Vox Luminis DAVID SAMYN DAVID

Home , Altbachisches Archiv, Johann Franck, Johann Gramann, Passions (Bach)

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DEPARTMENT OF These performances are made possible in part by: PERFORMING ARTS, MUSIC, The P. J. McMyler Musical Endowment Fund AND FILM The Ernest L. and Louise M. Gartner Fund The Cleveland Museum of Art The Anton and Rose Zverina Music Fund 11150 East Boulevard The Frank and Margaret Hyncik Memorial Fund Cleveland, Ohio 44106–1797 The Adolph Benedict and Ila Roberts Schneider Fund The Arthur, Asenath, and Walter H. Blodgett Memorial Fund [email protected] The Dorothy Humel Hovorka Endowment Fund cma.org/performingarts The Albertha T. Jennings Musical Arts Fund #CMAperformingarts

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Wednesday, October 24, 2018 TICKETS 1–888–CMA–0033 cma.org/performingarts Welcome to the PerformingVox Luminis Arts 2018–19 Cleveland Museum of Art Lionel Meunier, artistic director cma.org/performingarts In the season ahead, the museum’s performing arts series #CMAperformingartsWednesday, October 24, 2018, 7:30 p.m. continues its exciting schedule with a range of artists from Gartner Auditorium, the Cleveland Museum of Art traditions far and wide, old and new. New this year is the Chamber Music in the Galleries Henry Threadgill Wednesday, October 3, 6:00 Friday, January 11, 7:30 establishment of a major commissioning program that will include six composers traveling to Cleveland from around VoxENSEMBLE Luminis Chamber Music in the Galleries the globe to create new works inspired by the museum’s Wednesday, October 24, 7:30 Wednesday, February 6, 6:00 Sopranos Tenors collection. Co-sponsored by the Cleveland Foundation’s Chamber Music in the Galleries CIM Organ Studio Zsuzsi Tóth Robert Buckland Creative Fusion program, these internationally respected Wednesday, November 7, 6:00 Sunday, March 3, 2:00 artists will visit Cleveland throughout the fall, and we will OberlinStefanie Contemporary True ChamberPhilippe MusicFroeliger in the Galleries begin a series of world premieres early in 2019 that will MusicCaroline Ensemble Weynants Wednesday,Olivier Berten March 6, 6:00 Sunday, November 11, 2:00 extend into 2020. Victoria Cassano AyaDavid Nishina Lee Chamber Music in the Galleries Friday, March 8, 7:30 In the Galleries Wednesday,Altos December 6, 6:00 Basses Alexander Chance CarolinSebastian Widmann Myrus Allen Ruppersberg: Then and Now Paul Goussot Friday, March 29, 7:30 Sunday,Jan Kullmann December 9, 2:00 Lionel Meunier (artistic director) Through December 2 Emmanuel Culcasi Sunday, March 31, 2:00 Marlon de Azambuja and Luisa Lambri Organ Viola da Gamba Chamber Music in the Galleries Through December 30 Anthony Romaniuk Wednesday,Ricardo Rodriguez April 3, 6:00 Miranda William Morris: Designing an Earthly Paradise Oberlin Contemporary Through January, 13, 2019 Music Ensemble PROGRAM Sunday, April 7, 2:00 Clarence H. White and His World: Avi Avital with Omer Avital The Art and Craft of Photography, 1895–1925 J. S. Bach – Motets Wednesday, April 10, 7:30 Through January 21 Chamber Music in the Galleries Johann Sebastian Bach (1685–1750): Renaissance Splendor: Wednesday, May 1, 6:00 Catherine de’ Medici’s Valois Tapestries Singet dem Herrn ein neues Lied, BWVCenk 225 Ergün November 18–January 21 May 2019, to be announced Der Geist hilft unser Schwachheit auf, BWV 226 Georgia O’Keeffe: Living Modern November 23–March 3 Komm, Jesu, komm, BWV 229

