cello & electronics fled their convent and found refuge in Flanders? How do they relocate this Johann Sebastian Bach (1685-1750) Erbarme in Bruges. In 1623 they purchased a Thomaskantor’s story to a location which is in Prelude from Cello Suite no.1, BWV1007 Boeveriestraat house with grounds, itself already full of stories? The history of the (arr. Peter Bremer) Heleen Van Haegenborgh & known as ‘Fontainken’ (fountain). The Abbey of St Godelieve in Bruges began in 1526 Prelude from Suite, BWV997 Christian Mendoza: piano first three sisters moved in, while the when the Benedictine nuns fled from Gistel; in (arr. Bernard Winsemius) Copper others remained on Ganzenstraat. 1628 they all settled in Boeveriestraat in Bruges. Air from Pastorale, BWV590 (arr. Bernard Winsemius) In 1626 a new convent was formed, Bist du bei mir, BWV568 (arr. Ronald Barnes) with the assistance of the abbess of In his performance, Benjamin Glorieux works Prelude, BWV998 (arr. Frank Deleu) Douai Abbey. The sisters were brought on the stories that remain and locates them Air from Orchestral Suite no.9, BWV1068 together on Boeveriestraat. This was in the chapel interior. For this purpose he (arr. Leen ‘t Hart) the start of a history extending for chose three series of three points of departure: Jesus bleibet meine Freude, BWV147 almost four centuries in Bruges. conceptual, these being the crows, water and (arr. Wim Berteloot)

a sewing machine; geographic, being the nun’s Siciliano from Sonata, BWV1031 (arr. Peter Bremer)

27 JAN 2018 Over that period society changed a 27 JAN 2018 choir, the altar area and the nave; musical, great deal, as did the site. The convent being Bach’s chorale adaptation Ich ruf’ zu dir, Wim Berteloot (1967) on Boeveriestraat grew from a single his Well-Tempered Clavier and the Suites. Miniatures on B.A.C.H. little house to an impressive property in • Toccata the Bruges city centre. And all that time Heleen Van Haegenborgh and Christian • Menuetto it continued to function as a closed, self- Mendoza started their journey through the • Inventio supporting community. The high walls, Bach repertoire as an exercise in playing with • Preludium the tiny wooden cells and the iron ‘gate’ four hands, each on the basis of their own • Fugueto in the chapel; they all remind visitors of world and with no purpose in mind, simply the historic ‘silent’ roots of this place. for the pleasure of it. Kurtág’s adaptations Johann Sebastian Bach

of Bach’s cantatas set more developments Sinfonia from cantata, BWV156 Of course, the Benedictine sisters kept in motion, however: the notes became (arr. Brecht Berteloot) a detailed record of all major milestones improvisations, the improvisations assumed Cello Suite no. 4, BWV1010 (arr. Arie Abbenes) in the abbey’s construction and a form, and some forms even became • Prelude expansion. Brugge Foundation aspires compositions, always with a personal vision. • Allemande to find a new destination for the abbey. The material in Copper is a reflection of • Courante A unique opportunity to repurpose with the support of Piano’s Maene Mendoza’s musical language, developed • Sarabande an important monumental historical during his many years involved in jazz and Van • Bourrée 1 & 2 gem, open its beautiful gardens to the Haegenborgh’s background in contemporary • Gigue general public, and harbor new, future- KEYBOARD experimental music. oriented functions. Playing the 18th-century Belfry carillon, Bruges CHAMBER MUSIC — Albert Edelman city carilloneur Wim Berteloot gives us a foretaste Bruggefoundation.be OUT OF THE BOX with thanks to the performers of the festival programme.

— 08 — — 09 — SAT 27 JAN 2018 SAT 27 JAN 2018 Oxalys & Dietrich Henschel Christine Busch & Jörg Halubek Schemelli’s Gesangbuch Bach. Violin sonatas

15.00 Concert hall Schemelli’s Gesangbuch 17.00 Chamber music hall Bach’s Violin sonatas

— The basis for this concert is the Musikalisches — As is well known, Bach was an exceptional Gesangbuch by Georg Christian Schemmel, keyboard player. However, his musical Dietrich Henschel: baritone aka Schemelli (1678-1762). Between 1725 and Christine Busch: violin education was very much related to the Oxalys: 1736 he assembled no less than 954 religious Jörg Halubek: harpsichord violin, and as an eighteen-year-old he Shirly Laub: violin songs for this book, 69 of them with the obtained his first full-time job at the court Nathalie Lefèvre: clarinet melody, the beginning of the text and a bass — in Weimar as a concertmaster-violinist. Philippe Thuriot: accordeon line. The content of the collection amounted to While there, Bach met Paul von Westhoff, Koenraad Hofman: double bass a profession of faith: as an adherent of pietism, Johann Sebastian Bach (1685-1750) one of the greatest German violinists of the Schemmel advocated a more domestic, Violin Sonata no.2 in A major, BWV1015 time, whose solo compositions undoubtedly practical devotion. The Gesangbuch was thus (before 1725) influenced him later in life. In 1774, Carl — intended for private occasions, and less for • [Dolce] Philipp Emmanuel Bach told J.N. Forkel – formal church services. • Allegro Bach’s first biographer – that he recalled his Works from and improvisations on • Andante un poco father as a gifted violinist who played ‘rein Schemelli’s Musikalisches Gesangbuch Bach, who as the Thomaskantor was • Presto und durchdringend’ and was well aware of responsible for the education of Schemmel’s the potential of all string instruments. 27 JAN 2018 son, seems to have acted as a sort of musical Partita no.6 in E minor, BWV830 (1731) 27 JAN 2018 consultant. His works BWV439-509 contain • Toccata The six Sonatas for Violin and Harpsichord, among other things accompaniments, • Allemande BWV1014-1019, together with the iconic reworked pieces, improvements, and even at • Corrente partitas and the violin concertos, form an least three melodies of his own: Dir, dir Jehova, • Air important part of Bach’s output for the Komm, süsser Tod and Vergiss mein nicht. • Sarabande violin. The original manuscript of the score • Tempo di Gavotta was lost, but the first known source, a copy Oxalys is performing several of these melodies • Gigue made by Bach’s nephew Johann Heinrich which were certainly written by Bach. By way Bach in 1725, makes it likely that the sonatas of all sorts of wanderings and styles that you Violin sonata no.3 in E major, date from the 1720-23 period. Bach was then would not immediately associate with Bach BWV1016 (before 1725) Concertmaster to Prince Leopold of Anhalt- – including klezmer and pop – the ensemble • Adagio Köthen, for whose ensemble he composed a makes its way from these old songs to new • Allegro great many instrumental works. arrangements and improvisations. What • Adagio ma non tanto is intriguing is that this music by, among • Allegro The compositional origin of these sonatas others, Beethoven, Schubert, Devreese and goes back to the trio sonata form in which Sofia Gubaidulina, always refers to Bach in a three parts – two leading parts (for two surprising way. The composer and arranger melody instruments) and basso continuo Dick van der Harst has welded it all into a (played on the harpsichord backed up by homogeneous suite. a cello or gamba) – hold a ‘conversation’ with each other. Bach’s innovation was to — Albert Edelman break away from the traditional relationship VOCAL with thanks to Oxalys CHAMBER MUSIC between melody and accompaniment:

