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Home , Bach Medal, Collegium Vocale Gent, Dorothee Mields, Lautten Compagney, Mass in B minor, Netherlands Bach Society

Matthias Baus the BarbicanCentre principal funderof is thefounder and Corporation The Cityof London

Programme produced by HarrietSmith;printed Part of Barbican Presents 2018–19 Krešimir Stražanac Thomas Hobbs Alex Potter Hana Blažíková Collegium VocaleGent There willbenointerval J SBach Friday 14 June2019 7.30pm, Hall Herreweghe Vocale Gent/ Collegium Bminor in Mass Bach’s online. during your visit. Additional feedback canbegiven If anything limitsyour enjoyment pleaseletusknow with ahandkerchief. you feel theneedto coughorsneeze,pleasestifle it sake of other audiencemembersandtheartists,if prevent coughingduringaperformance. But,for the We appreciate thatit’snot always possible to members. can spoiltheenjoyment of your fellow audience set to Titmay causehigh-pitched feedback which entering thehall.Ifyour hearingaidisnot correctly you shouldswitch your hearingaidto Tsettingon Please remember thatto useourinductionloop a performance isstrictlyprohibited. capturing images orusingrecording devices during during theperformance. Taking photographs, Please turnoff watch alarms,phones, pagers etc Cabbell (tel 02036037930) by Trade WindsColourPrinters Ltd;advertising by MassinBminor

countertenor

tenor

soprano

soprano

bass-baritone

conductor

2 that hecreated itfor posterity. Thatbeing successfully answered –itseemsmostlikely was written andfor whomhave never been But thequestionsof for what occasionit never guessthisfrom theresulting work. the composer’sabsolute mastery thatyou’d from amixof earlierpieces, thoughsuchis having beencompiledlate inBach’s life The Massissomewhat shrouded inmystery, founder-conductor PhilippeHerreweghe. music: CollegiumVocale Gent,underits particularly associated withthiscomposer’s To perform it,agroup thathaslongbeen of Bach’s searinglyintense MassinB minor. A warm welcome to tonight’s performance Welcome Huw Humphreys, Head of Music,Barbican I hopeyou enjoy it. It promises to bearemarkable evening. Bach. very muchanaccepted way of interpreting for thegroup’s influence thatthisisnow parts –was ground-breaking. Itsays much modestly sizedchorusto perform thesolo music –withsingersstepping outof the approach to performing sacred In CollegiumVocale Gent’searlydays its and inspires inequalmeasure. the case,how luckywe are, for ittouches