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Photography and audio/video recording in the performance hall are prohibited. Ich lasse dich nicht, du segnest mich denn, BWV Anh. 159 Jesu, meine Freude, BWV 227 PROGRAM NOTE to a text of the Bible or to a verse of a hymn. Hence it follows that the period of its fullest bloom fell within the In June 1708, Johann Sebastian Bach resigned from his post first great period of art, reaching to about the year 1600, in the Thuringian town of Mühlhausen. In an open letter when music was essentially polyphonic, vocal and sacred addressed to his parishioners, Bach described how “God has […] brought it to pass that an unexpected change should offer itself to me, in which I see the possibility of a more adequate Spitta goes on to claim that by the beginning of the living and the achievement of my goal of a well-regulated eighteenth century the motet’s “time was past”, and that church music.” Following spells at the courts of Weimar and “only Sebastian Bach could still have created anything really Cöthen, in 1723 Bach was appointed Cantor and Director of original and powerful in this branch of music.” However, as Music at Leipzig’s prestigious Thomasschule, where he would more recent musicological research has shown, Bach’s works work for the remaining twenty-seven years of his life. were part of a long-established German Lutheran polyphonic In Leipzig, Bach was able to fulfil his goal. There, he motet tradition that extended back into the sixteenth produced both the Matthew and John Passions, three century. complete cantata cycles, and at least five authenticated They were distinct from the contemporary German and motets—not to mention the organ and instrumental music. Italian works for solo voices and instruments sometimes Though the motets may be small in number by comparison referred to by the same label. Bach’s own cousin J. G. with his cantatas, they constitute some of the most daring Walther (1684–1748) provides a succinct definition of the and impressive music ever conceived for vocal ensemble. motet in his Musicalisches Lexicon (1732). He describes the Scored from five to eight voices, each—in its own ways— motet as “a musical composition on a biblical Spruch [i.e. demands the highest levels of virtuosity of their singers. text, or ‘saying’], to be sung without instruments (basso Bach uses the voices to synthesize complex musical textures, continuo excepted), and richly ornamented with Fugen and going far beyond merely “expressing” the words. Rather, Imitationibus.” The emphasis placed on the text reflected one through Bach’s seemingly exhaustive musical invention, they of the key tenets of Lutheran theology—that the word should present elucidating explorations of the texts, highlighting the be the central focus for Christian faith. From the sixteenth underlying spiritual and metaphysical implications they carry. century, the setting of sacred texts to music formed a central Bach’s motets are among the relative few of his works part of the Lutheran liturgy, Luther himself extollling that that have remained in constant performance since their “next to the Word of God, the noble art of music is the composition. However, they puzzled nineteenth-century greatest treasure in the world.” musicologists, who saw them as somewhat separate from Another misconception attached to the motets was the the rest of his output. In his monumental two-volume notion that they had been intended as training works for Bach biography, Philipp Spitta considered the motet only Bach’s more junior singers. However, the motets require a fleetingly. Spitta, one of the protagonists of the Bach revival, significant amount of vocal athleticism across all of their described how parts, and would most likely have been excessively difficult for the less-experienced singers in Bach’s charge. It was The essential stamp and character of the motet are: that only during the second decade of the twentieth century it is in several parts, that it admits of no obbligato [i.e. that Bernhard Friedrich Richter challenged this assertion, independent] instruments, and that its subjects are set citing evidence that showed Bach’s motets were, in fact,

