BACH ACADEMY BRUGES Tue 15 Jan - Sun 20 Jan 2019 Heaven on earth - Concertgebouw Brugge
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Tue 15 Jan – Sun 20 Jan 2019
BACH
ACADEMY
BRUGES
Heaven on earth
© Rune GuneriussenDear music lover Festival summary
TUE 15 JAN 2019 SAT 19 JAN 2019 SUN 20 JAN 2019
20.00 Chamber music hall 11.00 and 14.00 11.00 Chamber music hall
In this New Year’s month, I’m Idiosyncratic OLV-van-Blindekenskapel Sponte Sua
exceptionally happy to welcome you homage to Bach Catalina Vicens Bach, Hotteterre &
once again to the Bach Academy, Lecture-performance (Ammer)Bach on organ Telemann
in Bruges’ Concertgebouw! For me by ECCE p. 10 p. 18
starting the year with some light- p. 4
hearted comedy and a dip into Cole 14.00 Concert hall 14.30 Concert hall
Porter’s Great American Songbook WED 16 JAN 2019 Hildebrandt Consort & Ensemble Marsyas
was both a delightful challenge and a Ignace Bossuyt Heavenly dialogues
© Michiel Hendryckx
WORLD PREMIERE
fascinating discovery. But returning Bach Close-up (in Dutch) p. 19
COMMISSIONED BY CONCERTGEBOUW
to Bach and delving into his inner p. 11
world, which I do two or three times a 20.30 KAAP | De Werf 16.30 Chamber music hall
season, is always a balm for the soul Ernst Reijseger & 16.30 Chamber music hall Cecilia Bernardini
and an immense musical pleasure. Erik Bosgraaf Andreas Brantelid Biber. Rosary Sonatas
We all know that Bach’s heaven Bach from both sides Bach. Cello Suites p. 21
did not lie on earth, but his art did Berlin’s performance on Saturday evening i.c.w. KAAP p. 12
make that much-sung yearning for of Bach’s concertos for three and four 19.15 Chamber music hall
the hereafter almost superfluous. harpsichords. They are without doubt one of THU 17 JAN 2019 19.15 Chamber music hall Introduction by Ignace
FOREWORD
SUMMARY
the best Baroque orchestras of the moment. WORLD PREMIERE Introduction by Ignace Bossuyt (in Dutch)
CO-PRODUCTION Bossuyt (in Dutch)
In this edition, the persuasiveness of As curator, it is my honour and pleasure – 20.00 Concert hall
Bach’s cantatas has once again inspired together of course with Jeroen Vanacker 19.15 Magdalenazaal 20.00 Concert hall
Introduction by Steven
Collegium
us and challenged us to wander unfamiliar and his enthusiastic team – to present
De Belder (in Dutch)
Akademie für Alte Vocale Gent
paths alongside traditional concert you with all of this beauty! Nothing is Musik Berlin O ewiges Feuer
performances. Collegium Vocale Gent, as vital as that scintillating interaction Bach. Harpsichord p. 22
for instance, opens the weekend with the between music, performers and a 20.00 Magdalenazaal
concertos
world premiere of Lebenslicht, a silent film genuinely interested audience! And in Flowers (we are) p. 14
by young director Clara Pons: a poignant those magical moments in which heaven Claire Croizé / ECCE
family drama, in which Bach’s live music and earth come together lies perhaps i.c.w. Cultuurcentrum Brugge 22.30 Chamber music hall
plays the unmistakable leading role. Bach’s the ineffable essence that connects us. p. 6
librettos thus acquire a deeper, more
CONTINUUM Your applause is given
Bach. Riddle canons additional colour by the
universal character and a relevance that FRI 18 JAN 2019
p. 17 flowers of Bloemblad.
transcends their original religious basis. Your devoted cantor,
WORLD PREMIERE
CO-PRODUCTION In cooperation with our
Two important aims of the Academy are — Philippe Herreweghe festival partner
to offer context and to provide young 20.00 Concert hall
talent(s) with a platform. Ensembles such Collegium Vocale Gent
as Scotland’s Marsyas Ensemble and our & Clara Pons
own Hildebrandt Consort delve deeper into Lebenslicht The programme and the organisation of Bach Academy
the vocal works. Top talents such as Danish p. 7 Bruges are the result of a close collaboration between
cellist Andreas Brantelid, violinist Cecilia
Collegium Vocale Gent and Concertgebouw Brugge,
Bernardini and organist Catalina Vicens 22.00 Chamber music hall under the curatorshop of Philippe Herreweghe.
bring us pure instrumental work, by Bach
Winter guests
and his contemporaries. Another highlight is
A heart full of music (in Dutch) Concertgebouw Brugge is part of REMA-EEMN,
most definitely the Akademie für Alte Musik
p. 4 European Early Music Network.
