J.S. BACH

Robert Maximilian HELMSCHROTT (b. 1938) LUMEN

Thornhill • Graczyk • Körber Karmasin • Holzhauser • Losseau Schäfer • Sellier • Mattersberger • Mallmann Concerto de Bassus • Simon Mayr Chorus Franz Hauk Robert Maximilian Helmschrott (1685–1750) (b. 1938)

Magnificat in D major, 24:58 Lumen (2017) 40:59 BWV 243 (1733) An interfaith dialogue for soloists, chorus and 1 Magnificat 2:56 # 2 Et exsultavit spiritus meus 2:19 I: Tempus praeteritum 13:18 3 Quia respexit humilitatem 2:12 (Die vergangene Zeit – ‘The Past’) (Texts: Anonymous, Bible [Old Testament 4 Omnes generationes 1:15 5 and New Testament], Qur’an, Latin Mass) Quia fecit mihi magna 1:54 $ 6 Et misericordia 2:55 II: Tempus praesens 10:25 (Die gegenwärtige Zeit – ‘The Present’) 7 Fecit potentiam 1:53 8 (Texts: Bhagavad Gita, Bible [Old Testament], Deposuit potentes 1:53 Anicius Manlius Severinus Boethius (480–524), 9 Esurientes implevit bonis 2:37 Bertolt Brecht (1898–1956), Meister Eckhart 0 Suscepit Israel 1:37 (1260–1328), Immanuel Kant (1724–1804), ! Sicut locutus est 1:27 Qur’an, Pelagius (fl. c. 390–418), @ Gloria patri 1:56 St Catherine of Genoa (1447–1510), Talmud) % III: Tempus posterum 16:59 (Die kommende Zeit – ‘The Time to Come’) (Texts: Anonymous, Bhagavad Gita, Bible [Old Testament and New Testament], Confucius (551 BC–479 BC), Johann Wolfgang von Goethe (1749–1832), Koran, Hermes Trismegistus)

Siri Thornhill 1 3–4 7 0 @–%, Mira Graczyk 1 4 7 0 @–# Sophia Körber 1 4 7 !–#, Anna Karmasin 1–2 4 7 !–%, Soprano Theresa Holzhauser 1 4 6–7 0 @–%, Florence Losseau 1 4 7 9 !–%, Alto Markus Schäfer 1 4 7–8 @–%, Robert Sellier 1 4 6–7 !–$, Tenor Andreas Mattersberger 1 4–5 7 @–%, Niklas Mallmann 1 4 7 !–%, Bass Theona Gubba-Chkheidze, Violin #–% Giedrė Šiaulytė, Harp #–% Stefan Blum, and Percussion #–% Robert Maximilian Helmschrott, Piano % Simon Mayr Chorus #–% Concerto de Bassus (Theona Gubba-Chkheidze, Concertmaster) Franz Hauk Johann Sebastian Bach (1685–1750) Magnificat in D major, BWV 243

The Magnificat only appears in the Gospel works that were already admired in the early according to Luke. Luke, more than any of the 19th century, such as the B minor Mass and the Gospels, is concerned with the marginalised, Magnificat in D major. and preaches the importance of this theological Settings of the Magnificat were performed question at the very start of the book. during the afternoon Vesper services. Bach As described in Luke (1:26–56), a few days composed the first version of the work, in E after the proclamation by the angel Gabriel (of flat major and without flutes, for the Christmas the future birth of Jesus), Mary visits her cousin of 1723, with the second version following Elizabeth, who was pregnant with John the between 1732 and 1735. This version could Baptist. This event is known as the Visitation of then be performed on all feast days in the the Virgin Mary. Mary responds to Elizabeth’s ecclesiastical year on which settings of the prophetic welcome greeting with a hymn in Magnificat were heard: at the three Marian the style of the Psalms. This is followed by the feasts that were observed in (the Feast birth of John the Baptist. The hymn features of the Purification of the Blessed Virgin Mary numerous echoes of the Song of Hannah, (Candlemas) on 2 February, the Annunciation mother of the prophet Samuel, to give thanks on 25 March and the Visitation on 2 July), or at for his birth in Samuel 1:2. Easter or Pentecost. Mary praises God as the one who turns to Here Bach did not set the texts in the da her and to all the weak, helpless and hungry capo aria form used in of the same in order to raise them up, and instead topples period, but as a Biblical text divided into ten the powerful, the rich and the prideful from continuous verses. This then produced ten their thrones. musically interconnected complexes, some of In a purely quantitative sense there is them almost miniatures, concluding with the relatively little Latin church music in Bach’s doxology (Gloria Patri). œuvre. What there is does however include Franz Hauk Translation: Saul Lipetz Robert Maximilian Helmschrott (b. 1938) Lumen