— 010 — — 011 — instead of a figured bass, he employed The Partita in E minor, BWV830, is the last SAT 27 JAN 2018 a fully composed harpsichord score by in a series of six keyboard suites. Bach analogy with his keyboard works. The left published this collection under the title hand here underpins the harmony, while the Clavier-Übung I in 1731. It was the very first part for the right hand is an independent time he had published works himself. He Ricercar Consort and equal partner to the violin part. had previously inserted two movements Bach’s Stabat mater As far as their structure is concerned, the from this partita, the Corrente and the first five sonatas, including the Sonata in A Tempo di Gavotta, into his atypical Violin 20.00 Concert hall major, BWV1015, and the Sonata in E major, Sonata, BWV1019 – the first as a solo Bach’s personal vision of 19.15 Introduction by Ignace Bossuyt BWV1016, are quite conventional: they passage for harpsichord and the second as (in Dutch) Pergolesi’s Stabat mater keep to the four-movement pattern of the a duet for violin and harpsichord – and had — sonata di chiesa, with a slow first movement also adopted them for the renowned 1725 ‘The first stanza of the Stabat mater is the followed by a fast, fuguel second movement, Notenbüchlein for his wife Anna Magdalena. most perfect and most moving that ever Ricercar Consort: ensemble then another slow movement (usually in a This seven-part partita, technically flowed from a composer’s pen’. It was with Philippe Pierlot: viola da gamba & leader related mode). The final movement is usually demanding, bold, dramatic and ambitious these words that Jean-Jacques Rousseau Maria Keohane: soprano a driving allegro concertato with a lively in its counterpoint, is the conclusion of the praised Pergolesi’s hugely popular Stabat : countertenor and dance-like nature, modelled on the fast whole set. mater. Pergolesi died at the age of 26 in

movements in Vivaldi’s many concertos. 1763, and this is one of his last works. The Sophie Gent: concert master What is striking is Bach’s intensive quest — Jens Van Durme romanticised story of its genesis soon Tuomo Suni, Maia Silberstein, Paula for the expressive potential of the slow assumed mythical proportions. Like Mozart, Waisman, Maite Larburu, Marieke Vos, movements, which are less uniform in he is said to have added the finishing Noyuri Hazama: violin character. touches on his deathbed. Whatever the true Michiyo Kondo, Isabelle Verachtert: viola situation, the Stabat mater soon enjoyed Emmanuel Balssa: cello unrivalled success in Western Europe, Frank Coppieters: double bass often in other languages. In the previous Emmanuel Laporte: oboe century, a manuscript was discovered that François Guerrier: harpsichord contained a German version which turned

27 JAN 2018 Julien Wolfs: organ 27 JAN 2018 out to have been handwritten by Bach. The text, Tilge Höchster, meine Sünden, is a — paraphrase of Psalm 51, Miserere mei, Deus, one of the psalms in which the sinner begs Johann Sebastian Bach (1685-1750) for God’s mercy. The author (Bach himself?) Sinfonia from Ich hatte viel Bekümmernis, succeeded superbly in adapting the German BWV21 text to Pergolesi’s music: Mary’s suffering at Mein Herze schwimmt im Blut, BWV199 (1714) the cross is here transposed to the sorrow Vergnügte Ruh, BWV170 (1726) and remorse of sinful man.

It continues to amaze us that during the last interval decade of his life Bach was interested in a

wide variety of styles. Compared to such a Johann Sebastian Bach monument of the time-honoured ‘scholarly’ Tilge, Höchster, meine Sünden (Psalm 51), contrapuntal writing as The Art of the Fugue, BWV1083 (1740) after Pergolesi’s and the Mass in B-Minor, probably the most Stabat mater grandiose synthesis in the whole of Western music, Tilge, Höchster, meine Sünden is definitely the odd one out. Pergolesi’s music is full of feeling, almost sentimental, With Dutch surtitles The Zimmermannsches uncomplicated in technical music terms, with Kaffeehaus in Leipzig, an emphasis on lyrical melodic development where Bach premiered and soft dissonances, and played by two many of his instrumental VOCAL compositions (1720). violins and basso continuo which, once