—2— —3—Context summary
TUE 15 JAN 2019 FRI 18 JAN 2019 SAT 19 & SUN 20 JAN 2019
20.00 Chamber music hall 10.30-17.00 11.00 Belfry
Idiosyncratic Chamber music hall Bach on carillon
homage to Bach Heaven on earth Wim Berteloot
Lecture-performance Listening course (in Dutch) Bruges carillonneur plays
by ECCE By way of introduction to works by Bach and others
ECCE choreographer Claire the concerts of the Bach on the 18th-century
Croizé and her artistic Academy, Ignace Bossuyt carillon.
team give us a glimpse into takes us through Bach’s
Willem Créman (1895-1970)
the creative kitchen of their oeuvre. Special attention Reminiscing J.S. Bach
latest production: is paid to the relationship
Flowers (we are). between heaven and earth Johann Sebastian Bach
i.c.w. Cultuurcentrum (1685-1750)
in Bach’s cantatas.
Cello Suite nr.1, BWV1010
Brugge i.c.w. Davidsfonds (arr. Peter Bremer)
Academie Preludium from Lute Suite,
Free with a ticket for BWV997 (arr. Bernard
LECTURE & DISCUSSION Winsemius)
Flowers (we are)
Prelude for lute, BWV998
(arr. Frank Deleu)
HEAVEN ON EARTH
LECTURE & DISCUSSION
FRI 18 JAN 2019 Siciliano from Flute Sonata,
BWV1031 (arr. Peter Bremer)
22.00 Chamber music hall
WED 16 JAN 2019 Wim Berteloot (1967)
Winter guests Miniatures on B.A.C.H. (selection)
16.00-19.00 A heart full of music Toccata / Menuetto / Inventio /
(in Dutch) Preludium / Fugato
THU 17 JAN 2019 After the premiere
Johann Sebastian Bach
10.30-13.30 of the unique film Sinfonia/Arioso from
Concert hall project Lebenslicht, Harpsichord Concerto,
Open rehearsals conductor Philippe BWV1056 (arr. Brecht Berteloot)
Herreweghe joins filmmaker Allegro from Violin Concerto,
Collegium Vocale Gent BWV1041 (Koen Cosaert)
During their open Clara Pons and interviewer Air from Suite, BWV1068
rehearsals, Collegium Olav Grondelaers on the (arr. Leen ‘t Hart)
Vocale Gent and Philippe interview couch for a cosy
Herreweghe give us a peek chat about the relationship PERMANENT EXHIBITION
behind the scenes. We get between man and music. Foyer parterre
to witness what is often Eyes on Bach
a very personal artistic Free with a Bach Academy
Exhibition by Johan Huys
growth process. Bruges 2019 concert ticket
In a number of richly
LECTURE & DISCUSSION illustrated panels, you’ll
Free with a Bach Academy learn more about the life,
Bruges 2019 concert ticket career and work of the
celebrated Thomaskantor.
VOCAL
The majority of the
keyboards played during Free with a Bach Academy
this festival comes from Bruges 2019 concert ticket
the collection of François
Translation: Stephen Smith Ryelandt-Chembaleros.