Preamble Christian West, the most significant uniting factor has been the understanding of the importance According to the Jewish faith, God revealed of achieving mutual respect between the three himself to Abraham and Moses. The Hebrew Abrahamic religions – working with rather than Bible comprises the five books of Moses. In the against each other. cultural landscape of the Middle East, the time What has all this to do with Lumen? Lumen before Abraham was an era of many deities. reminds us of what the three Abrahamic religions In contrast Jews, in accordance with God’s have in common and calls upon us to recognise instruction conveyed through Abraham and that it is essential for the future of all religions that Moses, believe in ‘one almighty God, creator of fundamentalist doctrines should be overcome. the whole world’. They call him ‘Adonai’. Acceptance of eternal truth demands that we For Muslims, Allah is the ‘one true God, and know and believe this, and indeed that we are Mohammed is his Prophet’. A Muslim’s purpose also accepting of the diversity of the global is to respect the commandments of the religion family of believers, as it has developed over the and to live according to Allah’s precepts. centuries. This also entails a belief in tolerance Muslims see justice, compassion, peace, and requires us to practise the understanding reason, education and progress as important towards those who take a different view that has tenets of human coexistence. been learnt over the two-thousand-year history For Christians, Jesus according to the New of the Western world. Why should it upset us Testament is the and Son of God, sent if a religious Muslim woman wears a burqa in from God to redeem all people. With his arrival our country? in world history the ‘Kingdom of God’ begins. This would be a suitable point to recall the Jesus was born a Jew. As a preacher he cited prince of all German poets, Johann Wolfgang many passages from the Jewish Bible, adding von Goethe. His second magnum opus, to them in the process: all this is described in together with Faust, is a poetry collection the New Testament. For Christians, the Old and in twelve books, the West-östlicher Divan New Testaments together constitute the Bible. (‘West-Eastern Diwan’) that has since, thanks All three Abrahamic religions believe in to Goethe, become an iconic piece of global eternal life. Alongside considerable differences, cultural heritage (‘He who knows himself and the three faiths also have a great deal in others / will recognise here too / that Orient and common. Following the Enlightenment in the Occident / can no longer be divided’). Jesus felt pure feelings and thought (Hubert Frankemölle). Karl Josef Kuschel that here, in the silence, was only one God; was one of the first to coin the expression he who made him a God ‘Abrahamic ecumenical community’ (Kuschel: offended against his holy will. Perspectives on an Abrahamic Ecumenical Community). His book has prepared the way for And thus should righteousness shine, ‘new interfaith thinking’ around the world. In his just as Mohammed had also achieved; handbook Weltethos (‘Towards a Global Ethic’, only through the idea of the One 2012) Hans Küng outlined his much-quoted did he conquer the world. proposition ‘There can be no peace between the nations without peace between the religions’ or For Goethe – and this is particularly notable ‘There can be no human coexistence or survival from today’s perspective – there was never any without a global ethos; no world peace without question throughout his life that the Qur’an, as religious peace; no religious peace without well as the Bible, was a holy book and a tangible religious dialogue.’ example of the existence of other writings There is one (simple) way towards mutual beside the Bible that were sacred to large understanding: music. The music of the Roman parts of humanity. ‘And yet the most supreme church is Gregorian chant, which was at the culture that can be accorded to these recent root of the development of Western music for times can most probably be seen in the notion several voices and developed out of the singing that everything possessing dignity, everything in Jewish synagogues. The muezzin’s calls to indeed that is valuable to man, should be able prayer in the mosque (Adhan) recall the forms to exist side by side together, and that different of singing mentioned above. They possess the ways of thinking should be able to develop magic of a particular kind of ‘mystical aesthetic’ peacefully alongside one another in the very and elevate the spoken word, so to speak. It same territory, without seeking to force the seems notable that an important uniting factor others out.’ between Judaism, Christianity and Islam is the The development of a ‘pluralist society’ after word Amen: āmëin, Amen, āmin. the Second World War has shaped the general Thus the ‘musical dialogue’ Lumen consciousness of an incipient partnership attempts to translate the open form of an between Jews, Christians and Muslims. oratorio – the diversity and yet at the same Abraham is considered to be the common time the commonality of the language of the ‘father of belief’ and ‘consequently the root, or Bible, the Torah and the Qur’an – into a ‘unity the substantiating connecting link behind the of diversity’: to convert the poetry of the Old association of Christians, Jews and Muslims’ and New Testaments, of the Torah and the Qur’an into a language of sounds and singing. of one absolute truth, set down in revealed It is a contribution towards interfaith thinking texts. All religions are equally far removed from and reflection, towards empathy and sympathy. the truth, which we can never possess, but only Lumen: a musical contemplation. ever aim for.’ (Jan Assmann, Egyptologist) The central theme in all societies on Earth is ‘It is time for man to set out his own goal. It the relationship between people, the overcoming is time for man to plant the seed of his supreme of personal, national and international egotisms hope.’ (Friedrich Nietzsche) – thus, a globalisation not only of material ‘All religions, arts and sciences are branches interests, but of a spiritual community. The of the same tree.’ (Albert Einstein) basis for this is interfaith dialogue. This has to ‘Is it not strange that people are so happy be desired by all, Jews, Christians and Muslims to fight for their religion and yet so reluctant alike, with the condition that people are liberated to live by their precepts?’ (Georg Christoph from any form of appropriation, paternalism, Lichtenberg) fanaticism or instrumentalisation. With it the ‘And in conflicts of faith, compassion and future of humanity can begin. ‘We have to get discretion must prevail.’ (Umberto Eco) away from the notion that we are in possession Robert Helmschrott Johann Sebastian Bach (1685–1750) Magnificat D-Dur, BWV 243