— 012 — — 013 — SAT 27 JAN 2018 Stephane Ginsburgh ‘During the last Preludes & fugues decade of his life, Bach was interested in a 22.30 Chamber music hall Twenty-Four

wide variety of styles.’ — Bach’s monumental oeuvre inevitably became a touchstone for later composers. remorseful sinner. In the arias, the evolution Stephane Ginsburgh: piano Yet the number of brave souls who dared can clearly be heard from sorrow (Stumme to match themselves against The Well- Seufzer: with a plaintive oboe) through — Tempered Clavier can be counted on the remorse (Tief gebückt und voller Reue: fingers of one hand. Shostakovich wrote his the voices have started, is primarily an with gently flowing strings) to the joy of the Buxtehude (ca.1637-1707) / 24 Preludes and Fugues, opus 87, between accompaniment. Its dramatic accents are reconciliation with God (Wie freudig ist mein Prokofiev (1891-1953) October 1950 and February 1951, after Stalin references to the Neapolitan opera of the Herz: a lively dance, with strings and oboe). Prelude & fugue in D minor, had sent him to East Germany to grace the time. Bach added a number of personal The inserted consoling chorale Ich, dein BuxWV140 (1956) commemoration of the bicentenary of Bach’s

touches. The texture is enriched by a viola betrübtes Kind, with a virtuoso viola (or cello) WERELDPREMIÈRE death. His inspiration was the then 26-year- with an independent instrumental part. playing around it, is splendid. The recitatives WORLD PREMIERE old Tatiana Nikolayeva in Berlin, who was Bach does not simply adopt the melodies have a dramatic intensity. Anthony Burgess (1917-1993) entirely at home with Bach’s ‘48’, but who two indiscriminately, but often makes radical Selection from The Bad-Tempered years later also performed the premiere of changes for the purpose of making the text In the cantata Vergnügte Ruh, the poet Electronic Keyboard (1985) Shostakovich’s tribute. as expressive as possible. For example, employs an equally drastic and hyper- 27 JAN 2018 27 JAN 2018 following the text he switches the two parts baroque formulation. The world is a Dmitry Shostakovich (1906-1975) The greatest successes of the Englishman for the final Amen. What is most notable is pernicious house of sin (Die Welt, das Selection from 24 Preludes and Fugues Anthony Burgess were as an author – A the conclusion: Bach repeats the Amen piece Sündenhaus), where people live with opus 87 (1950) Clockwork Orange is legendary – but he in the ‘positive’ major third key, whereas corrupted hearts (Wie jammern mich doch). • No.1 in C major derived at least as much pleasure from his in Pergolesi’s case it ends in the ‘negative’ No composer has expressed the longing for • No.2 in A minor compositions. The Bad-Tempered Electronic minor third: in this way, Bach turns Mary’s the restfulness of heavenly harmony better • No.3 in G major Keyboard is his most extensive keyboard intense sorrow in the Stabat mater into the than Bach in the first, contemplative aria • No.4 in E minor piece, and like Shostakovich’s preludes and hope of God’s mercy. with its strings and charming oboe d’amore: • No.14 in E-flat minor fugues in all the major and minor keys, it is Vergnügte Ruh! The aria Wie jammern • No.15 in D-flat major a tribute to Bach. The title, a reference to In most cantatas, Bach provided for several mich doch, with its obligato organ, is an the electronic keyboard in Burgess’s flat in vocal soloists, a more extensive group intense lamentation of the corruption of Monaco, is playful, but the music is serious of singers and an ensemble of varied mankind. The omission of a basso continuo, and varied, in a wide variety of tempi, time instruments. A limited number of them are for the musical foundation, symbolises the signatures and styles, from faux baroque just one vocal soloist and instruments, such abhorrence of God, whereby man no longer to late-romantic chromatic. Between 23 as Vergnügte Ruh for alto and Mein Herze has anything solid to hold onto. The solution November and 13 December, Burgess schwimmt in Blut for soprano. As usual, arias lies in turning the gaze away from the world composed all his 48 short pieces plus, as a and recitatives alternate with one another. towards God (recitative with strings Wer finale, a fugue on the Christmas carol Good The theme of Mein Herze schwimmt in Blut sollte sich demnach). In the high-spirited King Wenceslas, with The First Noel and God is connected to that of Tilge, Hochster, closing aria, Mir ekelt mehr zu leben, the Rest Ye Merry Gentlemen woven into it, a meine Sünden: man is weighed down by the strings, oboe d’amore and organ applaud the With the support of Piano’s Maene total of 90 minutes of fascinating music. awareness of his sins. In the second half of longing for God’s heavenly abode. the work, the thought of deliverance through — Albert Edelman Christ’s death on the cross consoles the — Ignace Bossuyt KEYBOARD

— 014 — — 015 — SUN 28 JAN 2018 Reitze Smits Bach & Mendelssohn ‘Mendelssohns’s enthusiasm for Bach not only 11.00 Sint-Walburgakerk (p. 31) Mendelssohn showed itself in — as heir to Bach

If there is one composer who from an his own work, Reitze Smits: organ, Cacheux 1739 early age was immersed in the music of but he regularly Bach, it was Felix Mendelssohn. In 1829, — at the age of twenty, he gave a legendary performed some performance of the Matthew Passion. Two of Felix Mendelssohn (1809-1847) his grandparents had studied under Johann of Bach’s works in C minor (1823) Philipp Kirnberger, a pupil of Bach. During as well.’ his training in Berlin under Carl Friedrich Johann Sebastian Bach (1685-1750) Zelter, director of the Singakademie, he Preludium and fugue in D minor, was thoroughly initiated into Bach’s art. His BWV539 (after 1720) enthusiasm for Bach also showed itself in

his own work, not only in a number of choral Felix Mendelssohn August Grahl: Felix Mendelssohn, cantatas, but also in his instrumental work, painting on ivory (1860). Prelude and fugue in E minor especially for keyboard instruments (piano and major, opus 35 no.1 (1827-35/6) 28 JAN 2018 JAN 28 and organ). 2018 JAN 28