4 5 occasional pieces that had been specifically composed to The effervescent sixteenth-notes of the opening section commemorate a variety of special occasions. make a clear allusion to the work of the Holy Spirit, before giving way to a more subdued, prayerful central passage. As As suggested by Walther, seventeenth- and eighteenth- a means of conclusion, Bach brings the two choirs together century motets are often highly contrapuntal—that is to say, as one, constructing a four-voice fugue based on a theme made up of audibly independent vocal lines, but which are that audibly evokes the “incommunicable sighs” with which carefully designed to complement one another. Throughout the Spirit intercedes. A set of instrumental parts survives for Bach’s motets, the listener can hear how the text is this motet, hinting that instrumental doubling could have apparently “discussed” between the voices, as if a meaning is also been employed in the performance of other motets in being worked out collectively. They often combine scriptural Leipzig, despite Walther’s definition in the Musicalisches and contemporary poetic texts, with the latter offering a sort Lexicon. of commentary on the former. As such, the motets are often extremely demanding, for listeners and performers alike. Unlike Bach’s other motets, Komm, Jesu, komm (BWV 229) contains neither any biblical text nor fugal writing. Instead, Singet dem Herrn ein neues Lied (BWV 225) opens with it sets the first and eleventh verses of a chorale written by an incredibly florid section, which clearly plays on the Paul Thymich in 1684 for the funeral of Jacob Thomasius, a idea of the eight singers literally singing about singing. celebrated rector of the Thomasschule, calling on Jesus to It sandwiches the third verse of a chorale text by Johann comfort the believer in the advent of death. This work falls Gramann, thought to have been written around 1530, into two clear sections—the first a highly elaborate chorus between verses from Psalms 149 and 150. While this motet with a significant amount of interaction between the two was almost certainly composed sometime between June choirs, while the second—given the title “Aria” by Bach—is 1726 and April 1727, the actual occasion it was intended for much more static. Source studies suggest that it was likely remains unknown. Various possibilities have been suggested composed before or during 1732, and was probably intended by scholars, including a Reformation feast day, the New for a funeral or memorial service. Year’s Day service, the birth of Princess Charlotte von Anhalt-Cöthen (30 November 1726), or a funeral service for In addition to the corpus of those motets than can be a prominent Leipzig burgher. Regardless, Singet dem Herrn verified as Bach’s work, a handful of works exists that remained in the repertoire of the Leipzig Thomanerchor were previously attributed to the composer, but whose long after Bach’s death. Mozart was reported to have been authenticity was called into question. Many of these have particularly impressed by it, after hearing a performance been shown to be either by Bach’s elder relatives or close directed by Thomascantor Johann Friedrich Doles in 1789, contemporaries. Ich lasse dich nicht (BWV Anh. 159) is one requesting a copy of the parts from the school’s library. such case, although its authorship remains uncertain. Indeed, having been considered the work of another composer by By contrast, the occasion that resulted in the composition of the editors of the Neue Bach Ausgabe—the authorative Der Geist hilft unser Schwachheit auf (BWV 226) is known critical edition of Bach’s works, begun in 1950 and completed for certain. It was written for the funeral of Johann Heinrich in 2007—it has recently been reconsidered as potentially Ernesti, Rector of the Thomasschule and Professor of Poetry having come from Bach’s pen. It was included without at the University of Leipzig, who died on 16 October 1729. attribution in the Altbachisches Archiv, an anthology of Setting passages from Romans 8 alongside the third verse of music by members of the Bach family, which Bach inherited Luther’s chorale Komm, Heiliger Geist, Herre Gott, it is scored sometime around 1739. This particular motet is transcribed for double-choir and divided into three contrasting sections. 6 7 in Bach’s own hand. However, it is not obvious whether Bach SONG TEXTS AND TRANSLATIONS was appending one of his own original compositions to the collection, or copying one by a relative. Stylistically, with Singet dem Herrn ein neues Lied – BWV 225 its antiphonal exchanges and more restrained rhythmical Singet dem Herrn ein neues Lied, Sing unto the Lord a new song, patterns, Ich lasse dich nicht resembles the work of Johann die Gemeine der Heiligen sollen ihn and his praise in the congregation of Christoph Bach (1642–1703), who Sebastian lauded as loben. saints. “a profound composer”. However, whether this may be Israel freue sich des, Let Israel rejoice an example of the young Sebastian developing his own der ihn gemacht hat. in him that made him: compositional voice, offering homage to his elderly relative, Die Kinder Zion sei’n fröhlich let the children of Zion be joyful or attempting to preserve his family’s musical heritage über ihrem Könige, in their King. remains unclear. sie sollen loben seinen Namen Let them praise his name Jesu, meine Freude (BWV 227) is the longest and most im Reihen; in the dance: formally complex of Bach’s motets. While the earliest mit Pauken und mit Harfen sollen let them sing praises unto him surviving source material we have is an early nineteenth- sie ihm spielen. with the timbrel and harp. century manuscript, Spitta’s suggestion that the work dates [Psalm 149, vv. 1-3] from Bach’s time in Leipzig seems likely to be correct—even if, as some scholars have recently suggested, the piece is, in -- -- fact, a compilation and adaptation of previously composed Aria (Chorus 1) & Choral (Chorus 2) works (in a similar manner to the Credo of Bach’s Mass in B Minor, for example). Choral Choral Wie sich ein Vater erbarmet As a father shows mercy Made up of eleven discrete movements, it intersperses über seine junge Kinderlein, upon his little children, the six stanzas of Johann Franck’s 1653 chorale with texts so tut der Herr uns armen, So does the Lord to us, from Romans 8, as in Der Geist hilft. The movements are so wir ihn kindlich When we fear him with pure and arranged to form a palindrome around the sixth movement, fürchten rein. innocent hearts. with the four-voiced harmonization of Johann Crüger’s Er kennt das arm Gemächte, God knows his poor creations, chorale melody heard in the first and the final movements. Gott weiß, wir sind nur Staub, He knows we are but dust. While Bach frequently illustrates the texts’ highly graphic gleichwie das Gras vom Rechen, Like the grass that is mowed, imagery—particularly, for instance, at Trotz dem alten Drachen ein Blum und fallend Laub. the flower and the falling leaf, (“Defy the old dragon”)—the five-voice fugue which functions Der Wind nur drüber wehet, the wind only blows them on, as the motet’s centre-point is more subtle. Bach’s use of this so ist es nicht mehr da, So that they are no longer there: form, whereby each successive voice enters imitating its also der Mensch vergehet, So man passes away, predecessors, renders an audible sense of egalitarianism. It sein End, das ist ihm nah. as his end draws nearer. articulates the motet’s principal theological message: Ihr aber [Johann Gramann (1487-1541)] seid nicht fleischlich, sondern Geistlich (“You are not the flesh, but the spirit”)—that faithful Christians are equals, as the living embodiment of God’s spirit. David G. Lee