simply too bigto beincludedinany service. over 100 minutes in lengththishugepieceis Masses for Catholic patrons, atcomfortably Lutheran composers(Bach included) did write in any other Lutheran centre. And,although his complete Massfor useinLeipzig, orindeed occasion. Bach, itseems,cannot have intended setting, andeven thennot both onthesame or theSanctusthatwould receive aconcerted but usuallyitwas onlytheKyrie–Gloria unit Lutheran churches untilwell into the18th century, settings continued,therefore, to beheard in where thatlanguage was not understood. Latin to ensure thatanalternative was available in church had not beento banishLatinbutsimply purpose inadvocating theuseof thevernacular for theuseof theLatinMass;Luther’soriginal performance. True, theLutheran liturgy didallow been noprospect of itsreceiving acomplete Kyrie, GloriaandSanctus,there canhave Dei andDonanobispacem to apre-existing adding aCredo, Benedictus,Osanna,Agnus prepared thescore of theMassinlate 1740s, Tantalising, becausethefact isthatwhenBach reason for existence remains atantalising mystery. it for unevenness; awork, above all,whosevery status of aunified wholeandothers to criticise some commentators to doubtitsclaimto the work whosediverse originshave prompted years of providing for theLutheran liturgy; a largely from themusiccomposedduring40 composer withfailing healthandeyesight, compiled andadapted by asexagenarian consciousness of itscreator’. Allthisfor aMass enigmatic andunfathomable asthereligious written’, whilefor AlbertSchweitzer itwas ‘as Parry thiswas ‘themightiestchoral work ever having passedsinceheputitforward. To Hubert despite almost200years of musicalhistory the first publisherof Bach’s MassinBminor, much withtheview of HansGeorg Nägeli, and nations.’Few peopletoday would disagree ‘The greatest musicalwork of artof alltimes Bminor, in BWV232Mass Bach Sebastian Johann Lutheran orCatholic,no liturgy cancontain it. to cater for atleastthree entire Leipzigchurch the 1720s speedilyproduced cycles of cantatas circumstances. Itiseasy to view Bach, whoduring providing musicto meetspecific needsor time isoften thatof theresourceful pragmatist The image of thecomposerbefore Beethoven’s it more romantically, hewrote itfor posterity. did itpurely for hisown satisfaction. Or, to put the MassinBminor?’appearsto bethathe the answer to thequestion‘Why didBach write that, itisstillhard to getaway from theideathat at St Stephen’s Cathedral inVienna.Yet for all commissioned for aSt Cecilia’sDay celebration put forward theintriguingtheorythatitwas the GermanBach scholarMichael Maulhas of contrapuntal test-pieces. Mostrecently for whomhehad earliercomposedanumber Corresponding Societyof theMusicalSciences, prepared itasapresentation to thelearned in 1747 of the to) Frederick theGreat of Prussia,therecipient Mass for (thoughnever actually presented it have beenputforward: thatBach compiledthe Numerous other theories,variously plausible, circumstances –amonarch’s nameday, orthe rooted to itsoriginal,distinctly earthbound music thatwould otherwise have remained well. By rescuing from allperiodsof hiscareer music, andperhapsof hisChristianfaith as Bach’s abilitiesasacomposerof sacred vocal look more andmore like afinal statement of liturgically unwieldy Mass inBminorbeginsto such as musical field. Placed inthecontext of awork to demonstrate hisown skillinaparticular no discerniblepractical usefulnessother than works displaying great musicalerudition but the compositionandorganisation of cycles of he increasingly directed hisactivities towards as LeipzigKantor had becomelessdemanding, order. Yet inhisfifties andsixties,whenhisduties skilful example of acomposer writingprimarilyto earlier works intheprocess, asanespecially calendars, often happilyreusing material from The Artof Fugue (assembled Musical Offering (1685–1750) , then, the giant, , then,thegiant, ; or that he ; orthathe c 1747–9) 1747–9)

