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CONTENTS 2-Programme 4-Ensemble 6-English Text 17-German Text 28-French Text 38-Lyrics 42-Imprint Menu Ich Will Schweigen

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CONTENTS 2-Programme 4-Ensemble 6-English Text 17-German Text 28-French Text 38-Lyrics 42-Imprint Menu Ich Will Schweigen CONTENTS 2-Programme 4-Ensemble 6-English text 17-German text 28-French text 38-Lyrics 42-Imprint menu Ich will schweigen Johann Hermann Schein and the Leipzig Stadtpfeifer tradition Johann Hermann Schein und die Tradition der Leipziger Stadtpfeifer Johann Hermann Schein et la tradition des Leipziger Stadtpfeifer 1. Johann Hermann Schein (1586-1630) Canzon »Corollarium« 4:19 (Cymbalum Sionium sive Cantiones sacrae, Leipzig 1615) 2. Johann Hermann Schein Ich will schweigen 5:53 (Th renus à 6 voci, D-Jmi 4.Th .XXXV,11) 3. Johann Krieger (1652-1735) Fantasia in d 1:50 (Sechs musicalische Partien, Nuremberg 1697) 4. Johann Hermann Schein Exaudiat te Dominus 8:16 (Opella nova, ander Th eil, Leipzig 1626) 5. Johann Hermann Schein Suite VII 7:48 (Banchetto musicale, Leipzig 1617) 6. Heinrich Bach (1615-1692) Erbarm dich mein, o Herre Gott 3:05 (NL-DHnmi Ms. Frankenberger) 7. Johann Hermann Schein Erbarm dich mein, o Herre Gott 3:25 (Opella nova, Leipzig 1618) 8. Gottfried Reiche (1667-1734) Fuga XII à 4 3:13 (Vier und zwanzig neue Quatricinia, Leipzig 1696) 9. Johann Hermann Schein Herr Christ, der einig Gottes Sohn 1:58 (Opella nova, Leipzig 1618) 10. Johann Schelle (1648-1701) Nun komm, der Heiden Heiland 2:15 (D-B Mus.ms. 19781) 11. Gottfried Reiche Sonatina à 4 3:21 (Vier und zwantzig neue Quatricinia, Leipzig 1696) 12. Johann Hermann Schein Mach dich auf, werde Licht 6:32 (Opella nova, Leipzig 1626) 13. Johann Hermann Schein Paduana à 4 2:09 (Banchetto musicale, Leipzig 1617) 14. Heinrich Scheidemann (1595-1663) In dich hab ich gehoff et, Herr 5:42 (D-CZu Ze 2) 15. Johann Sebastian Bach (1685-1750) Fuga sopra Durch Adams Fall ist 2:47 ganz verderbt (BWV 705) (Neue Bach-Ausgabe, Kassel 1954-2007) total 62:42 menu InAlto Alice Foccroulle soprano Béatrice Mayo-Felip soprano Reinoud van Mechelen tenor Lambert Colson direction cornetto Serge Delmas, Sainte-Geneviève des Bois 2010 mute cornetto Henri Gohin, Boissy-L'Aillerie 2009 Adrien Mabire cornetto Serge Delmas, Sainte-Geneviève des Bois 2013 mute cornetto Serge Delmas, Sainte-Geneviève des Bois 2013 Guy Hanssen alto and tenor sackbut Ewald Meinl, Geretsried 2008 (aft er Anton Schnitzer, Nuremberg c.1580) Fabien Moulaert tenor sackbut Ewald Meinl, Geretsried 2012 (aft er Anton Drewelwecz, Nuremberg 1595) Bart Vroomen tenor sackbut Markus Leuchter, Herzogenrath 2012 (aft er Anton Drewelwecz, Nuremberg 1595) bass sackbut Markus Leuchter, Herzogenrath 2010 (aft er Isaac Ehe, Nuremberg 1613) Anaïs Ramage bass dulcian Eric Moulder, Leek-Staff ordshire 2008 quart-bass dulcian Eric Moulder, Leek-Staff ordshire 2000 Pieter Theuns theorbo Klaus Jacobsen, London 2000 (aft er Matheus Buchenberg, Rome 1610) archlute Paul Th omson, Bristol 1988 (aft er Matteo Sellas, Venice 1612) baroque guitar Renzo Salvador, Liège 1998 4 Maxime Fiorani Renaissance drum Mario Folch Llovera, Barcelona 2001 tamburello Bruno Spagna, Naples 2004 Marc Meisel organ Jan van Groningen 1567 / Mads Kjersgaard 2004, Gottorf Castle 5 menu Alice Foccroulle joined the Th éâtre Royal de la Monnaie Children's Choir at the age of seven, where she sang for nine years. She took lessons from the Danish voice teacher Susanna Eken. Aft er two years studying history, art