—4— —5—THU 17 JAN 2019 FRI 18 JAN 2019
Flowers (we are) Collegium Vocale Gent
Claire Croizé / ECCE & Clara Pons
Lebenslicht
19.15 introduction by Steven De Belder Bach, flowers and bridges 20.00 Concert hall Bernd Seliger: trainee
(in Dutch) Flowers (we are) is Claire Croizé’s first — Paul Millot: editor
20.00 Magdalenazaal (see p. 31) collaboration with a contemporary Collegium Vocale Gent: choir & orchestra Lucien Keller: VFX
— composer: Matteo Fargion. For this dance see p. 26 Lionel Devuyst: colorist
Claire Croizé: concept performance to live music, they draw their Philippe Herreweghe: conductor Loup Brenta: postproduction
Emmi Väisänen, Claire Godsmark & inspiration from the great master of the Dorothee Mields: soprano Cobalt Films: facility
Gorka Gurrutxaga: dance Baroque: Johann Sebastian Bach. Excerpts Alex Potter: alto Sabrina Terrin: executive producer
Johann Sebastian Bach & Matteo from the preludes of his Wohltemperirtes Thomas Hobbs: tenor Bert Schreurs - Collegium Vocale Gent;
Fargion: music Clavier, transcriptions of his chorales Peter Kooij: bass Tomas Leyers - Minds Meet: producer
Matteo Fargion & Francesca Fargion: for four hands, and new compositions Special thanks to Tinne Embrechts, Dimitri
piano provide the musical fabric. Fargion and Actors: Van der Vieren, Antoinette Schraepen,
Etienne Guilloteau: dramaturgy his daughter Francesca perform the Sara De Bosschere: mother Hermine Verbiest, Johan Heleven, Maria
Anne-Catherine Kunz: costume design music and three dancers bring it to life. Josse De Pauw: grandfather Maurissen, Marleen Elbers
Hans Meijer: light design As in her earlier performances EVOL and Valentijn Dhaenens: father —
18 JAN 2019
17 JAN 2019
HERO, Croizé adds a poetic touch to this Dexter Van der Vieren: son Johann Sebastian Bach (1685-1750)
ECCE vzw: production playful Bach homage with excerpts from • Sinfonia, BWV21/1
Concertgebouw Brugge, wpZimmer, the poems of Rainer Maria Rilke. This Clara Pons: film director • Aria Ich wünsche mir den Tod, BWV57/3
Kunstencentrum BUDA, Kaaitheater: contemporary tribute is simultaneously Jens Van Durme: music dramaturgy • Aria Vergib mir Jesus meine
coproduction a heartfelt call to build bridges between Collegium Vocale Gent: production Sünden, BWV48/6
In cooperation with Workspacebrussels different personalities, between different Concertgebouw Brugge: coproduction • Chorale Ich elender Mensch, BWV48/1
and STUK generations, between old and new music With the support of the Belgian National • Duet Den Tod niemand
Special thanks to Herman Sorgeloos and between text, music and dance. Lottery zwingen könnt, BWV4/3
— • Recitative Siehe, ich stehe
Johann Sebastian Bach (1685-1750) Film crew: vor der Tür, BWV61/4
Selection from Das wohltemperirte Clara Pons: director • Chorale Ich bitte dich, Herr
Clavier, BWV846-869 (1722) Bente Peeters: assistant director Jesu Christ, BWV166/3
Son Doan: cinematographer • Choir Ach Gott, vom Himmel
Tom Gineyts: focus puller sieh darein, BWV2/1
Abdel Mouhssin: gaffer • Aria Ach bleibe doch, mein
Maxime Garcia Fernandez: electrician liebstes Leben, BWV11/4
Benjamin Speyer & Julien Chassaignon: key grip • Chorale/recitative Wer weiss, wie
Cyrille Hermant, Nathan Meynsbrughen & nahe mir mein Ende, BWV27/1
Martial Viel: grip • Aria Qui tollis peccata mundi, BWV234/4
Lisa Lapauw: stylist • Aria O Mensch, errette
Leonie Gysel: make up artist deine Seele, BWV20/6
In cooperation with Benedict Van Acker: set dresser • Aria Es ist vollbracht, BWV159/4
Cultuurcentrum Brugge Annabell Samyn: assistant set dresser • Chorale O Jesu Christ, meins
© Marc Wellens
Sanne Schockaert: location manager lebens Licht, BWV118/1
Barbara Duthie: assistant location manager
DANCE WITH LIVE MUSIC Els Wuyts: location scout VOCAL FILM
—6— —7—Genealogies Lights glide along the road.
The child dreams about his longings.
Asleep, the child dreams about himself.
A landscape dissolves into darkness,
In his dreams, the child
abandoned by a flight of birds.
recognises the landscape.
A woman leaves her family and her
The landscape drowns his dreams.