8 9 Aria Aria Choral Gott, nimm dich ferner unser an, God, take us to you from here on! Du heilige Brunst, süßer Trost, You holy fire, sweetest comfort, denn ohne dich For without you, Nun hilft uns fröhlich und getrost Now help us joyfully and confidently ist nichts getan we can accomplish nothing— In dein’m Dienst beständig bleiben, to remain constantly in your service, mit allen unsern Sachen. even with all of our possessions. die Trübsal uns nicht abtreiben! though trouble is never driven away! Drum sei du unser Schirm und Licht, Be our protection and light, O Herr, durch dein Kraft uns bereit O Lord, in your strength, prepare us und trügt uns unsre Hoffnung nicht, and if our hope does not deceive us, Und stärk des Fleisches Blödigkeit, and sharpen the dullness of the flesh, so wirst du’s ferner machen. you will make it happen in the future. Daß wir hier so that we might courageously Wohl dem, der sich nur steif Happy is the man who strictly ritterlich ringen, battle here, und fest and tightly abandons himself Durch Tod und Leben Pressing on towards you auf dich und deine Huld verlässt. to you and your mercy! zu dir dringen. through death and life. [Anonymous] Halleluja, halleluja! Hallelujah, hallelujah! [Martin Luther (1483-1546)] -- -- Lobet den Herrn in seinen Taten, Praise the Lord for his mighty acts: lobet ihn in seiner praise him according to his Komm, Jesu, komm – BWV 229 großen Herrlichkeit! excellent greatness. Alles, was Odem hat, Let everything that hath breath Komm, Jesu, komm, Come, Jesu, come, lobe den Herrn praise the Lord, mein Leib ist müde, my flesh is tired, Halleluja! Hallelujah! die Kraft verschwindt je My strength fades [Psalm 150, vv. 2 and 6] mehr und mehr, more and more. ich sehne mich nach deinem Frieden; I long for your peace; der saure Weg wird mir zu schwer! the thorny path is too hard for me! Der Geist hilft unser Schwachheit auf – BWV 226 Komm, komm, Come, come, ich will mich dir ergeben, I will give myself to you. Der Geist hilft unser Likewise, the Spirit also helpeth du bist der rechte Weg, You are the way, Schwachheit auf, our infirmities: die Wahrheit und das Leben. the truth and the life. denn wir wissen nicht, for we know not was wir beten sollen, what we should pray for Aria wie sich‘s gebühret; as we ought: Drum schließ ich mich in deine Hände So I give myself into your hands, sondern der Geist selbst but the Spirit itself maketh und sage, Welt, zu guter Nacht! and say goodnight to the world! vertritt uns aufs Beste intercession for us with Eilt gleich mein Lebenslauf zu Ende, Though my life approaches its end, mit unaussprechlichem Seufzen. groanings which cannot be uttered. ist doch der Geist wohl angebracht. The spirit is truly ready. [Romans 8:26] Er soll bei seinem Schöpfer schweben, It will be with its creator, weil Jesus ist und bleibt As Jesus is—and ever shall be— Der aber die Herzen forschet, And he that searcheth the hearts der wahre Weg zum Leben. the true way to life. der weiß, was des Geistes Sinn sei; knoweth what is the mind of the Spirit, [Paul Thymich (1656-1694)] denn er vertritt die Heiligen nach dem, because he maketh intercession for das Gott gefället. the saints according to the will of God. [Romans 8:27]