Das Magnificat ist nur im Evangelium nach allerdings Werke, die bereits im frühen 19. Lukas enthalten. Lukas wendet sich von allen Jahrhundert bewundert wurden, wie die h-Moll- Evangelisten am meisten den Ausgegrenzten Messe oder das Magnificat D-Dur. zu, er propagiert gleich zu Beginn die Bedeutung Aufgeführt wurden Vertonungen des dieses theologischen Anliegens. Magnificat innerhalb des nachmittäglichen In der Darstellung des Lukasevangeliums Vespergottesdienstes. Die erste Fassung des (Lk 1,26–56) besucht Maria wenige Tage nach Werkes, in Es-Dur und ohne Flöten, komponierte der Verkündigung durch den Engel Gabriel Bach für das Weihnachtsfest 1723, die zweite ihre Cousine Elisabeth, die mit Johannes dem Version dann zwischen 1732 und 1735. Diese Täufer schwanger war. Diese Begebenheit war nun an allen Festtagen des Kirchenjahres wird Mariä Heimsuchung genannt. Auf aufführbar, an denen Magnificat-Kompositionen Elisabeths prophetischen Willkommensgruß musiziert wurden: an den drei Marienfesten, die antwortet Maria mit einem Hymnus im Stil in Leipzig begangen wurden (Mariä Reinigung der Psalmen. Es schließt sich die Geburt am 2. Februar, Mariä Verkündigung am 25. Johannes des Täufers an. Der Hymnus lässt März, Mariä Heimsuchung am 2. Juli) oder vielfache Anklänge an den Lobgesang der an Ostern und Pfingsten. Hannah, der Mutter des Propheten Samuel, Bach vertonte hier die Texte nicht in der Da- in 1 Sam 2 erkennen. capo-Arienform zeitgleicher Kantaten, sondern Maria preist Gott als den, der sich ihr und als einen auf 10 Verse verteilten fortlaufenden allen Geringen, Machtlosen und Hungernden Bibeltext. So entstanden 10 musikalisch zuwendet, um sie aufzurichten, der dagegen zusammenhängende Komplexe, teilweise fast die Mächtigen, Reichen und Hochmütigen von Miniaturen, die mit der Doxologie („Gloria Patri“) ihren Thronen stürzt. beschlossen werden. Rein quantitativ betrachtet, ist die lateinische Kirchenmusik in Bachs Schaffen Franz Hauk wenig vertreten. Darunter befinden sich Robert Maximilian Helmschrott (b. 1938) Lumen