and music at the Université libre de Bruxelles, she moved to the University of Music and Dance in Cologne to study voice. She was taught fi rst by Joseph Protschka and later by Christoph Prégardien, and received additional support from, among others, Michael Gees, Kai Wessel, Marcus Creed, and Michael Hampe. Since 2010, Alice has sung regularly with Collegium Vocale Gent (Philippe Herreweghe). Her interest in Baroque music has resulted in cooperations with specialist ensembles, e.g. InAlto (Lambert Colson), L'Autre Monde, Vox Luminis (Lionel Meunier), Scherzi Musicali (Nicolas Achten), La Fenice (Jean Tubéry), Akadêmia (Françoise Lasserre), and Pygmalion (Raphaël Pichon). She has performed at festivals and venues across Europe as a soloist and chorus member (e.g. Festival de Wallonie, Oude Muziek Utrecht, Festival Bach en Vallée mosane, Opéra de Reims, Th éâtre des Champs-Élysées, Musikfestspiele Sans Soucis, and Centro di Musica barocca di Venezia). She appeared in both the world premiere of Kris Defoort's opera House of the Sleeping Beauties at the Th éatre de la Monnaie and the repeat performances in Antwerpen, Luxembourg, Paris, Mulhouse and Rotterdam, con- ducted by Patrick Davin and directed by Guy Cassiers (CD: Fuga Libera, 2009). Together with Nicolas Achten's Scherzi Musicali, she also featured in Purcell's Dido and Aeneas, directed by Timothy Nelson. In 2012, she played Dorinda in Zamponi's Ulisse, conducted by Leonardo Garcia Alarcón (CD: Ricercar, 2013). Spanish by birth, Béatrice Mayo-Felip received her initial musical training at Perpignan Conserva- toire, joining, among others, the voice class led by Danièle Perriers. In 1994, she moved to the Centre national d'Artistes lyriques in Marseille to be taught by Bernard Fabre Garrus, before completing her studies under Alain Garichot, with whom she trained in stage performance. On stage, she has sung the role of Poussette in Massenet's Manon, played Gretel in Hänsel und Gretel (Humperdinck), and appeared as Virtue, Love, and Venus in Persée (Lully) alongside Les Talens lyriques (Christophe Rousset). Other roles include Flore in Le Malade imaginaire (Charpentier), performed in cooperation with Compagnie Alain Germain, and La musica and Euridice in Mon- teverdi's L'Orfeo with L'Arcal. Together with Les Jeunes Solistes (Rachid Safi r), she is involved in recording and performing the world première of Th ierry Pécou's L'homme armé and Philippe Fénelon's Dix-huit madrigaux. She was also cast in the performance of Fénelon's Les Rois. Béatrice regularly works with major ensembles, in- cluding Akadêmia, A Sei Voci, Le Poème harmonique, Energeia, Dix de cœur and L'Arpeggiata. In Spain, she has worked under Adrian Leaper and cooperates with José Miguel Moreno. She has released a recording with the jazz guitarist David Chevallier, centred around Gesualdo's madrigals (CD: Zig-Zag Territoires). Besides pursuing her singing career, Béatrice Mayo-Felip has set up "Le chant de l'alouette" (Larksong), an association through which she teaches lyric voice, jazz, contemporary folk music, antenatal singing and sophrology. 