voices are however enriched with a tuneful attempt to imitate his much-admired Johann Sebastian Bach One genre dominates Bach’s keyboard theme. The fugue is set up on a grand example, at the age of fourteen Mendelssohn Schmücke dich, o liebe Seele, music, and that is the combination of a scale on the basis of an expressive theme composed an untitled passacaglia, though BWV654 (1723) prelude and a fugue. The introductory larded with unusual dissonant intervals it was later published as Ostinato in C

preludes differ very much in style: either that Mendelssohn created at a friend’s minor. Bach’s influence is noticeable in, Felix Mendelssohn improvisational, on the basis of arpeggio deathbed in 1827. An acceleration is thought among other things, the division into three, Fugue in D major, opus 7 no.3 (1826?) figures and toccata-like virtuoso runs, or to symbolise the increasing suffering and where in the first and last movements the

musically more substantial and tightly the solemn chorale melody at the end the theme is heard in the bass and in the middle Johann Sebastian Bach structured. Bach’s Prelude, BWV539 is one of consoling deliverance following the death movement in the treble. In Schmücke dich, Passacaglia and Fugue in C minor, the second type: it is composed entirely on throes. Or how such an abstract form as o liebe Seele, Bach incorporated a chorale BWV582 (1708) the basis of chords and a motif consisting of the fugue can yet be full of non-musical that calls the faithful to adorn themselves in just a few notes that permeates all the parts. meaning. preparation for the supper at which Christ The contiguous fugue is an arrangement would be received. It is a profound mystical of the fugue from the First Sonata for One of Bach’s most grandiose organ works is work that radiates the same contemplative Solo Violin (BWV1001), founded on a short undoubtedly the monumental Passacaglia atmosphere as the aria Tief gebückt rhythmic theme. Short passages in which and Fugue, BWV582, on an ostinato bass und voller Reu in the cantata Mein Herze the theme is ubiquitous alternate with free theme of eight bars, which is repeated schwimmt in Blut, BWV199 (performed passages in continuous semiquavers that twenty times and is followed by a fugue Saturday evening by the Ricercar Consort). refer to the style of the violin. on this theme (later today in Bojan Cicic’s concert). The result is a dazzling masterpiece — Ignace Bossuyt Mendelssohn’s Prelude, opus 35 no.1 is in which structural power and emotional KEYBOARD a typical arpeggio piece, whose inner expression go hand in hand. In a creditable

— 016 — — 017 — SUN 28 JAN 2018 Il Suonar Parlante B-A-C-H ‘Works were very often not published, so that compositions Johann Sebastian Bach 15.15 Concert hall Concerto grosso in G minor after BWV1029 whose original • Vivace — Like most of Bach’s harpsichord concertos, • Adagio form had been the Concerto in A major, BWV1055, and the • Allegro Il Suonar Parlante Orchestra: ensemble lost were only Concerto in G minor, BWV1056, are clearly Vittorio Ghielmi: viola da gamba & leader reconstructions and arrangements: preserved through adaptations of existing compositions. The Alessandro Tampieri: violin & viola Vittorio Ghielmi first – the version performed is for viola da Flavio Losco, Nicolas Penel: violin arrangements and gamba and strings – was long assumed to Laurens Galliano: viola have been written for oboe d’amore (or viola Christoph Urbanetz: viola da gamba reworked versions.’ d’amore). The second was probably based Marco Testori: cello on a , although we are more Riccardo Coelati Rama: double bass This concert is being recorded by Klara familiar with the slow middle movement as Shalev Ad-El: harpsichord for broadcast on Monday 19 February the sinfonia for oboe, strings and continuo 2018, 20h during ‘Klara Live’. Thank you for from the cantata Ich steh mit einem Fuss im — keeping noise to a minimum, also between Grabe, BWV156. movements and pieces. Johann Sebastian Bach (1685-1750) In this concert, these adaptations are 28 JAN 2018 JAN 28 Violin Concerto in G minor after BWV1056 or slightly modified, as the basis for new alternated with compositions based on the 2018 JAN 28 (1738) CHAMBER MUSIC compositions. Parts were added or omitted. German-language solmisation (calling the • (without tempo marking) The same melodies turn up as a cantus notes ‘do, re, mi’ etc., ed.) of the letters of • Largo firmus in the polyphonic make-up of Bach’s name (B-flat, A, C and B). In addition • Presto masses, or, without batting an eyelid, are to Johann Sebastian himself, his youngest B-A-C-H adaptations presented anew with the addition of the son Johann Christian was one of the first (1735-1782) most devout religious text. Works were very to take up this intellectual challenge in Chromatic fugue on B-A-C-H (ca.1810) One might be surprised to learn that until often not published, so that compositions his Chromatic Fugue on B-A-C-H for solo the end of the 18th century, what we now whose original form had been lost were harpsichord. Johann Sebastian Bach define as a ‘musical work’, a composition only preserved through arrangements and Concerto for viola da gamba in A major, intended as an entity in its own right, was reworked versions. Many of Bach’s works ’s fascination with Bach’s after BWV1055 (1738) quite a flexible concept. As the music also suffered this fate. A very good example music was part of a general Bach revival • Allegro philosopher Lydia Goehr indicates in her is his Sonata in G minor, BWV1029, the last in the first half of the 19th century. He too • Larghetto book The Imaginary Museum of Musical of three sonatas for viola da gamba and was attracted by the concentrated power • Allegro ma non tanto Works, until Mozart’s day a composition was harpsichord that Bach composed in Leipzig of the ‘BACH’ motif and in 1845 developed it not necessarily defined so precisely. In some in the late 1730s. In the mid-19th century, contrapuntally in the masterly Sechs Fugen Robert Schumann (1810-1856) cases a melody was sufficient to describe the musicologist was justified über den Namen BACH, opus 60, for organ Fugue III on B-A-C-H a ‘work’. By extension, this meant that in heaping praise on the originality of this or piano. On this basis, Vittorio Ghielmi ‘Mit sanften Stimmen’ (1845/46) compositions could be reused, adapted or work, but he could not have suspected that arranged a section for strings and basso parodied quite freely. it was a reworking of a lost concerto grosso, continuo. comparable to the Sixth Brandenburg Countless secular tunes from the Concerto. — Jens Van Durme, Renaissance were used, either unaltered with thanks to Vittorio Ghielmi