Vorrede wesentlich Trennendem, gibt es auch wesentlich Gemeinsames. Das wesentlich Nach jüdischem Glauben stellte sich Gott Gemeinsame ist nach der Aufklärung im Abraham und Mose vor. Die fünf Bücher Mose Christlichen Abendland die Erkenntnis der sind die hebräische Bibel. Das Judentum ist Verwirklichung des gegenseitigen Respekts der das von Gott auserwählte Volk. Die Zeit vor drei abrahamischen Religionen voreinander, Abraham war die Zeit von vielen Gottheiten also ein Miteinander statt Gegeneinander. in der Kulturlandschaft des Vorderen Orients. Was hat das alles mit Lumen zu tun? Die Juden glauben, nach der Weisung Gottes Lumen erinnert an das Gemeinsame der durch Abraham und Moses, an den „einen drei abrahamischen Religionen und die allmächtigen Gott, den Schöpfer der ganzen Erkenntnis, dass für die Zukunft der religiösen Welt“. Sie nennen ihn „Adonay“. Weltgeschichte die Überwindung von Allah ist für die Muslime der „einzigartige fundamentalistischen Doktrinen unverzichtbar Gott, und Mohammed ist sein Prophet“. Ziel ist. Die Akzeptanz der ewigen Wahrheit des Muslim ist die Achtung der religiösen erfordert das Wissen um den Glauben daran, Gebote und so zu leben, wie es Allah gefällt. Im und zwar die Akzeptanz auch gegenüber der Zusammenleben sind Muslime Gerechtigkeit, Vielfalt der historisch gewachsenen Vielfalt Barmherzigkeit, Friede, Vernunft, Bildung und der glaubenden Weltfamilie. Dazu gehört der Fortschritt wichtig. Toleranzbegriff, die Ausübung der Duldsamkeit Für die Christen ist Jesus gemäß dem gegenüber dem Andersdenkenden, die der Neuen Testament der von Gott zur Erlösung aller abendländische Mensch in seiner 2000jährigen Menschen gesandte Messias und Sohn Gottes Geschichte gelernt hat. Warum stört es, wenn und mit seinem Eintritt in die Weltgeschichte hier bei uns eine islamisch religiöse Frau eine beginnt das „Reich Gottes“. Jesus wurde Burka trägt? als Jude geboren. Er predigte viele Inhalte An dieser Stelle soll an den deutschen aus der jüdischen Bibel und ergänzte deren Dichterfürsten Johann Wolfgang von Goethe Ausführungen. Davon wird im Neuen Testament erinnert werden. Sein zweites Hauptwerk, berichtet. Altes und Neues Testament sind für neben „Faust“, ist eine Gedichtsammlung in 12 die Christen die Bibel. Büchern, „West-östlicher Divan“, in Goethes Alle drei abrahamischen Religionen Handschrift inzwischen Weltkulturerbe („Wer glauben an das ewige Leben. Neben sich selbst und andre kennt / wird auch hier erkennen: / Orient und Okzident / sind nicht als gemeinsamer „Vater des Glaubens“ und mehr zu trennen“). „folglich als die Wurzel bzw. das begründende Bindeglied der Zusammenarbeit zwischen Jesus fühlte rein und dachte Christen, Juden und Muslimen“ (Hubert Nur den einen Gott im Stillen; Frankemölle). Karl Josef Kuschel prägte als Wer ihn selbst zu Gotte machte, einer der ersten den Begriff „abrahamische Kränkte seinen heil’gen Willen. Ökumene“ (Kuschel: „Perspektiven für eine abrahamische Ökumene“). Sein Buch ist Und so muss das Rechte scheinen, Türöffner für das „neue interreligiöse Denken“ Was auch Mahomet gelungen; weltweit. Hans Küng vertritt in seinem Nur durch den Begriff des einen Handbuch „Weltethos“ (2012) seine viel zitierte Hat er alle Welt bezwungen. These „Kein Friede zwischen den Nationen ohne Friede zwischen den Religionen“ Für Goethe – und das ist besonders aus oder „Kein menschliches Zusammenleben heutiger Sicht bemerkenswert – stand zeit oder Überleben ohne ein Weltethos. Kein seines Lebens außer Frage, dass auch der Weltfrieden ohne Religionsfrieden. Kein Qur’an, neben der Bibel, ein heiliges Buch sei Religionsfrieden ohne Religionsdialog.