3 Programme note 4 symmetrically withtwo furtherchoruses, two solo ‘Crucifixus’ asitsfocal point, thesectionpansout Musical Offering rigour demonstrated by suchlate works asthe entire sectionalsomatches the organisational late 1730s andearly1740s. And thelayout of the Bach perfected after assiduousstudyduringthe based onGregorian plainchantmelodies–which skills inclassicalor and ‘Confiteor unumbaptisma’ both show the specially. Thechoruses‘ inunumDeum’ and someof itmay even have beencomposed same timeasthecomplete Massinthelate 1740s, entitled it)was almostcertainly compiledatthe The Credo (or‘SymbolumNicenum’,asBach whether any painbelike unto my pain’. cantata carryingthetext ‘Looknow andsee the ‘Quitollis’ ispartof achorusfrom another proclaim your wonders’, whilethemodelfor sets thewords ‘We give you thanks, God,and uses achorusfrom aGermancantata which cavalier asitsounds;the‘Gratias’, for example, of somelostoriginal.Thisisnot necessarilyas one of theother movements isanadaptation internal evidence to suggestthateach andevery the ‘Gratias’ andthe‘Quitollis’, there issufficient material; althoughknown modelsexist onlyfor the 1730s), itwas constructed from pre-existing (the four short,so-called‘Lutheran’ Massesof like Bach’s other settingsof theKyrie andGloria preferences. Yet itmustberemembered that, appear calculated to satisfyDresden’s musical even theuseof asolohorninthe‘Quoniam’– five-part choral writing,florid solovocal lines, title of CourtComposer. Many of itsfeatures – this carefully prepared had recently beenunderstrain, was hopingwith Bach, whoserelations withhisLeipzigemployers prestigious musicalestablishments inEurope, and Elector’s courtinDresden was oneof themost two mainsectionsof theMassinBminor. The Gloria whichwere later to becomethefirst that, in1733, Bach sentacopy of theKyrie and Yet itwas to thatsameElector, FriedrichAugust II, of theElector of Saxony looksmallindeed. the requirements of theLeipzigtown councilor about all.Itisabreadth of visionwhichmakes be heard, was nevertheless public,for alland though, for allthecomposerknew, mightnever a ‘universal Christianartwork’, aMasswhich, service, hewas producing whathasbeencalled work thatcouldnot beperformed aspartof a his musicaltestament; by linkingitto asacred election of atown council–Bach was leaving and stile antico TheArtof Fugue Missa to winthehonorary polyphony –here . With the . Withthe music isabout.To learnof Bach’s extensive reuse faith, theindividual–allthingsmostgreat understood asbeingaboutlife, death,love, pain, who longfor thebestBaroque musicto be Mass isanattractive one,especiallyfor those This conceptof aprototype super-denominational nobis pacem’ of themusicof the‘Gratias’. but inexorable closewithareprise for ‘Dona nobility. TheMassisthenbrought to itsdignified 1735) evokes thesacrificial lambwithwarmth and Dei (borrowed from the lyrical still-pointof great beauty;andtheAgnus its orchestral introduction; theBenedictusisa he didsoto preserve momentumby omitting per musica’ adapted from theopeningchorusof his‘dramma joyful movement for doublechoirwhichBach relaxation: the‘Osanna’isanuncomplicatedly remainder of theMassbringssomethingof a Bach’s harmonies’.After suchaclimax, the when hewrote of ‘thestupendousmarch of six-part chorusiswhatShaw was referring to this sumptuousandmagisterial movement for Mass inBminor. Itistempting to suggestthat 1724; for many peopleitisthehighlightof the performance onitsown onChristmasDay The Sanctuswas originallywritten for and dramatic sequenceof theentire Mass. composed in1714 –isperhapsthemostmoving even the‘Crucifixus’ isborrowed from acantata the central panelof three choruses–inwhich it isamarkof Bach’s geniusfor adaptation that numbers andtwo linked pairsof choruses,and Programme note ©Lindsay Kemp the pieceisanever-ending source of wonder. and acompendiumof hischoral-orchestral art, to produce both apersonalmanifesto of hisfaith which Bach selected and reworked hismaterial who relish the skill,care anddiscernmentwith given thework’s spiritualflavour. Butfor those in B minorisnodoubtproblematic, especially by originality, therecycling found intheMass for whomamasterpiece mustbesanctified that of aShostakovich oraStrauss. For those reference every bitasconsciouslyapplied aim initself,perhapseven asystem of self- to have beennot so muchanexpedient asan certainly was anart,aprocedure whichappears the Baroque composer. For Bach, atleast,it music formed partof thetechnical armouryof the degree to whichtheartof recycling extant dent thatidealfor some,butthatisto ignore of earliermusicintheMassBminormight Preise deinGlücke Ascension Oratorio , taking care as of of Et resurrexit tertia diesecundumScripturas. Passus etsepultusest. Crucifixus etiam pro nobissubPontio Pilato, Ex Mariavirgine; ethomofactus est. Et incarnatusestdeSpirituSancto, Descendit decoelis. Et propter nostram salutem Qui propter noshomines Per quemomniafacta sunt. Consubstantialem Patri: Genitum nonfactum, Deum verum deDeovero. Deum deDeo,lumenlumine, Et ex patre natum ante omniasaecula. Filium Deiunigenitum, Et inunumDominumJesumChristum, Visibilium omniumetinvisibilium. Factorem coelietterrae, Patrem omnipotentem, Credo inunumDeum. Credo Amen. Cum Sancto SpirituingloriaDeiPatris, Tu solusaltissimus,JesuChriste. Quoniam tusolussanctus,Dominus, Miserere nobis. Qui sedesad dexteram Patris, Suscipe deprecationem nostram. Qui tollis peccata mundi, Miserere nobis. Qui tollis peccata mundi, Domine Deus,,FiliusPatris. Domine Filiunigenite, JesuChriste. Deus Pater omnipotens. Domine Deus,Rex coelestis, tuam. Gratias agimus tibipropter magnam gloriam Adoramus te, glorificamus te. Laudamus te, benedicimuste, Et interra pax hominibusbonae voluntatis. Gloria inexcelsis Deo, Gloria Kyrie eleison. Christe eleison. Kyrie eleison. Kyrie Mass inBminor Sedet ad dexteram Patris. Et ascenditincoelum:

and of allthingsvisibleandinvisible. maker of heaven andearth, The Father almighty, I believe inoneGod. Amen. with theHolyGhostingloryof GodtheFather. Thou only, OJesusChrist,artmosthigh, For thouonlyartholy, thouonlyarttheLord. have mercy onus. Thou thatsittest attherighthandof theFather, Receive ourprayer. Thou thattakest away thesinsof theworld, Have mercy onus. Thou thattakest away thesinsof theworld, Lord God,Lambof God,Sonof theFather. O Lord, theonlybegotten SonJesusChrist. God theFather almighty. O Lord God,Kingof Heaven, We give theethanks for thy great glory. We worship thee,we glorifythee. We praise thee,we blessthee, And onearthpeace to menof goodwill. Glory to Godinthehighest, Lord, have mercy. Christ, have mercy. Lord, have mercy. and sitteth ontherighthandof theFather. And ascendedinto heaven: Scriptures. And thethird day herose again, according to the and was buried. Pontius Pilate, And was crucified alsofor us,suffered under of theVirgin Mary;and was made man. And was incarnate by theHolyGhost came down from heaven. and for oursalvation Who for usmen, by whomallthingswere made. being of onesubstance withtheFather: Begotten, not made, very Godof very God. God of God,lightof light, Begotten of hisFather before allworlds. the only-begotten Sonof God, I believe in one Lord JesusChrist,

5 Text 6 Dona nobispacem. Dona nobispacem Miserere nobis. Agnus Deiquitollis peccata mundi, Agnus Dei Osanna inexcelsis. Osanna Benedictus quivenit innomineDomini. Benedictus Osanna inexcelsis. Osanna Pleni suntcoelietterra gloriatua. Dominus DeusSabaoth. , Sanctus Amen. Et vitam venturi saeculi. Et expecto resurrectionem mortuorum, peccatorum, Confiteor unumbaptismainremissionem Ecclesiam. Et unamsanctam catholicametapostolicam Qui locutusestperProphetas. etconglorificatur: Qui cumPatre etFiliosimuladoratur Qui ex Patre Filioque procedit, Et inSpiritumSanctumDominum:etvivificantem, Cujus regni noneritfinis. Judicare vivos etmortuos, Et iterum venturus estcumgloria,

Hosanna inthehighest. Blessed ishethatcomethinthenameof theLord. inthehighest. Heaven andearthare fullof thy glory. Lord Godof Hosts. Holy, holy, holy, Amen. And thelife of theworld to come. And Ilookfor theresurrection of thedead. sins. I acknowledge onebaptismfor theremission of Church. I believe inoneholy, catholicandapostolic who spake by theprophets. worshipped andglorified: Who withtheFather andtheSontogether is who proceedeth from theFather andtheSon. giver of life: And Ibelieve intheHolyGhost,Lord and whose kingdomshallhave noend. to judgeboth thequickanddead: And heshallcomeagain withglory Grant uspeace. have mercy uponus. world, Lamb of God,whotakest away thesinsof the