— 018 — — 019 — SUN 28 JAN 2018 SUN 28 JAN 2018 Bojan Cicic Collegium Vocale Gent All roads lead to Bach So singen wir recht das Gratias

17.00 Chamber music hall The art of mellifluous 20.00 Concert hall Bach’s exquisite fusion 19.15 Introduction by Ignace Bossuyt — variation (in Dutch) of the Latin mass and the — One of the most intriguing structural German cantata Bojan Cicic: violin (Rugeri, 17th century) principles of the Baroque is the ostinato bass: Collegium Vocale Gent: ensemble in the lowest part, a short melodic formula is In about 1738, Bach composed four Missae — Philippe Herreweghe: conductor constantly repeated, while the higher parts breves, BWV233-236. The ‘short mass’ Dorothee Mields: soprano that are added each introduce new melodic consists of the first two parts of the mass: Alex Potter: countertenor Heinrich von Biber (1644-1704) and rhythmical ideas. Two of the more typical the Kyrie and the Gloria. In the Protestant Thomas Hobbs: tenor Passacaglia in G minor (ca.1676) bass formulae are the passacaglia and the liturgy, the Latin missa brevis continued to Peter Kooij: bass chaconne. Basso-ostinato variations for solo be performed, but this of course also fitted (1873-1916) violin demonstrate that some composers perfectly into the Catholic service, as at the — Chaconne from Violin Sonata in A minor, here explore extreme compositional and court in Dresden with which Bach had good opus 91/7 (1905) technical limits. Several parts – the bass and relations. Johann Sebastian Bach (1685-1750) the added counterpoints – are played at the Herr, deine Augen sehen nach dem Johann Sebastian Bach (1685-1750) same time on an instrument that lends itself What is most striking is that almost all Glauben, BWV102 (1726) Partita no. 2 in D minor, primarily to melodic development, which is a parts of these four masses are parodies.

28 JAN 2018 JAN 28 Es wartet alles auf dich, BWV187 (1726) 2018 JAN 28 BWV1004 (before 1720) genuine tour de force. This means that Bach reworked arias and

• Allemande choruses from previously composed cantatas interval • Courante Biber’s well-known Mystery Sonatas into new compositions with Latin texts. As

• Sarabande conclude with a masterly passacaglia, regards these works, the explanation for this Johann Sebastian Bach • Gigue based on the simplest imaginable bass is probably not lack of time, but that Bach Missa brevis in A, BWV234 (1738-39) • Chaconne formula: the descending fourth. Bach’s was aiming to modify worthwhile music from second Partita (or suite with stylised cantatas that could only be performed once a dances) for solo violin ends with the year on a specific Sunday, so that it could be renowned chaconne. A four-bar ostinato performed on other occasions. After all, the is presented in the most varied forms, text of the mass was valid for every liturgy. entwined with brilliant variations and in virtually endless melodic, rhythmic and In his compositions for masses, Bach kept harmonic variants. The currently somewhat to the missa concertata, with its Italian forgotten music of the organist and orientation, with vocal soloists, chorus and With Dutch surtitles composer Max Reger deserves to be taken instrumental ensemble, whereby the words up again. In the chaconne from his opus of the mass were divided into smaller units 91 he achieves a successful synthesis of This concert is being recorded by Klara for various combinations of singers and Baroque and Romanticism (sharp contrasts for broadcast on Tuesday 20 February instruments. The instruments for the Missa of tempo and dynamic, and chromatics that 2018, 20h during ‘Klara Live’. Thank you brevis in A major are rather exceptional: refer to Wagner). for keeping noise to a minimum, also strings, two traversos and basso continuo, between movements and pieces. meaning that they lacked the oboes that — Ignace Bossuyt Bach often wrote for. The tone is thus largely CHAMBER MUSIC VOCAL intimate and the expressiveness restrained.

— 020 — — 021 — Bach adapted at least four cantatas for Like the cantata Ärgre dich, o Seele, this mass. The first Kyrie sounds not so the cantata Es wartet alles auf dich is a much like a sorrowful supplication, but comment on the gospel of the miraculous more an idyllic pastorale, a characteristic multiplication of bread. Here too it is not that was modern and ‘positive’ for its a matter of the story, but of the religious time. The imploring Christe and the message: God is the source of all food, we second, hopeful and dance-like Kyrie can trust in him. This cantata immediately are more like Bach’s typical style: rather ‘Bach was strikes a positive tone in the magnificent strictly contrapuntal and with a complex initial chorus with its strings and oboes, interweaving of the parts. The Gloria aiming to modify which is built up with breathless tension. consists of five parts: a Gloria that is worthwhile The recitatives and arias relate to the full of contrast, alternately jubilant beatific attitude of this entry: the aria and meditative, a bass aria with violin music from for alto, Du Herr, du krönst, sounds like solo (Domine Deus), which stands out a dance-like minuet, the aria for bass, sharply against the soprano solo with two cantatas that Darum sollt ihr nicht sorgen, expresses traversos that is permeated with sorrow, could only be consolation (using the words of Christ a supplication for God’s compassion himself), the soprano aria Gott versorget, (Qui tollis), an aria for alto with strings in Bach reworked several parts of the 1726 performed once with a delightful oboe solo sparkling unison as a homage to Christ’s holiness cantatas Herr, deine Augen sehen nach with hope, and the accompagnator (Quoniam tu solus sanctus), and a closing dem Glauben and Es wartet alles auf dich a year for other recitative for the soprano, Halt ich nur fest chorus which, after its solemn entry, for two other missae breves (BWV233 and occasions.’ accentuates the security of God’s love for bursts out in jubilation (Cum Sancto 235). The reading of the gospel in which the simple closing chorale Gott hat die Spiritu). In the Gloria, Bach achieved the Jesus predicts the downfall of Jerusalem Erde zugericht. perfect fusion of introvert reflection and and drives the money-lenders out of the humble supplication on the one hand, and temple inspired the writer of the words — Ignace Bossuyt 28 JAN 2018 JAN 28 hymn-like joy on the other. for the first cantata to formulate an 2018 JAN 28 exhortation to do penance. The whole work is permeated with a profound seriousness and at the same time with a rich musicality The Thomaskirche in Leipzig (1754). that at once resounds persuasively in the first chorus. The aria Weh der Seele for alto and oboe, imbued with an extreme sorrowfulness, can have emerged only from Bach’s brilliant mind: it is not a ‘Cantatas are matter of beautiful sounds, but of piercing dissonants and discordant melodic turns often not a matter that express the tormented soul. The threat and the admonishing finger continue in of the story, but the arioso for bass, Verachtest du, in the of the religious aria for tenor, Erschrecke doch and in the dramatic accompagnato recitative for message.’ alto, Bei Warten ist Gefahr (with oboes that accentuate the painful questions such as ‘what about your penance?’). The chorale Heut lebst du, the prayer of the congregation of believers, provides a dignified end to this cantata, which is full of uncommonly deep emotion.