“ und ein greifbares Beispiel dafür, dass neben Es gibt einen (einfachen) Weg zum der Bibel noch andere Schriften existieren, die gegenseitigen Verständnis: die Musik. Die Musik großen Teilen der Menschheit heilig sind. „Die der römischen Kirche ist der Gregorianische höchste Kultur aber, welche diesen letzten Choral, der Ursprung war für die Entwicklung Zeiten gegönnt seyn möge, erwiese sich wohl der mehrstimmigen abendländischen Musik, darin: daß alles Würdige, dem Menschen er hat sich aus dem synagogalen Gesang des eigentlich Werthe, in verschiedenen Formen Judentums entwickelt. Die Gebetsrufe (Adhan) neben einander müßte bestehen können des Muezzins in der Moschee erinnern an und daß daher verschiedene Denkweisen, vorgenannte Gesangsweisen. Sie haben ohne sich verdrängen zu wollen, in einer den „Zauber“ einer besonderen „mythischen und derselben Region ruhig neben einander Ästhetik“, sie „erhöht“ das gesprochene Wort. fortwandelten.“ Ist es nicht bemerkenswert, dass ein wichtiges Die Entwicklung einer „pluralistischen Bindeglied zwischen Judentum – Christentum Gesellschaft“ nach dem zweiten Weltkrieg und Islam das Amen ist: āmëin, Amen, āmin. hat das allgemeine Bewusstsein einer So versucht nun der „musikalische Dialog“ beginnenden Partnerschaft von Juden, Lumen, die offene Form eines Oratoriums, die Christen und Muslimen geprägt. Abraham gilt Diversität und gleichzeitig die Gemeinsamkeit der Sprache der Bibel, der Thora und des im Besitz einer absoluten, in geoffenbarten Qur’ans in eine „Einheit der Vielfalt“ zu Schriften niedergelegten Wahrheit zu sein. übersetzen, die Poesie des Alten und Neuen Alle Religionen sind gleich weit entfernt von Testaments, der Thora und des Qur’ans in eine der Wahrheit, die wir nie besitzen, nur anzielen Sprache des Klangs, des Klingens. Ein Beitrag können.“ (Jan Assmann, Ägyptologe). zum interreligiösen Denken und Nachdenken, „Es ist an der Zeit, dass der Mensch sich zum Einfühlen und Mitfühlen. Lumen – eine sein Ziel stecke. Es ist an der Zeit, dass der musikalische Reflexion. Mensch den Keim seiner höchsten Hoffnung Das zentrale Thema in allen Gesellschaften pflanze.“ (Friedrich Nietzsche) dieser Erde wird das Verhältnis „von Mensch „Alle Religionen, Künste und Wissenschaften zu Mensch“ bleiben, die Überwindung von sind Zweige desselben Baumes“ (Albert persönlichen, nationalen und internationalen Einstein) Egoismen, eine Globalisierung also nicht nur „Ist es nicht seltsam, dass die Menschen von materiellen Interessen, sondern eine so gern für ihre Religion fechten und so Globalisierung „geistiger Gemeinschaft“. Die ungern nach ihren Vorschriften leben?“ (Georg Basis dafür ist der „interreligiöse Dialog“. Christoph Lichtenberg) Er muss von allen gewollt werden, Juden, „Und bei Glaubenskonflikten müssen Christen und Muslimen, mit der Bedingung von Nächstenliebe und Besonnenheit überwiegen.“ Befreiung Vereinnahmung, Bevormundung, (Umberto Eco) Fanatismus und Instrumentalisierung. Mit ihm beginnt die Zukunft des Menschen. „Wir Robert Helmschrott (VI-2017) müssen von der Vorstellung loskommen, Siri Karoline Thornhill Siri Karoline Thornhill studied first in her Norwegian home city of , continuing at the Royal Conservatorium of The Hague. She has collaborated with ensembles, including the Freiburg Baroque Orchestra Consort, the Balthasar Neumann Ensemble, and the Baroque Orchestra. She has participated in recordings of Bach Cantatas with and the Cologne Chamber Orchestra, as well as in the St Matthew Passion under Jos van Veldhoven and Buxtehude Cantatas with . Guest appearances include the Handel Festival in Göttingen and Halle, the Rheingau Music Festival, the Oslo Festival, the Feldkirch Festival, the Festivals for Early Music in Bruges and Utrecht and Les Rencontres musicales de Vézelay.