Matthias Baus About the performers These includetheEnsembleVocal Européen, the Renaissance to contemporary music. interpretations of repertoire stretching from historically accurate andmusicallyconsidered several other groups withwhichhemade of theFrench GoldenAge. Healsoestablished Royale inParis, withwhichheperformed music In 1977 hefounded theensembleLaChapelle to Baroque musicwas soondrawing praise. His energetic, authenticandrhetorical approach 1970. , founding CollegiumVocale Gentin conservatory. Duringthisperiodhestarted and studiedatthecity’suniversity andmusic Philippe Herreweghe was borninGhent Philippe Herreweghe Philippe Herreweghe conductor

Catholic University of Leuven. In2003hereceived was given anhonorary doctorate from the order of Officier desArtsetLettres and,in1997, Flanders. In1994 hewas awarded theBelgian Gent were appointed Cultural Ambassadors of Year. Three years later heandCollegiumVocale music press namedhimMusicalPersonality of the awards for his artistic vision. In 1990 the European Philippe Herreweghe hasreceived numerous Philharmonie. currently Artist-in-Residence attheLuxembourg and ViennaSymphony orchestras. Heis andtheShanghai Saxon State Orchestra, theCleveland Orchestra, In forthcoming seasonshewillconductDresden’s Zurich Tonhalle Orchestra. Amsterdam, LeipzigGewandhaus Orchestra and such astheRoyal ConcertgebouwOrchestra, demand asaguestconductor withorchestras Antwerp Symphony Orchestra. Heisalsoingreat Since 1997 hehasbeenassociated withthe Romantic repertoire onoriginalinstruments. 1991 withtheaimof playing pre-Romantic and the Orchestre desChamps-Élysées, founded in specialising inRenaissance polyphony, and University. he received anhonorary doctorate from Ghent prestigious .Mostrecently, in2017, In 2010 thecityof awarded himits the French titleChevalier delaLégiond’Honneur.

7 About the performers 8 Harald Hoffmann Dorothee Mields Festival, Flanders Festival, WienerFestwochen, Foundation SummerFestival, Boston EarlyMusic including theLeipzigBach Festival, Suntory Music She hasalsoappeared atinternational festivals, and Josvan Veldhoven. Rademann, Andreas Spering, Herreweghe, EmilioPomàrico, Hans-Christoph , MichiGaigg,Paul Goodwin,Philippe whom shehasworked includeStefan Asbury, Concert andKlangforum Wien.Conductors under Compagney ,Tafelmusik, TheEnglish Japan, Orchestra of the18th Century, Lautten RIAS ChamberChoir, Bach Collegium Barockorchester, Freiburger Barockorchester, Gent, theNetherlandsBach Society, L’Orfeo She appearsregularly withtheCollegiumVocale and moving interpretations. audiences andcriticsalike for heruniquetimbre of 17th- and18th-century musicandacclaimed by Dorothee Mieldsisoneof theleading interpreters Dorothee Mields Temmingh. Lee Santana; and‘Birds’ withflautist Stefan with violadagambaplayer HillePerl andlutenist Wahnsinn’ (Fragrance andLunacy), aprogramme exploring French Impressionist pieces;‘Duftund Heinrich Heine;‘Mortexquise, mortparfumée’, combining JohnDowland’s songswithtexts by of Lord Nelson;‘White asLillieswas herFace’, contemporaries onthesubjectof thebattles River Nile’,featuring musicby Haydn andhis her projects have included‘Lord Nelsonatthe She isacommitted chambermusicianand Mosel Festival. Festival, MainzMusicSummerand Styriarte Graz, Niedersächsische Musiktage, Handel Festival inHalle,Potsdam Festival, soprano