— 022 — — 023 — Collegium Vocale Gent BACH ACADEMY CHOIR ORCHESTRA soprano first violin BRUGES FOR Dorothee Mields Christine Busch Chiyuki Okamura Baptiste Lopez Magdalena Podkościelna Dietlind Mayer KATAKO-KOMBE Dominique Verkinderen second violin countertenor Caroline Bayet Alex Potter Marieke Bouche The final performance in the Bruges rebuilt. The hospital has undergone Cécile Pilorger Adrian Chamorro Bach Academy is also a benefit major renovation and building work Alexander Schneider concert for the Congolese province and now has a maternity section and viola of Katako-Kombe, where the departments for paediatrics, internal tenor Deirdre Dowling Belgian Developmental Cooperation medicine, ophthalmology, physiotherapy Thomas Hobbs Kaat De Cock and dentistry, a basic laboratory, Johannes Gaubitz staff and the Belgian NGOs Memisa, echography and simple radiology. Births, Vincent Lesage cello Doctors Without Holidays (AZV) caesarean sections and most essential Ageet Zweistra and Oftalmo Sankuru are together operations are now carried out safely at bass Harm-Jan Schwitters trying to improve the health of the an affordable price. Peter Kooij population. Julián Millán violone

BACH REARRANGED BACH Thanks to, among other things, training Robert van der Vinne Miriam Shalinsky REARRANGED BACH and missions by experts from the Congo Bart Vandewege Katako-Kombe is in the centre of and other countries, the capacities organ the Congo and is hard to reach. The of the local staff have expanded Maude Gratton population is estimated to be 146,000 and enormously over the years. The Belgian they are among the poorest people in the NGO Memisa has taken on the task of traverso world. An area the size of almost a quarter developing basic health care, Doctors Patrick Beuckels of Belgium has just 17 health centres and Without Holidays regularly go to train Amélie Michel * one hospital. Some Congolese people the local professionals in surgical have to travel up to 200 km on very poor and other techniques with the aim of oboe roads to reach the hospital. enabling them to work independently, Marcel Ponseele and Oftalmo Sankuru concentrates on Taka Kitazato When the project started in 2002, virtually bringing ophthalmology to the region. Timothée Oudinot ° all medical activity had come to a halt. The hospital in Katako-Kombe has close Since then we have been able to ensure ties with the Maria Middelares Hospital bassoon the provision of basic health care such in Ghent and there is of course also Julien Debordes as vaccinations, maternal and child positive cooperation with the Congolese care, consultations, and the correct government. By purchasing a ticket for diagnosis and treatment of the most the closing concert you are also helping common illnesses (malaria, diarrhoea, our activities in the Congo. ° 26 January bronchial infections, tuberculosis and * 28 January aids). All the health centres have been — Yves Kluyskens, doctor

— 024 — — 025 — GOLD — Biographies 07 — 13 MAY

Collegium Vocale Ghent (BE) was founded in 1970 on the initiative of Philippe BRUGES VOICES FROM Herreweghe. It was one of the first ensembles THE RENAISSANCE to apply new insights into the performance A new festival for Bruges - city of of to vocal music. For each music and stories - interconnects project, Collegium Vocale Ghent assembles the best of Bruges’s Golden Age: its the best range of musicians, thus allowing it fascinating history, its architectural to perform a wide repertoire, ranging from heritage, its art treasures and above renaissance polyphony to contemporary all its music. A varied programme, music. Baroque music, especially the works of Johann Sebastian Bach, plays a central including concert walks, lectures, a role on the ensemble’s concert calendar. concert mass, an expo … Collegium Vocale Ghent has made dozens of recordings of renaissance polyphony, more information on baroque music, classical and romantic Frank Agsteribbe (BE) is a keyboard concertgebouw.be/gold oratorios and contemporary music. The player, conductor, composer and teacher. ensemble and its conductor are the main He was a co-founder of B’Rock and directs guests at the annual Bruges Bach Academy the Luxemburg ensemble cantoLX. In all AD CGB BA 2018_AD CGB BA 2018 03-01-18 11:39 Pagina 1 in January. his activities he seeks direct expression, plasticity and vivid colour. Since 1989 he