Mira Graczyk Mira Graczyk studied violin and piano, and sang in various youth , from an early age. After being awarded a diploma in violin, she began vocal training at the Stanisław Moniuszko Academy of Music, Gdańsk, making her debut at the Baltic Opera as Barbarina in Le nozze di Figaro. From 2009 to 2014 she studied at the Hochschule für Musik, Theater und Medien Hannover with Markus Schäfer, and has performed with the North Rhine-Westphalia Youth Opera. She holds scholarships from Upper Franconia and Hanover University and has been supported by Live Music Now, Yehudi Menuhin’s foundation, since 2013.

Sophia Körber Soprano Sophia Körber is a prizewinner of the Federal Singing Competition, and the International Competition ‘Giovani Musicisti – Città di Treviso’. She has received support from the study foundation of the German people and Live Music Now, Hanover, and in 2015 was awarded a Walter and Charlotte Hamel Foundation scholarship. She studied in Florence and Hanover, where she participated in masterclasses with Brigitte Fassbaender and Roman Trekel. She made her debut in Die Zauberflöte at Klein Leppin in 2009, and has since worked with leading conductors, performing works by contemporary composers, and participated in numerous recordings and broadcasts.

© Hans-Jürgen Oertelt www.sophia-koerber.de © Marc Noormann © Bild Holzhauser © Shirley Suarez Florence Losseau Theresa Holzhauser Anna Karmasin www.annakarmasin.de of Schoenberg’s PierrotLunaire. opening Orchestra. with encouragement Lieder, St John Passion, John St the Klaus Haack FoundationScholarship. Siegfried Haak past now. past the prizewinner Academy, made für Prize, Hochschule studies Workshop. German-French Theresa Anna 2011, Maiden Gallen, Switzerland. Musik Munich Prinzregententheater, Concerto her and Karmasin and Foundation received at in of Holzhauser Mauser, und operatic In in the Munich. in Concert the Wagner’s Biennale She of 2013 2015 2010 für Theater München the Hochschule Consulate participated from mezzo-soprano support studied Musik Donald and debut Jugend made she won scholarship, During appearances and was München Parsifal. Barbara . Mozart’s performed and First in und in her from Sulzen at born General musiziert Munich, 2011 her the für the the in debut Prize Theater the in Musik premiere Daniels, She studies, the Gewandhausorchester, and in the and Tyrolean Florence 1986 have La traviata, in CM of at and Salzburg at the and is German both Fritz Israel, the und the e.V. in included currently August München Bizet’s she Stanislava recipient of Schloss Bobingen, Salzburg Schwinghammer. Martín Theater She Alexander Losseau State Association, Munich was Festival and award Everding Carmen is Bach’s a y Conservatory awarded of the sang Laubach and München Soler’s member Easter Stoytcheva, the in Germany studied Strauch’s Young recipient for a in Christmas Oratorio Leipzig, Frankfurt the with and Theatre televised Vivier’s the Festival L’arbore di Diana L’arboredi a International She at Bavarian of Singers was the in Christl master and the of STYX – Orfeo’s the 2006. and Innsbruck, has Academy. Sabine Munich Kopernikus Mendelssohn given a performance began Hochschule as Theatre Christl sang performed and Project a She study Theatre special Flower Lahm, Opera Radio Klaus at vocal She and and is the the St of at at in a © Hochformat © Hermann Posch © Werner Kmentitsch Andreas Mattersberger Robert Sellier Markus Schäfer Düsseldorf Fassbaender. to Musikhochschule. award-winning the Andreas member He Scipione Tenor career The Almaviva www.tenor-markus-schaefer.de Theater, Hanover. www.andreasmattersberger.com Studio deGenève. Regional and and state and the www.robertsellier.de the GöttingenInternationalHandelFestival, and joinedtheHalleOpera. Belmonte bass 2012 has bass Hamburg made tenor America, subsequently in theatres. Robert has also , he of parts Mattersberger Theatre, at in in Markus his brought the with performed performed Rossini’s Mozart’s the State Sellier The of collaborating debut He recordings. Staatstheater Armand Genesis, and Stadttheater title Schäfer made and He recorded. Opera appearances was at guest Die Entführung aus dem Serail dem aus Entführung Die Il barbiere di Siviglia di barbiere Il roles has performed at at studied the his McLane. born the Amartema the and He studied appearances Zurich sung of with debut am Other Theater teaches the Tyrolean the in Klagenfurt at Gärtnerplatz, in Munich distinguished the the operas Hofers Nacht, the Düsseldorf Opera as He singing major performances and Tyrolean Figaro Augsburg, roles title singing was State Kataklysmos at in Studio, theatres role and and a 1979 the of at in Oper prizewinner Theatre, at Munich. State the Emilio of church Le nozze di Figaro di nozze Le Tyrolean conductors, the the and followed and Don Giovanni Don and Komische include am Salzburg Hochschule Conservatory. from studied in were music In at concert Rhein. working Cadence Macbeth and Mozart’s 2013 the 2007 in by Strauss’ composed and Berlin in the Bielefeld engagements Oper at Festival, His he halls Karlsruhe to under at the Augsburg für a Saarbrücken appeared subsequent 2012 Il sognodi at the From