‘Landscapes can be life. She bids farewell to the world.
Death roams the landscape.
The man she left, now aged,
deceptive. Sometimes eats his final meal alone.
The landscape shrouds the mother.
Water engulfs the grandfather.
a landscape seems to The abandoned son drives angrily
through the night. He is leaving his wife.
Death roams the landscape.
Bach for 21st-century be less a setting for the The child realises he is losing his mother.
In the morning they are on the bridge,
ears and eyes The child longs.
life of its inhabitants It is reflected
where the mother fled from life
The child wakes up. The
The roots of this cinematographic project than a curtain behind in time and space,
in people and in dreams.
grandfather gets ready.
lie in Collegium Vocale Gent and Philippe When they arrive, the
Herreweghe’s desire to present Bach’s which their struggles, grandfather is dying.
The grandfather, the abandoned man,
music to 21st-century audiences in a fresh
way. They had noticed that stories etch
achievements and now aged, ponders what remains.
When he sees his son, the grandfather
dies, as if he had been waiting for him.
a visual experience into the memories accidents take place.’ The son departs into the night.
The landscape waits, it remains.
of those who hear them. Stories open
the doors of the imagination and graft — John Berger, A Fortunate Man — Clara Pons
onto people’s own experiences. Those
18 JAN 2019
18 JAN 2019
experiences then give new meaning to this
highly spiritual music, which, in its concert
form, is stripped of its ritual dimension,
something already generally only present
to a limited extent among listeners.
The story of Lebenslicht is that of a
family, consisting of three men, three
generations, from father to son. The old
man, in the twilight of his days, is dying.
His son, caught up in the maelstrom of his
Benefit concert
own life, has just left his wife, the mother of
The Bach Academy does
his son. The boy dreams, and reinterprets
credit to its motto ‘heaven on
reality. Together with them, we experience
earth’: with your ticket for this
the loss of the object of their love, their
concert you are supporting
fear of abandonment, their sense of
the work of Ostend’s Royal
guilt, their mistakes, the mistakes they
Villa Health Centre, where
blame on others, their regrets... During
chronically ill people can
this via dolorosa, real or imaginary, they
enjoy a holiday in comfort,
try to escape their longings and their
together with their partner
expectations, each of them fleeing, subject
or carer. Support this centre
to but at odds with fate, sometimes true to
tonight too, by dropping
their feelings, sometimes full of self-pity,
some money into one of the
sometimes weighed down by responsibility.
collection boxes.
Their paths will cross, their emotions – love
(see also p. 25)
and loss – will be stirred and intertwined.
— Clara Pons
—8— —9—SAT 19 JAN 2019 SAT 19 JAN 2019
Catalina Vicens Hildebrandt Consort &
(Ammer)Bach on organ Ignace Bossuyt
Bach Close-up
11.00 and 14.00 The art of refined variation 14.00 Concert hall A hymn to the
OLV-van-Blindekenskapel (see p. 31) —
— Bach’s chorale partitas – variations on
Hildebrandt Consort: Good Shepherd
Catalina Vicens: Berger organ (1731) chorales – are among his earliest organ
Lieselot De Wilde: soprano ‘I am the good shepherd. The good shepherd
— works. His models were the works of Johann Helen Cassano: alto lays down his life for the sheep.’