has been a lecturer, researcher and project BIOGRAPHIES Philippe Herreweghe (BE), through leader at the Royal Conservatoire in Antwerp. Collegium Vocale Ghent, La Chapelle Royale and the Ensemble Vocal Européen, has established a reputation as a specialist in Wim Berteloot (BE) is the new municipal renaissance and baroque music. His lively, carillonneur in Bruges, where he had profound and rhetorical approach to this already assisted Frank Deleu for a number repertoire has been widely acclaimed. Since of years. He completed his studies at the 1991 he has also focused on the classical Conservatoire in Ghent and the ‘Jef Denyn’ and romantic repertoires with the Orchestre Royal Carillon School, and is currently head 29 JUL – 03 AUG 2018 des Champs-Elysées. Since 1997 he has of the men’s choir De Kerels. He regularly COLLEGIUM also been a regular guest conductor of the composes music for choir and for carillon. Antwerp Symphony Orchestra, focusing VOCALE on a refreshing approach to romantic (and ARTISTIC DIRECTOR pre-romantic) music. Some years ago Ignace Bossuyt (BE) is professor emeritus CRETE SENESI PHILIPPE HERREWEGHE Herreweghe founded the record label Phi, at the Musicology research unit at KU which has already released 29 CDs of a Leuven. His research is mainly focused very diverse repertoire by Collegium Vocale on the polyphony of the Renaissance. He INTERNATIONAL MUSIC FESTIVAL ASCIANO – CASTELMUZIO – PIENZA | TOSCANA | ITALIA Ghent, Orchestre des Champs-Elysées, also regularly publishes work for a wider the Antwerp Symphony Orchestra and audience. Two of his works, De oratoria COLLEGIUM VOCALE GENT | EDDING QUARTET & NORTHERNLIGHT | HUELGAS ENSEMBLE | PAUL LEWIS | various ensembles and soloists. In 2010 the van Alessandro Scarlatti and a new book PAUL VAN NEVEL | PHILIPPE HERREWEGHE | PHILIPPE THURIOT | REINBERT DE LEEUW & BARBARA conductor received the prestigious Bach about Bach’s Mass in B minor, were recently HANNIGAN | SOLOISTS ANTWERP SYMPHONY ORCHESTRA | SOLOISTS ROYAL CONCERTGEBOUW- medal from the city of Leipzig. published by Leuven University Press. ORKEST AMSTERDAM | TIBURTINA ENSEMBLE | THOMAS ZEHETMAIER & RUTH KILLIUS

www.collegiumvocalecretesenesi.com Con il patrocino del Comune di Asciano — 027 — Benjamin Glorieux (BE) moves smoothly Maria Keohane (SE) performs as a soloist Christine Busch (DE) already worked between styles and repertoires, collaborating throughout Europe, and over the past few with Concentus Musician Wien, Chamber with groups ranging from Ictus and seasons also with the London Philharmonic Orchestra of Europe and Freiburger ChampdAction to B’Rock and il Gardellino. Orchestra, the Barockorchester during her studies, and has He is a regular guest at the Concertgebouw, (also in the All of Bach project), the since been mainly active as a soloist and most recently during the opening of the 2017- Drottningholm Baroque ensemble and at chamber musician, on both the baroque and 18 season. Currently he is working closely the Royal Theatre in Copenhagen. Her CD ‘modern’ violin. She has made numerous with the Dutch jazz pianist Rembrandt of music by Weckmann with the Ricercar recordings, also with Ensemble Explorations, Frerichs, such as during the 2017 MAfestival. Thomas Hobbs (GB) completed his studies Consort received a Preis der deutschen her own Salagon Quartet and solo on Phi’s at the Royal College of Music and has since Schallplattenkritik. release of Bach’s solo works for violin. performed with ensembles such as I Fagiolini, Maude Gratton (FR) completed her studies the Dunedin Consort, the Classical Opera in Poitiers and Bordeaux and was also a prize Company, Accademia Bizantina, Pygmalion, The bass Peter Kooij (NL) started his career Bojan Cicic (HR) has already performed as a winner of Musica Antiqua Brugge in 2005. Akademie für Alte Musik Berlin and the at the age of six as a soloist in a boys’ choir. soloist and led various ensembles, including She performs in concerts and recordings of Bournemouth Symphony Orchestra. The CD More than ten years later he studied singing the Orchestra of the Eighteenth Century, ensembles such as Stradivaria, La Simphonie Orpheus’ Noble Strings with viola da gamba at the Amsterdam Sweelinck Conservatoire. the Budapest Festival Orchestra and the du Marais, Le Concert d’Astrée and player Romina Lischka and lutenist Sofie His repertoire includes music ranging Academy of Ancient Music. With Florilegium, Pygmalion. Together with her sister Claire Vanden Eynde was recently released. from Heinrich Schütz to Kurt Weill. He has he recorded Vivaldi’s violin concerto Il grosso and violinist Stéphanie Paulet she forms the recorded more than 100 CDs, including Mogul, followed by a recording of Bach with ensemble Il Convito. the complete Bach cantatas with the Bach Rachel Podger. The recent CD by his own Johan Huys (BE) studied piano, organ, music Collegium Japan under the direction of