number Berlin Musik and songs in the for Europe Brigitte Opéra- Opera. Count was Milan 2005 Tyrol him, and und and and for at of at a Niklas Mallmann Niklas Mallmann began his musical training in Tölz as a chorister, subsequently studying at the Hochschule für Musik und Theater München. He made his debut in Die Zauberflöte at the 2016 Festival Rota das Artes, Lisbon, has performed at the Gärtnerplatz Theatre and the Bavarian State Opera, Munich, and is a regular guest at the Isny-Oper Festival. He has worked with conductors such as Claudio Abbado and Sigiswald Kuijken, and participated in international concert tours. Mallmann has appeared with the Slovenian Philharmonic Orchestra and the Munich Jakobsplatz Orchestra, and in 2017 was a prizewinner at the

© Lars John Rückblick zum PodiumJungerGesangsSolisten, Magdeburg.

Theona Gubba-Chkheidze Theona Gubba-Chkheidze, the daughter of a violinist and an internationally distinguished theatre director, was born in Georgia. She completed her violin studies with a Distinction at the Hochschule für Musik und Theater München and was awarded a Miesterklasse-Diploma in Modern Violin and a master’s degree in Baroque Violin. She currently performs in concert throughout Europe with groups such as Concerto München, Ensemble Phoenix, Musik Augsburg and the Pera Ensemble. She is a co-founder of Concerto de Bassus. As concertmaster of this group and the Simon Mayr Ensemble she has made more than 20 recordings for Naxos.