Vojteˇch Havlík Quartet. Quartet. and Boccherini’s L’Orfeo Barockorchester underMichiGaigg, Katschner, Bach’s solosoprano cantatas with the BerlinandWolfgang Handel withHillePerl, adiscof Monteverdi with Song winning recordings. Highlightsinclude discography, whichincludes several award- Dorothee Mieldshasasteadily growing Baroque. Barockorchester, GliAngeliGenève andHolland tours withCollegiumVocale Gent,Freiburger with theSeattleSymphony Orchestra, aswell as Wigmore HallwithTheEnglishConcert, and in JapanwiththeRIAS Kammerchor, atthe and current highlightsincludeappearances at theHeinrichSchützFestival. Otherrecent Earlier thisseasonshewas Artist-in-Residence Marianum andMusica Florea, amongothers. Fenice, Tafelmusik, Collegium1704, Collegium Koopman, L’Arpeggiata, GliAngeli Genève, La the Amsterdam Baroque Orchestra under Ton Masaaki Suzuki,Sette Voci underPeter Kooy, Herreweghe, Bach CollegiumJapanunder Collegium Vocale GentunderPhilippe and orchestras around theworld, including and medieval music,performing withensembles Today shespecialisesinBaroque, Renaissance and . with Poppy Holden,, Monika Mauch with Jirˇí Kotoucˇ andlater undertook furtherstudy singing. ShestudiedatthePrague Conservatory well asstudyingtheviolin,before turningto solo she sangintheRadost Praha children’s , as Hana Blažíková was born inPrague. Asachild Hana Blažíková Hana Blažíková and Birds withStefan Temmingh, adiscof soprano Stabat mater with the Salagon withtheSalagon Inspired by Annelies van der Vegt concert andto take into therecording studio. out lesser-known repertoire both to perform in composers, hehasagreat interest inseeking of works by Bach, Handelandother core Neumann. Alongsidenumerous performances Jordi Savall, Josvan Veldhoven andPeter Thomas Hengelbrock, LarsUlrikMortensen, conductors includingPhilippeHerreweghe, and 18th-century music.Hehasperformed with Alex Potter isasought-after interpreter of 17th- Alex Potter medieval polyphony. which specialisesinGregorian chantandearly She isalsoamemberof theTiburtinaEnsemble, which sheaccompanies herselfontheinstrument. She plays thegothic harpandgives concertsin with Bach CollegiumJapanonBIS. including anacclaimed cycle of Bach cantatas Hana Blažíková hasreleased more than30CDs, in Bogotá. the premiere of Symphony Orchestra. In2014 sheparticipated in she sangBach’s debut withBach CollegiumJapan.Thesameyear Herreweghe andin2011 made herCarnegieHall tours of Bach’s In 2010 and2013 shetook partinhighly acclaimed Kong Festival. Chaise-Dieu, Festival deSaintes andtheHong in Regensburg, Festival deSablé,Festival dela Utrecht, Resonanzen inVienna,Tage Alter Musik festivals, includingPrague Spring,EarlyMusic She hasperformed atmany international at Southwark Cathedral, before becominga He beganhismusical career as achorister Alex Potter countertenor St Matthew Passion Orfeo chamán St JohnPassion with L’Arpeggiata with L’Arpeggiata with the Boston withtheBoston under under

Portia Crossley Telemann onCPO,released lastmonth. disc isaprogramme of solocantatas by released in2014 onRamée. Hismostrecent music for alto andobbligato trombones, was e Amor number of different ensembles. HisCD Alex Potter hasalarge discography witha Jonathan CohenattheWigmore Hall. by Bach andTelemann withArcangelo under Lars UlrikMortensen andaconcertof works Konzerthaus withConcerto Copenhagen under Handel’s Orchestra underPhilippeHerreweghe, in B minorwiththeRoyal Recent highlightshave includedBach’s Mass taking additional classeswithEvelyn Tubb. at theScholaCantorum in BaslewithGerd Türk, in singingandBaroque performance practice he read music.Hethenpursuedfurtherstudies Choral ScholaratNew College,Oxford, where Return of Ulysses His operatic roles includeTelemachus ( Angeli Genève. concerts withCollegiumVocale Gent andGli with LeBanquetCeleste, aswell asseveral Baroque EnsembleandBach’s Japan, Polish Baroque musicwiththeWrocław Monteverdi’s Highlights of thisseasonhave included and theNetherlandsBach Society. Herreweghe andhisCollegiumVocale Gent works frequently with,amongothers, Philippe leading Baroque andearlymusicensembles.He Tenor ThomasHobbsisindemandwithmany Thomas Hobbs Thomas Hobbs withEnsembleLaFontaine, featuring Israel inEgypt Vespers ) inanew production for tenor withRIAS Kammerchor in attheVienna St JohnPassion The The Fede