10 11 Ich lasse dich nicht, du segnest mich denn – BWV Anh 159 3. 3. Unter deinem Schirmen Under Your protection Ich lasse dich nicht, I will not let you go bin ich vor den Stürmen I am safe from the storms du segnest mich denn, mein Jesu. until you bless me, my Jesus. aller Feinde frei. of all enemies. [Genesis 32:27] [Johann Franck 1653] Weil du mein Gott und Vater bist, For you are my God and Father, Laß den Satan wittern, Let Satan rage, Dein Kind wirst du verlassen nicht, And you will not abandon your child, laß den Feind erbittern, let the enemy become embittered, Du väterliches Herz. O paternal heart. mir steht Jesus bei. Jesus stands with me. Ich bin ein armer Erdenkloß, I am but a lump of clay Ob es itzt gleich kracht Whether it thunders Auf Erden weiß ich keinen Trost And know no comfort on this earth. und blitzt, and the lightning flashes, [Erasmus Alber 1557] ob gleich Sünd und Hölle schrecken: even if sin and hell tries to terrify me, Jesus will mich decken. Jesus will protect me. [Johann Franck 1653] Jesu meine Freude – BWV 227 4. 4. 1. 1. Denn das Gesetz des Geistes, For the law of the spirit, Jesu, meine Freude, Jesus, my joy, der da lebendig machet which gives life meines Herzens Weide, pasture of my heart, in Christo Jesu, in Christ Jesus, Jesu, meine Zier, Jesus, my jewel, hat mich frei gemacht von dem Gesetz has freed me from the law ach wie lang, ach lange ah, how long, how long der Sünde und des Todes. of sin and death. ist dem Herzen bange has my heart suffered [Romans 8:2] und verlangt nach dir! and longed for You! Gottes Lamm, mein Bräutigam, God’s lamb, my bridegroom, 5. 5. außer dir soll mir auf Erden beside You nothing on earth Trozt dem alten Drachen, Defiance to the old dragon, nichts sonst Liebers werden. shall be dearer to me. Trozt des Todes Rachen, defiance to the abyss of death, [Johann Franck 1653] Trozt der Furcht darzu! defiance to fear as well! Tobe, Welt, und springe, Rage, world, and attack; 2. 2. ich steh hire und singe I stand here and sing Es ist nun nichts Verdammliches Now there is nothing damnable in gar sichrer Ruh. entirely secure, in peace. an denen, in those Gottes Macht hält mich in acht; God’s strength keeps watch over me; die in Christo Jesu sind, who are in Christ Jesus, Erd und Abgrund muß verstummen, earth and abyss must fall silent, die nicht nach who do not walk ob sie noch so brummen. however much they would roar. dem Fleische wandeln, in the way of the flesh, [Johann Franck 1653] sondern nach dem Geist. but in the way of the Spirit. [Romans 8:1]

12 13 6. 6. 9. 9. Ihr aber seid nicht fleischlich, But you are not of the flesh, Gute Nacht, o Wesen, Good night, o creature sondern geistlich, but of the Spirit, das die Welt erlesen, that cherishes the world, so anders Gottes Geist in euch wohnet. since the Spirit of God lives in you. mir gefällst du nicht. you do not please me. Wer aber Christi Geist Yet he who does not have Gute Nacht, ihr Sünden, Good night, sins, nicht hat, Christ’s Spirit, bleibet weit dahinten, keep well away, der ist nicht sein. is not His. kommt nicht mehr ans Licht! never again come to light! [Romans 8:9] Gute Nacht, du Stolz und Pracht! Good night, pride and glory! Dir sei ganz, du Lasterleben, Entire life of corruption, 7. 7. gute Nacht gegeben. good night. Weg mit allen Schätzen! Away with all treasures! [Johann Franck 1653] Du bist mein Ergötzen, You are my delight, Jesu, meine Lust! Jesus, my joy! 10. 10. Weg ihr eitlen Ehren, Away, you vain honours, So nun der Geist des, Now since the Spirit of Him ich mag euch nicht hören, I refuse to listen to you, der Jesum von den Toten who raised Jesus bleibt mir unbewußt! remain unknown to me! auferwecket hat, in euch wohnet, from the dead dwells in you, Elend, Not, Kreuz, Schmach und Tod Misery, want, torture, shame and death so wird auch derselbige, that same soll mich, ob ich viel muss leiden, although I must suffer much, der Christum von den Toten who resurrected Christ nicht von Jesu scheiden. shall never part me from Jesus. auferwecket hat, from the dead [Johann Franck 1653] eure sterbliche Leiber will bring your mortal bodies lebendig machen back to life, 8. 8. um des willen, daß sein Geist for the sake of His spirit So aber Christus in euch ist, However if Christ is in you, in euch wohnet. that dwells in you. so ist der Leib zwar tot then the body is dead indeed [Romans 8:11] um der Sünde willen; for the sake of sin; der Geist aber ist das Leben but the spirit is life 11. 11. um der Gerechtigkeit willen. for the sake of righteousness. Weicht, ihr Trauergeister, Hence, spirits of sadness, [Romans 8:10] denn mein Freudenmeister, for the master of my joy, Jesus, tritt herein. Jesus, comes. Denen, die Gott lieben, For those who love God, muß auch ihr Betrüben even their troubles lauter Zucker sein. will be pure sugar. Duld ich schon hier Spott Though I endure mockery und Hohn, and shame here below, dennoch bleibst du nevertheless, You stay with me auch im Leide, even in sorrow, Jesu, meine Freude. Jesus, my joy. [Johann Franck 1653]