Johann Sebastian Bach (1685–1750) Pachelbel and Georg Böhm, two figureheads Jan Van Elsacker: tenor These words from Jesus end the reading
Kleines harmonisches Labyrinth, BWV591 of the German organ music of around 1700. In Philippe Favette: bass from the Gospel of John on the third day of
Introitus / Centrum / Exitus the partita O Gott, du frommer Gott a chordal Madoka Nakamaru: first violin Pentecost. To celebrate that day in Leipzig
O Gott, du frommer Gott, BWV767 representation of the chorale is followed Yun Kyung Kim: second violin on May 30, 1724, Bach composed the cantata
by eight variations in which the theme is Karina Staripolsky: viola Erwünschtes Freudenlicht, which is radiant
Elias Nikolaus Ammerbach (1530–1597) compositionally and expressively explored
Bewar mich Herr, und sey nicht ferrn von mir ● Michel Boulanger: cello with joy, because God has sent his Son into
and interpreted in the most diverse ways. In Hendrik-Jan Wolfert: double bass the world, to be a good shepherd, who loves
variation 1, a duet, the chorale’s opening motif Anne Pustlauk & Chiara Strabioli: traverso His people so much that He will even lay down
Johann Kuhnau (1660–1722)
dominates. In variation 2, a rising and falling Wouter Dekoninck: organ, His life for them. Taking an earlier, festive
Suonata quarta ‘Hiskia
fourth is a unifying motif; in variation 4 this is
19 JAN 2019
19 JAN 2019
agonizzante e risanato’ ▲ artistic direction composition – probably a secular tribute or a
• Il lamento di Hiskia per la morte expanded into scale passages. Variation 3 is Ignace Bossuyt: lecturer New Year’s cantata, which is now lost – as his
annonciatagli e le sue preghiere ardenti a perpetuum mobile, with the melody running — basis, a librettist wrote a new and fitting text
• La di lui confidenza in Iddio in continuous semiquavers. In variation 5, in Johann Sebastian Bach (1685-1750) for this Pentecost cantata. Bach undoubtedly
• L’allegrezza del Rè convalescente the upper voice, the familiar chorale melody Erwünschtes Freudenlicht, BWV184 retained much of the music, possibly adapting
is enriched by complex rhythmic motifs in it here and there. An extensive accompagnato
Elias Nikolaus Ammerbach the bass. The move from binary to ternary This lecture is in Dutch, followed by a recitative for tenor and two transverse flutes
Gott ist mein Licht und mein Seligkeit ● metre in variation 6 gives the music an agile, complete performance of the cantata. creates a pastoral atmosphere (Erwünschtes
dancing character. On an expressive level, Freudenlicht). The two arias and the closing
Johann Kuhnau this contrasts strongly with variation 7, which
Suonata seconda ‘Saul malinconico e chorus are based on lively French dance
is completely permeated by chromaticism. In rhythms: a passepied with sprightly strings
trastullato per mezzo della Musica’ ▲
the final variation, a new element comes to the and transverse flutes in the cheerful duet
• La tristezza ed il furore del Rè
forefront: the echo technique (forte - piano). for soprano and alto Gesegnete Christen;
• La Canzona refrigerativa dell’arpa di Davide
• L’animo tranquilo e content di Saulo a polonaise with violin solo in the tenor aria
In 1575 a collection of organ music was
Glück und Segen; and a gavotte in the final
Elias Nikolaus Ammerbach published in Leipzig under the title Ein
chorus Guter Hirte. In a second recitative
Venus du und dein Kindt ● new künstlich Tabulaturbuch. In it Elias
the tenor sings about heavenly joy, lauding
Passametzo Itali auff den langen duplen Tact ● Nikolaus Ammerbach, the organist of the
it exuberantly at the end (So freuet euch). In
Thomaskirche, brought together forty
any sacred cantata there naturally has to be
Johann Sebastian Bach (toegeschreven) arrangements of polyphonic vocal music, both
an appropriate chorale. In this case, it is Herr,
Wenn wir in höchsten Nöthen seyn, BWV Anh.78 secular and sacred, intended for domestic
ich hoff je, which Bach unusually places as the
use. In this practice, which was widespread at
penultimate movement, as a contemplative
● from: Orgel oder Instrument Tabulatur, 1571/83 the time, the original was artfully varied with a
▲ from: Musicalische Vorstellung einiger moment before the joyous closing chorus.
wealth of ornamentation.
biblischer Historien, 1700
— Ignace Bossuyt
With the support of Piano’s Maene — Ignace Bossuyt VOCAL LECTURE & DISCUSSION
KEYBOARD
— 10 — — 11 —SAT 19 JAN 2019
Andreas Brantelid
Bach. Cello Suites
‘Bach displays his
absolute mastery.