6 Reinoud Van Mechelen began singing at an early age in Clari Cantuli children's choir. In 2005, he took his fi rst singing classes from Anne Mertens and Nicolas Achten in Leuven, his home town. One year later, he joined the Royal Conservatory of Brussels to take up vocal studies, fi rst with Lena Lootens and subsequently with Dina Grossberger. In addition, he has taken masterclasses with Greta De Reyghere, Isabelle Desrochers, Frédé- rick Haas, Claire Lefi lliâtre, Alain Buet, Jean-Paul Fouchécourt, François-Nicolas Geslot, and Howard Crook. In 2007, he participated in the Académie baroque européenne d'Ambronay, playing Plutus in Destouches's Le Carnaval et la Folie with Hervé Niquet. He soon began receiving invitations to appear as a soloist with several well-known ensembles, including L'Arpeggiata, Capilla Flamenca, Ex Tempore, Ludus Modalis, B'Rock, Ricer- car Consort, Il Gardellino, and the European Union Baroque Orchestra. Reinoud regularly works with Scherzi Musicali, conducted by Nicolas Achten, and has contributed to several of the ensemble's recordings, released to international critical acclaim. During the 2011-12 season, he appeared as Castor in Castor & Pollux (Rameau) with Ausonia in a tour of France and Germany, and with Le Poème harmonique in Cavalli's Egisto at the Opéra de Rouen. In 2011, Reinoud was selected to take part in the 5th Jardin des Voix, the baroque academy run by Les Arts fl orissants. Since then, he has performed regularly with Les Arts fl orissants as a soloist, in projects directed by William Christie, Paul Agnew, and Jonathan Cohen. Lambert Colson received his musical training at the Royal Conservatory of Brussels, the University of the Arts of Bremen, the Schola Cantorum Basiliensis and the ESMUC in Barcelona, studying with Françoise De- fours, Pedro Memelsdorff , Bart Coen, Marleen Leicher, Bruce Dickey and Gebhard David. He has worked with ensembles and conductors of the calibre of Les Talens lyriques (Christophe Rousset), Le Parlement de Musique (Martin Gester), Scherzi Musicali (Nicolas Achten), Les Paladins (Jérôme Correas), L'Échelle and Oltremontano. As a musician and researcher, he has contributed to journals including La Pensée de midi (Actes Sud), and is involved with the Royaumont Foundation, where he teaches on Lutheran music in the Holy Roman Empire and assists the composer Zad Moultaka. Several contemporary composers, including Zad Moultaka, Fabrice Fitch and Bernard Foccroulle, have been inspired by Lambert's boundless enthusiasm for learning more about his instrument to dedicate pieces to him. His interest in innovative joint projects led Lambert to discover hypnosis while working with the choreographer Catherine Contour. In cooperation with artists such as Liesa van der Aa and Shara Worden, BOX allows him to explore the range of possibilities open to his instruments in popular mu- sic. Th is fervent commitment to being a musician in tune with his time clearly motivates the search for musical and emotional cross-fertilisations Lambert and InAlto have embarked on. 7 cording: "one plays upon the Zink, dulcian or cornetto, Johann Hermann Schein and the Leip- others on the racket and Fagott, some play trombones zig Stadtpfeifer tradition and trumpets" (einer den Cincken / Dulcian oder Cor- netto / andere auf dem Stort / und Fagott / manche auf Geography, they say, is destiny; and Leipzig, situ- Posaunen und Trompeten blasen). ated at the confl uence of three rivers – Pleisse, Parthe and Weisse Elster – was destined for greatness from Ignaz Franz Xaver Kürzinger (1763) gave the fol- the beginning. But rather than deriving its infl uence lowing list of instruments that a Th urner or Stadtpfeifer from a powerful ecclesiastical or secular prince, Leip- should have mastered during his fi ve-year apprentice- zig became rich from international trade in material ship: "Violin, Viola d'amore, Viola da Gamba, Viola da merchandise and cultural capital.
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