Giedrė Šiaulytė Born in Lithuania, Giedrė Šiaulytė was appointed principal harpist of the Polish National Radio Orchestra in 2010 during her postgraduate studies at the Mozarteum University Salzburg – a position she stayed in until 2015. She owes her formative training to Helga Storck, and to legendary French harpist Germaine Lorenzini. She regularly appears with various ensembles including the Staatsphilharmonie Rheinland-Pfalz and the Sinfonieorchester Aachen and has performed at the Kölner Philharmonie, Cadogan Hall, London, the , Linz, and at the Salzburg Festival. Her recordings include broadcasts for Polish Radio and works for Celtic harp. www.harfenklaenge.de © Anna Götz Franz Hauk Robert M.Helmschrott Stefan Blum Deutsche Grammophon. broadcasts, the Cité Trio. Orchestra, and München professor andvicepresident. Born from Born Percussionist Salzburg für music, Liège, Hochschule MacDowell his In many and Chorus in2003. he Minster, beginning the 1988 works has Musik Hochschule orchestral the Bavarian internationale He in the in compositions with Belgium Neuburg taught 1938 United he and has include and Deutsche Festival of und the Colony, took piano the he since für performed in has Stefan Munich music. Theater Radio in States 19th für and has Weilheim, his an Musik liturgical the and since 1995 and des Musik US. devoted der Akademie doctorate century. Siena, recorded historical Blum He Symphony organ, and Symphony München arts Donau enjoyed und He the also internationally has and und made Upper studied has award. Italy. to Berlin Since Theater as at appeared choral Theater with the in for performance Rom won the choirmaster. a a 1955, from Orchestra, From career Bavaria, Orchestra, organ. record 1982 number a Ultraschall Munich at In music, numerous Villa thesis München, the 1993 München. 1995 and Franz with 1967 he as He labels Massimo, Hochschule chamber has Robert of Musikhochschule on a at a and Klangforum he to He was soloist Hauk recordings. number the to various Festival. church international served 2003, was has 1969 continuing Sony church He president Helmschrott West studied and performing given founded artist-in-residence and previously of as music für festivals, he Classical, orchestral Wien ensembles, In music organist German Since in Musik held concerts church of addition competitions, his 1975 in and the the and department studied Munich both October a including education serving und Simon at in Hochschule Wergo scholarship pieces, the received and Symphony Ingolstadt in Salzburg. including chamber to Theater Munich Europe school at at at many 2002 Mayr as and and and the the the the of in a a

© Anna Götz Simon Mayr Chorus The Simon Mayr Chorus was founded by Franz Hauk in 2003. The repertoire of the includes works from the 16th to the 20th century. A special emphasis is laid on authentic historical performance and on the promotion of music by Simon Mayr at the highest cultural level. Members of the choir are vocal students from the Hochschule für Musik und Theater München and singers selected from Ingolstadt and the region. © Lorenz Zieglmeier

Concerto de Bassus Concerto de Bassus is an international ensemble engaging young musicians in historical performance of music from the 17th, 18th and 19th centuries. Many members of the ensemble are outstanding students or graduates of the Hochschule für Musik und Theater Munich, with wind instruments constructed on historical principles. The ensemble takes its name from the fundamental element of Baroque music and from the distinguished family that has done so much to promote culture and knowledge. The ensemble takes its name from that fundamental element of Baroque music: the bassus. © Lorenz Zieglmeier Shortly after taking up the position of Thomaskantor in Leipzig in 1723, Bach wrote a Magnificat in E flat major for performance at Christmas. Around a decade later he revised thework, transposing it down to D major and making it more concise. Utilising a Biblical text, the piece is suffused with a series of memorable arias and choruses and orchestrated with spectacular grandeur. Lumen is a contemporary musical dialogue that urges empathy between the three Abrahamic religions. Translating the oratorio form into a ‘unity of diversity’, Robert M. Helmschrott has converted the poetry of the Old and New Testaments, the Torah and Qur’an into an interfaith ‘language of sounds and singing’.

Johann Sebastian BACH (1685–1750): 1–@ Magnificat in D major, BWV 243 (1733) 24:58 Robert Maximilian HELMSCHROTT (b. 1938): #–% Lumen (2017) 40:59 An interfaith dialogue for soloists, chorus and orchestra

Simon Mayr Chorus #–% Concerto de Bassus (Theona Gubba-Chkheidze, Concertmaster) Franz Hauk

A detailed track list can be found inside the booklet Sung texts can be accessed online at www.naxos.com/libretti/579049.htm Recorded: 19–21 #–% and 22–23 1–@ September 2017 at the Kongregationssaal, Neuburg, Germany Producer and engineer: Sebastian Riederer • Editors: Kaling Hanke 1–@ and Sebastian Riederer #–% Booklet notes: Robert Maximilian Helmschrott and Franz Hauk Publisher: Robert Maximilian Helmschrott #–% Sponsors: Unterstützt aus dem Förderprogramm „Reformationsjubiläum 2017“ der Bundesregierung Deutschland, Kulturfonds Bayern, Bezirk Oberbayern, Stadt Ingolstadt, Stadt Neuburg/Donau, unterstützt aus den Mitteln der Lutherdekade Reformationsjubiläum 2017 in Bayern, Michaela Mirlach-Geyer & Josef Geyer (Management) Cover image: The Helix Nebula or NGC 7293 in the constellation Aquarius (www.dreamstime.com)