9 About the performers 10 Gent andtheDunedinConsort;Bach motets, Mass inBminorwithboth CollegiumVocale His ever-expanding discography includesBach’s Ryedale Festival withpianistChristopher Glynn. Oxford LiederFestival andaperformance atthe Tuscany; and,mostrecently, Wolf songsatthe Lieder for theCollegiumVocale Crete Senesiin Place; arecital of EnglishsongandGerman Liederkreis Schubert’s Wenlock Edge Cheltenham Festival; Vaughan Williams’s including Brett Dean’s He isalsoakeen recitalist, withhighlights in performances underRichard Egarr;thetitle-role (Monteverdi’s English NationalOpera; ApolloandShepherd of theAcadémie attheAix-en-Provence Festival. Opera Company. Heisalsoaformer member and was anAssociate Artistof theClassical made aRoyal PhilharmonicSocietyYoung Artist awarded aSusan Chilcott Scholarship, hasbeen to afullentrance scholarship.Hewas also he heldaKohn Bach Scholarship,inaddition Academy of MusicunderRyland Davies, where Pears andMasonscholarships,attheRoyal Mackie, where he was awarded theRCM Peter at theRoyal Collegeof MusicunderNeil Thomas Hobbswas borninExeter and studied on PHI. Sonn undSchild Award in2014. Hismostrecent disc, Butt, withthelatter receiving a withtheDunedinConsortunderJohn under Stephen Layton andMozart’s with theOrchestra of theAge of Enlightenment his recordings of Handel’s Stuttgart Kammerchor. Particular highlightsare Consort; andBeethoven’s MassinCwiththe and Handel’s ;the Leipzig cantatas andthe Albert Herring 39; Mozart songs at Kings , Op 39;MozartsongsatKings Die schöneMüllerin L’Orfeo withtheEdinburgh Quartet; Acis et Galatea , was released lastautumn ; andFerrando ( ) insemi-staged Winter Songs Chandos Anthems Christmas Oratorio with the Dunedin with theDunedin Gramophone and Schumann’s andSchumann’s Così fan tutte at the at the J SBach, On On

with with

). ).

Patrick Vogel Bruckner’s and and of Brahms andMozart,Mendelssohn’s Symphony, Haydn’s and and Telemann, Bach’s repertoire, includingthebasscantatas of Bach He hasanextensive oratorio and concert international attention. of prominent competitionsbrought himto ensemble of ZurichOpera. Successinanumber Hanns-Friedrich Kunz, subsequentlyjoiningthe privately withJaneThornerMengedohtand of MusicandPerforming ArtsinStuttgart and and CornelisWitthoefftattheState University 1983 ´c inCroatia. HestudiedwithDunjaVejzovi Bass-baritone Krešimir Stražanac was bornin Krešimir Stražanac Casino, Bayreuth Stadthalle, theCroation Music appeared atDijon’s Grand Théâtre, theVenice He isalsoindemand asarecitalist andhas (Mozart’s Requiem). Orquestra SinfónicadoPorto CasadaMúsica Orchestra (Bach’s Gewandhaus Orchestra andOsloPhilharmonic Orchestra (Bach’s MassinBminor);theLeipzig (Haydn’s KlangVerwaltung underEnochzuGuttenberg Beethoven’s NinthSymphony; theOrchester der the Royal FlemishPhilharmonic Orchestra in Highlights lastseasonincludedebutswith Manfred HoneckandJonathanNott. include HerbertBlomstedt, PhilippeHerreweghe, Leading conductors withwhomhehasworked contemporary music. works spanningfrom theearlyBaroque to Krešimir Stražanac St Paul Stabat mater Christmas Oratorio Te Deum , Rossini’s , Franck’s , aswell asmany additional The Creation bass-baritone Petite messesolennelle ); theRoyal Concertgebouw , Beethoven’s Ninth Les Béatitudes , Mass in , MassinBminor , the Requiems , theRequiems ); and the ); andthe Elijah and and