BIOGRAPHIES Illyria Consort has been highly acclaimed. history and chamber music in Ghent. He . BIOGRAPHIES Jörg Halubek (DE) studied church music, had a successful concert career, both as organ and harpsichord under Jesper a soloist and in chamber music. He taught Pat Donnez (BE) is a writer, poet, interviewer, Christensen, Andrea Marcon and others, and harpsichord at the Conservatoire in Ghent, Carlos Mena (ES) studied singing in his performer and radio producer. He is since then has also started conducting. He where he was also director from 1982 to 1996. hometown of Vitoria and in Basel under also well-known through, among other led opera productions in Stuttgart, Kassel He has been chairman of the Musica Antiqua Richard Levitt and René Jacobs. Since then programmes, Titaantjes, Bromberen, Piazza and Oldenburg. He has made a number of Brugge competition since 1977, and is also he has performed as a soloist with numerous and Zot van Elsschot on Radio 1 and Klara. A solo recordings and can be heard on four chairman of the Board of Directors of the Spanish and other early music ensembles selection of his conversations were compiled CDs with Leila Schayegh, which include Orpheus Institute. including Al Ayre Español, Hespèrion XXI and in Niets is waar en zelfs dat niet (Lannoo). Bach’s six Violin Sonatas. He is head of the Ensemble Gilles Binchois. Together with the Early Music Department in Stuttgart. Ricercar Consort he made a recording for Il Suonar Parlante (IT) started as a chamber Mirare entitled De Aeternitate. Stephane Ginsburgh (BE) has performed music ensemble and has also been active as as a soloist and chamber musician during Dietrich Henschel (DE) made his opera an orchestra since 2007, always under the festivals such as Ars Musica, Quincena debut at the Münchener Biennale as Le direction of Vittorio Ghielmi (IT). The group The 17th and 18th centuries play a central Musical, ZKM Imatronic, Agora, Ultima Oslo, Precepteur in the opera of the same name has performed throughout Europe, also in role in the musical repertoire of the soprano Darmstadt Ferienkurse and Gaida (Vilnius). by Michèle Réverdy, followed by many roles Bruges, where they presented the Barbarian Dorothee Mields (DE). With her flawless He focuses mainly on contemporary music ranging from Monteverdi to Henze, and, most Beauty programme with cymbalon player technique and ethereal sound she is also with such groups as the Ictus Ensemble. His recently, two major Strauss roles. In recent Marcel Comendant. The CD The Passion of an ideal performer of the contemporary recording of the complete piano sonatas years he has built bridges between music, Musick with Dorothee Oberlinger received repertoire. She can be heard on numerous of Prokofiev was released by Cypres, while theatre and visual media, including in Clara an Echo Klassik award. Ghielmi also writes on CDs, also with Collegium Vocale Ghent, Naxos has plans to release the premiere of Pons’ films-with-live music, IRRSAL and music, and regularly produces publications Lautten Compagny Berlin, Hille Perl and Burgess’ music. WUNDERHORN. on newly discovered early music. Stefan Temmingh.

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WERFSTRAAT

VLAMINGDAM

Ricercar Consort (BE) started in 1985 with Bach’s Musical Offering. Since then,

they have played the music of Bach’s ST. JORISSTRAAT predecessors and contemporaries such as Bruhns and Weckmann, as demonstrated by several recent highly acclaimed recordings, as well as the Italian and French repertoire.

Earlier this year, the Ricercar Consort could VLAMINGSTR.

be heard in Monteverdi’s Ritorno d’Ulisse, SPIEGELREI directed by William Kentridge.

ACADEMIESTR. KUIPERSSTRAAT SPINOLAREI Oxalys (BE) was founded in 1993 by VLAMINGSTR. N 31 BOOMGAARDSTR. graduates from the Brussels Conservatoire Reitze Smits (NL) studied the organ, A 10 SINT JANSSTRAAT E 40 and grew into a chamber music ensemble harpsichord, improvisation, composition E 403 with a distinct profile and strong and musicology and also participated E 17 PHILIP international reputation. The repertoire is a in the early music contest in Bruges. The STOCKSTR. testimony to the cultural history of Europe interpretation of baroque music and

markt and highlights the links and contradictions especially the fascination for Bach’s music HOOGSTRAAT

that have existed across the nations and have been his main field of interest for many GELDMUNDSTRAAT WOLLESTRAAT centuries since the Enlightenment. years. From 2000 to 2017 he was artistic director of the Festival for the Wind, while in CITY MAP CITY

BIOGRAPHIES 2010 he received the Sweelinck Prize for his STEENSTRAAT NOORDZANDSTRAAT Philippe Pierlot (BE) taught himself to play contributions to organ culture. OUDE BURG the guitar and lute before finally going on to study the viola da gamba with Wieland ZUIDZANDSTRAAT Kuijken. He appears mainly as a player and The activities of Heleen Van Haegenborgh ‘T ZAND DIJVER conductor of chamber music, opera and (BE) are a succession of different projects oratorio and he is widely acclaimed for his in which new music is the starting point. GOEZEPUTSTRAAT intense interpretations of baroque music. Her aim, alone or with partners, is to GRUUTHUSESTR.

With his Ricercar Consort he has made remove contemporary music from its elite BOEVERIESTR. several recordings of Bach’s music, including pedestal and make it more appealing to an acclaimed St John’s Passion. a wider audience. For Concertgebouw STATION Brugge she created the music for the musical model of the building in the foyer. Countertenor Alex Potter (UK) is a popular Christian Mendoza (PE/BE) studied at interpreter of 17th- and 18th-century music. the conservatoires of Ghent and Brussels, Concertgebouw KAAP | De Werf Praised as a ‘rising star of the countertenor but his creative breakthrough came in (Concert hall, Chamber music hall) Werfstraat 108 Concertgebouwcafé 8000 Brugge world’, Potter performed as a soloist with 2007 during a workshop at the School for In&Uit Brugge ensembles such as the Stuttgart Symphony Improvisational Music in Brooklyn. Since then ‘t Zand 34 Sint-Godelieveabdij Orchestra, the Holst Singers and Collegium he has worked with his own group. Together, 8000 Brugge Boeveriestraat 41 Vocale Ghent. He can also be heard on Van Haegenborgh and Mendoza made the 8000 Brugge numerous CDs, including a recording of CD Copper, which won the New Music Prize Stadsschouwburg Bach’s Mass in B minor with Concerto awarded by the province of East Flanders Vlamingstraat 29 Sint-Walburgakerk Copenhagen and . last month. 8000 Brugge Sint-Maartensplein 1 8000 Brugge

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The deepest sorrow elicits the most Music brimming with drama and striking beautiful music. With four meditations on images that are simply crying out for the death and parting, Vox Luminis and the most beautiful and surprising effects. A instrumentalists of L’Acheron touch upon work about the struggle between believers the heart of the Passion. and unbelievers.

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