14 15 ABOUT THE ARTISTS Recent international highlights include performances at the Berlin and Cologne Philharmonics, Arnstadt’s Bachkirche, Vox Luminis the Thüringer Bachwochen and the Bachfest Leipzig. 2017 marked the group’s debut in the grand Salle Henry Leboeuf Vox Luminis is a Belgian early music vocal ensemble in Brussels, to inaugurate the beginning of a five-year created in 2004 by Artistic Director Lionel Meunier. The residency. In the coming years, Vox Luminis will also be ensemble performs over 60 concerts a year, appearing on “huisartiest” at the Concertgebouw in Brugge. stages in Belgium, across Europe and around the world. Since its inception, the ensemble has been defined by its Most recently, the ensemble released recordings of Handel’s unique sound, appealing as much through the personality Dixit Dominus and J. S. Bach’s Magnificat. In addition to of each timbre as it does through the color and the working with its own orchestra, Vox Luminis also frequently uniformity of the voices. The size and composition of the collaborates with other internationally renowned ensembles group depends on the repertoire, with the core of soloists, and orchestras. In 2017, such collaborations have included mostly from the Royal Conservatory of the Hague, often projects with the Franco-Canadian Ensemble Masques and joined by additional performers. The repertoire is essentially with the Freiburger Barockorchester. Italian, English and German and spans from the 16th to the One project, one objective, one path: introduce today’s 18th century. audiences to early vocal music, passionately conveying its Vox Luminis boasts 12 albums on the labels Alpha quintessence and touching the light through the voice. Classics, Ricercar, Ramée, and Musique en Wallonie. These Vox Luminis. recordings have enjoyed international critical acclaim, Vox Luminis receives support from Federation Wallonia- and have won numerous prizes including the prestigious Brussels, the city of Namur and Namur Confluent Culture Gramophone Recording of the Year in 2012 for the and is recognized by the Art and Life Tours. Musicalische Exequien by Heinrich Schütz. For more information, visit http://www.voxluminis.com/ Vox Luminis has performed extensively at festivals in Belgium, Europe and overseas, and has performed in Vox Luminis records exclusively for the Belgian Label prestigious venues such as Wigmore Hall in London, Ricercar. Follow Vox Luminis on Facebook and Twitter. the Oratoire du Louvre in Paris, the Auditoria Nacional Vox Luminis is represented exclusively in North America by: de Música in Madrid, the Concertgebouw in Brugge, the Alliance Artist Management Muziekgebouw in Amsterdam, and the Tivoli Vredenburg 5030 Broadway Suite 812 New York, NY 10034 in Utrecht. Residencies for the ensemble have been held at the Abbey of Sainte-Marie-des-Dames, the Centre for Vox Luminis is grateful for the support from Wallonie- Fine Arts in Brussels, the Concertgebouw in Brugge, the Bruxelles International for their U.S. & Canada Tour. prestigious Festival of Early Music in Utrecht, and the “Musique et Mémoire Festival.” In 2017, the Aldeburgh Festival in England, founded by Benjamin Britten, hosted the ensemble for the first time.