16.30 Chamber music hall Less is more With minimal compositions exactly. Like many other of
— his instrumental works, they were probably
Andreas Brantelid: cello
To most of us it comes as a surprise that means he manages composed between 1717 and 1723, when
Johann Sebastian Bach’s six Cello Suites,
—
Johann Sebastian Bach (1685-1750)
BWV1007-1012 did not escape their didactic to generate Bach was serving as Kapellmeister at
the court of Leopold, Prince of Anhalt-
Cello Suite nr.1 in G, BWV1007
image as etudes until the beginning of the
twentieth century. In 1890 Catalan cellist
maximal harmonic Köthen. Their tonal structure, however,
• Prelude is very similar to the English Suites for
• Allemande
Pablo Casals discovered an edition in an richness.’ keyboard Bach composed when he was
antiquarian bookshop in Barcelona. He
• Courante living in Weimar. Because of this parallel
started performing them in concerts and
• Sarabande and because of the structure of each suite
eventually recorded them, between 1927 and
• Menuet 1 & 2 described above, it seems almost certain
1939. These suites – sometimes performed
• Gigue that Bach planned the six suites as a
on period instruments with gut strings – have
systematic cycle. This is backed up by the
since become an indispensable part of the The starting point of these solo cello
Cello Suite nr.2 in d, BWV1008 oldest sources: a copy by Johann Peter
repertoire. works is the suite, a series of four stylised
19 JAN 2019
19 JAN 2019
• Prelude Kellner from 1726 and a somewhat later
Despite their slow-burning success, the dances in fixed order, the customary
• Allemande copy by Bach’s wife Anna Magdalena, both
ground-breaking nature of the suites as form in Germany since the end of
• Courante of which were presented as a set of six. The
a compendium of playing techniques – the seventeenth century: allemande,
• Sarabande increasing level of difficulty and expanding
from the simple to the most complex, such courante, sarabande and gigue. In each
• Menuet 1 & 2 emotional scope also strongly indicate a
as double and triple stops – was already of the six suites, Bach inserts a couple
• Gigue predetermined and precise plan.
appreciated in the eighteenth century. In of galanteries, dances of French origin
Cello Suite nr.5 in c, BWV1011 his treatise Die Kunst des Reinen Satzes (always a pair, with the first repeated) — Jens Van Durme
• Prelude in der Musik from 1771, Bach’s pupil Philipp between sarabande and gigue, such as
• Allemande Kirnberger also emphasised their great the menuet in suites 1 and 2, the bourrée
• Courante compositional importance. Less is more: in suites 3 and 4, and the gavotte in suites
• Sarabande only masters of the finer points of harmony 5 and 6. In each case, he precedes the
• Gavotte 1 & 2 and counterpoint can pen a simple melody whole with a prelude, an introduction,
• Gigue in such a way that the addition of a second generally of a free or even improvisational
voice becomes well-nigh impossible. As an character. Each of these dances has a
example of this ‘art of omission’, Kirnberger specific metre (duple or triple) and tempo
explicitly refers to Bach’s six Violin Sonatas (slow - fast), with its own expressive
and six Cello Suites. Restricted to writing for character, from playfully extrovert to
a melodic instrument, with limited options for profoundly intimate. With those mutual
playing chords or creating polyphonic sound, contrasts and the symmetrical, six-
Bach displays his absolute mastery. With movement structure (with the sarabande
minimal means he manages to generate as the emotional centre) Bach thus
maximal harmonic richness. The performer’s creates unprecedented dialectical
© Marios Taramides
suggestive power and the listener’s tension.
imagination are constantly challenged.
Because the original manuscript has
CHAMBER MUSIC been lost, it is difficult to date these
— 12 — — 13 —SAT 19 JAN 2019 Cosy music-making for the ‘learned’ or ‘strict’ way of writing
is particularly apparent in the closing
in the coffee house movements, in which he sometimes
Akademie für Alte Musik Berlin In 1729 Johann Sebastian Bach became
director of Leipzig’s Collegium Musicum.
combines the refrain form with the fugue
(BWV1063 and 1064). In the slow middle
This music society’s members were either movement, lyrical-melodic development
Bach. Harpsichord concertos
talented amateurs or semi-professional usually prevails, often with a tutti beginning
musicians, many of them recruited at the and end.