Michiel Hendryckx concert hallsandfestivals theworld over. leading to invitations to perform atmajor sound for whichithasbecomesynonymous, approach helpedto create thetransparent music. Itsauthentic,text-oriented andrhetorical about Baroque performance practice invocal group was amongthefirst to usenew ideas friends studyingattheUniversity of Ghent.The Philippe Herreweghe’s initiative, by agroup of 40th anniversary, having beenfounded, on In 2010, CollegiumVocale Gentcelebrated its Collegium VocaleGent be released later thismonth. Ein deutschesRequiem conducted by Hans-Christoph Rademann and St Matthew Passion Radio Orchestra underHoward Arman,Bach’s releases are MendelssohnPsalmswiththeMunich with Concerto Köln(BRKlassik).Hismostrecent semi-staged recording of Bach’s Zweden (Quattro Live). Healsoappearsonthe Die Meistersinger von Nürnberg Fidelio operas Krešimir Stražanac’s discography includesthe tour inJapan. Stuttgart, LjubljanaandDubrovnik, aswell ason Klagenfurt Konzerthaus andinLienz,Périgueux, Institute andLisinskiConcertHallinZagreb, the grown organically into anextremely flexible In recent years, CollegiumVocale Genthas underBernard Haitink(OpusArte) and Carmen underVáclav Luks; hisCDof Brahms’s underFranz Welser-Möst (Decca), withtheGächinger Kantorei under Florian Helgath will underFlorianHelgathwill underJaap van St JohnPassion

it hasenjoyed thesupportof theEuropean contemporary oratorio repertoires. To thisend, specialising intheRomantic, 20th-centuryand Collegium Vocale isalsoincreasingly singers take both thechorusandsoloparts. this musicwithasmallensembleinwhichthe its crown. Today CollegiumVocale performs speciality of thegroup andisstillthejewel in J SBach’s vocal works, rapidly becamea 12 singers.GermanBaroque music,particularly example, isperformed by anensembleof sixto any project. Musicfrom theRenaissance, for to assembletheidealperforming forces for of repertoire. Itsgreatest strength isitsability ensemble capableof performing awiderange European Union. 2011 to 2013 itwas anAmbassador of the of EastFlandersandthecityof Ghent.From support of theFlemishCommunity, theProvince Collegium Vocale Gentenjoys thefinancial works withrenowned symphony orchestras. and Akademie fürAlte MusikBerlin.Italso Champs-Élysées, Freiburger Barockorchester ensembles, includingtheOrchestre des several historically informed instrumental Collegium Vocale Gentcollaborates with Besides usingitsown Baroque orchestra, also very involved ineducationalprojects. from experienced singersto young talent. Itis up of vocalists from allover Europe, ranging result isaninternational symphonic choir, made Union’s Cultural Programme since2011. The

11 About the performers 12 * soloist Bart Vandewege Robert van derVinne Philipp Kaven Krešimir Stražanac Bass Vincent Lesage Stephan Gähler Malcolm Bennett Hobbs * Thomas Tenor Bart Uvyn Alexander Schneider Cécile Pilorger Potter * Alex Alto Katja Kunze Blache Hana Blažíková Soprano 2 ´scielna Podko Magdalena Chiyuki Okamura Mields * Dorothee Soprano 1 Collegium Vocale Gent Collegium

* * Amélie Michel Patrick Beuckels Harm-Jan Schwitters Ageet Zweistra Cello Kaat DeCock Deirdre Dowling Viola Lotta Suvanto Meng Han Baptiste Lopez Violin 2 Dietlind Mayer Maria Roca Violin 1 Christine Busch leader Lorenzo Feder Organ Miriam Shalinsky Violone Martin Piechotta Yorick Roscam Steven Verhaert Alain DeRudder Trumpet Bart Cypers Horn Carles Cristóbal Julien Debordes Timothée Oudinot Taka Kitazato Marcel Ponseele