16 17 Lionel Meunier, director LionelWelcome Meunier is to a singer the and the founder/artistic director Performing Arts 2018–19 ofCleveland the early music Museum vocal ensemble of Vox Art Luminis. Being cma.org/performingarts passionateIn the season about ahead, music the frommuseum’s a very performing young age, arts he series started #CMAperformingarts hiscontinues musical its education exciting schedulein the city with of Clamecya range of (France) artists from with thetraditions trumpet, far recorder and wide, and old solfège. and new. Lionel New thisthen year continued is the his Chamber Music in the Galleries Henry Threadgill Wednesday, October 3, 6:00 Friday, January 11, 7:30 studiesestablishment at Institut of aSupérieur major commissioning de Musique programet de Pédagogie that will (theinclude Superior six composers Institute travelingof Music toand Cleveland Pedagogy from - IMEP) around in Vox Luminis Chamber Music in the Galleries Wednesday, October 24, 7:30 Wednesday, February 6, 6:00 Namurthe globe where to create he earned new workshis degree inspired in recorderby the museum’s with great Chamber Music in the Galleries CIM Organ Studio distinction.collection. Co-sponsoredHe took classes by fromthe Cleveland Tatiana Babut Foundation’s du Marès Wednesday, November 7, 6:00 Sunday, March 3, 2:00 andCreative Hugo Fusion Reyne, program, and masterclasses these internationally with Jean respected Tubéry. artists will visit Cleveland throughout the fall, and we will Oberlin Contemporary Chamber Music in the Galleries Meunierbegin a thenseries focused of world his premieres attention early on vocalin 2019 studies that will with Music Ensemble Wednesday, March 6, 6:00 Sunday, November 11, 2:00 Ritaextend Dams into and 2020. Peter Kooij at the Royal Conservatory of Aya Nishina the Hague (NL). At the same time, he started a career as Chamber Music in the Galleries Friday, March 8, 7:30 Wednesday, December 6, 6:00 aIn concert the musician. Galleries He was soon in demand as a soloist, Carolin Widmann andAllen he Ruppersberg: joined prestigious Then and ensembles Now like Collegium Paul Goussot Friday, March 29, 7:30 Sunday, December 9, 2:00 VocaleThrough Ghent December (P. Herreweghe), 2 World Youth Choir, Arsys Emmanuel Culcasi Sunday, March 31, 2:00 BourgogneMarlon de Azambuja (P. Cao), Amsterdamand Luisa Lambri Baroque Choir (T. Koopmann), the Chamber Choir of Namur, the Favoriti de Chamber Music in the Galleries Through December 30 Wednesday, April 3, 6:00 la Fenice (J. Tubéry), the Soloists of the Chamber Choir of Namur,William Cappella Morris: Designing Pratensis an (S. Earthly Bull) andParadise the soloists of the Oberlin Contemporary Through January, 13, 2019 Music Ensemble Dutch Bach Vereniging (J. Van Veldhoven). Sunday, April 7, 2:00 Clarence H. White and His World: Over the past two years, Lionel Meunier has been Avi Avital with Omer Avital The Art and Craft of Photography, 1895–1925 increasingly in demand from many ensembles throughout Wednesday, April 10, 7:30 Through January 21 Europe as coach, conductor and artistic leader. His Chamber Music in the Galleries Wednesday, May 1, 6:00 passionateRenaissance yet Splendor: thoughtful approach to the early music and aCatherine capella repertoire, de’ Medici’s combined Valois Tapestries with the understanding of Cenk Ergün May 2019, to be announced andNovember respect 18–January for the singers, 21 has allowed him to achieve progressivelyGeorgia O’Keeffe: ever-higher Living Modern standards. Moreover, he is jury memberNovember for 23–March many international 3 festivals and competitions. In 2013, Lionel Meunier was given the title of Namur Person ofPlease the Year turn foroff Culture. all electronic devices before entering the performance hall. Just as mindful about education, Lionel and Vox Luminis regularlyPhotography offer and masterclasses, audio/video coaching recording sessions in the and conferencesperformance on hall the are repertoire prohibited from. the end of the Renaissance period and from the Baroque period.

18 Please turn off all electronic Photography and audio/video recording devices before entering the in the performance hall are prohibited. performance hall. Vox Luminis DAVID SAMYN DAVID

Programs are subject to change.

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Wednesday, October 24, 2018 TICKETS 1–888–CMA–0033 cma.org/performingarts