19.15 Introduction by Ignace Bossuyt Johann Bernhard Bach (1676-1749) university. They played together once or
20.00 Concert hall Orchestral suite nr.1 in g (1729/30) Q twice a week in Gottfried Zimmermann’s The two Concertos for three harpsichords,
— • Ouverture coffee house, or in his coffee garden near BWV1063 and 1064 and the Concerto for
Raphael Alpermann: harpsichord Q • Air to one of the city gates. The programme four harpsichords, BWV1065 are unique
Michaela Hasselt: harpsichord ▲ • Rondeau consisted of vocal and instrumental in their kind. Typically Vivaldian in the
Petteri Pitko: harpsichord ● • Loure music composed by Bach and by his concerto BWV1063 is the unison that
Felice Venanzoni: harpsichord u • Fantaisie contemporaries. During his first years permeates the opening movement. The
• Passepied as director, Bach introduced a genre he second movement is a wonderful ‘alla
Akademie für Alte Musik Berlin: orchestra himself had created: the harpsichord siciliana’. The three harpsichords and the
Georg Kallweit: concert master Johann Sebastian Bach (1685-1750) concerto. The fourteen surviving concertos first violin play together fraternally. Only
Concerto for three harpsichords in C, for one to four harpsichords, with strings the first harpsichord occasionally deviates,
first violin BWV1064 (1735-45?) Q ● u and basso continuo, were mainly intended ending with a brief virtuoso cadenza. In the
Kerstin Erben Allegro / Adagio / Allegro for performance with the Collegium closing fugue, each of the three soloists is
Barbara Halfter Musicum. The six concertos for two to four given a chance to shine, although the first
Thomas Graewe interval harpsichords Bach composed between harpsichord does dominate the final pages
1729 and 1736 were probably intended to (Bach himself?).
19 JAN 2019
19 JAN 2019
second violin Johann Sebastian Bach showcase the talents of his pupils, primarily
Stephan Mai Concerto for three harpsichords in d, those of his two eldest sons Wilhelm Dialogue, ensemble and virtuosity are
Rahel Mai BWV1063 (1735-45?) ▲ Q u Friedemann and Carl Philipp Emmanuel. also the basis of the Concerto for three
Uta Peters Without tempo indication / Bach himself may well have played along harpsichords in C major, BWV1064. Here
Edburg Forck Alla siciliana / Allegro or performed with the strings. the greater independence of the strings
in relation to the harpsichords is striking,
viola Johann Bernhard Bach Most of Bach’s harpsichord concertos especially in the middle movement. In the
Clemens-Maria Nuszbaumer Orchestral suite nr.2 in G (1729/30) Q are transcriptions of his own (lost) Concerto for four harpsichords, BWV1065,
Stephan Sieben • Ouverture concertos, which had violin, oboe and the spirit of Vivaldi can be felt in every
Anja-Regine Graewel • Gavotte and rondeau traverso as soloists. One concerto, movement. Here the soloists clearly
• Sarabande however, is a transcription of a work by predominate. The middle movement is a
cello • Bourrée: gayement another composer: the Concerto for four remarkable intermezzo, without a theme,
Jan Freiheit • Air: grave harpsichords, BWV1065 is an arrangement without melodic development, but purely
Antje Geusen • Menuet of Antonio Vivaldi’s Concerto for four focused on sound and timbre. Chords and
• Gigue violins, op.3, no.10, RV580. a typically violinistic arpeggio create an
double bass exceptional atmosphere, atypical of Bach:
Walter Rumer Johann Sebastian Bach All the concertos follow the classical averse to complexity, but exceptionally
Concerto for four harpsichords in A, structure of the Italian concerto. Taking refined thanks to the enchanting beauty of
bassoon BWV1065 (naar Vivaldi, 1730?) Q ▲ ● u Vivaldi in particular as their model, the four harpsichords.
Christian Beuse Without tempo indication / Largo / Allegro they have three movements, in the
— sequence fast-slow-fast. In the brisk outer One of the contemporaries whose work
This concert is being broadcast live on Klara. movements tutti material is interspersed Bach performed was a distant relative:
Thank you for keeping noise to a minimum, with soloistic interventions. Because Bach Johann Bernhard Bach. Johann Bernhard
also between movements and pieces. has a preference for the contrapuntal composed in the style of Georg Philipp
interweaving of the parts, he focuses more Telemann, with a strong French influence
ORCHESTRAL KEYBOARD With the support of Piano’s Maene than Vivaldi on the dialogue between (such as Bach himself showed in his four
orchestra and soloists. His predilection orchestral suites). It is light-hearted music
— 14 — — 15 —‘zur Gemüthsergötzung’, to delight the SAT 19 JAN 2019
mind, as Bach wrote in some of his works.
A typical French overture, with a marching
‘The fourteen surviving introduction and sprightly second section,
is followed by a series of dances – such as CONTINUUM
concertos for one to the gavotte, sarabande, bourrée, menuet,
Bach. Riddle canons
gigue, loure and passepied – contrasting
four harpsichords, in metre and tempo, and each with its own
with strings and character. These are supplemented with
22.30 Chamber music hall Equal before the law
free pieces, some dance-related, some
basso continuo, were not, such as the air, fantasia and rondeau, —
‘Regis Iussu Cantio Et Reliqua Canonica Arte
which are not tied to a specific character CONTINUUM:
mainly intended for and can vary greatly. La tempeste, which Elfa Rún Kristinsdóttir: violin
Resoluta’ is the inscription Bach gave his
Musikalisches Opfer. Freely translated this
performance with the closes this Suite in G major, is a reference Santiago Medina: violin
Johanna Bartz: traverso
reads: ‘By order of the king, [Frederick II, the
to the French Baroque opera’s inevitable Great] the theme and the rest have been
Collegium Musicum, of storm scene. Daniel Rosin: cello
treated in the canonic style’. The fact that
Liam Byrne: viola da gamba
which Bach was then Elina Albach: harpsichord, musical
the first letters of the words spell ‘ricercar’
is no coincidence. Ricercar means to search
— Ignace Bossuyt
the director.’ direction and arrangements
of the organ works
out, to examine, and these activities are
naturally typical of counterpoint, the strict
—
and yet stimulating rules that govern the
Johann Sebastian Bach (1685-1750)
art of interweaving musical voices. In 1747
• Piece d’orgue, BWV572
Frederick had received the aged Bach at his
• Canon a 2 cancrizans
Sanssouci Palace in Potsdam. During that
19 JAN 2019
19 JAN 2019
• Canon a 2 violini in unisono
visit he gave Bach a complex musical theme
• Dies sind die heiligen zehen Gebot,
and challenged him to improvise a six-voice
BWV678
fugue on it, a challenge even Bach couldn’t
• Canon a 2 per motum contrarium
complete on the spot. Bach’s solution was
• Dies sind die heiligen zehen Gebot, alio
published a little later in his Opfer. The canons
modo, BWV679
on the ‘royal theme’ are some of his purest
• Canon a 2 per augmentationem
experiments with the laws of counterpoint, and
contrario motu
here ‘canon’ can also be read as ‘ecclesiastic
• Canon a 2 per tonos
laws’, a connotation the Enlightenment
• Fuga canonica in epidiapente
monarch will not have missed. The canons
• Christ, unser Herr, zum Jordan kam,
are so abstract that Elina Albach wonders
BWV684
about their aim: ‘The canons don’t fit into any
• Ricercar a 6
concert format, so perhaps Bach wrote them
• Liebster Jesu, wir sind hier, BWV731
as a kind of riddle for his students and other
• Canon perpetuus super thema regium
readers? After months of playing with these
• Canon a 2
pieces, always with that same C minor theme,
• Canon a 4
they almost started to work like contemporary
• Passacaglia in c, BWV582
music for me, especially alongside the typical
Baroque organ works. We’ve not actually
The canons and the Ricercar are taken
changed a note of those latter, but we have
from Das musikalische Opfer, BWV1079
looked at how we can imitate an organ and its
registers with our instruments. And this gives
rise to consort music of a type that Bach never
explicitly wrote.’
— Albert Edelman
CHAMBER MUSIC
— 16 — — 17 —SUN 20 JAN 2019 SUN 20 JAN 2019
Sponte Sua Ensemble Marsyas
Bach, Hotteterre & Telemann Heavenly dialogues
11.00 Chamber music hall For the transverse flute 14.30 Concert hall Heavenly dialogues
— —
Bach’s flute sonatas probably date from As we know from the Nekrolog – the
Pablo Sosa del Rosario: traverso Ensemble Marsyas: ensemble
between 1717 and 1723, when he was serving description of Bach’s life and works
Asako Ueda: lute Peter Whelan: harpsichord &
as Kapellmeister in Köthen. The same is true published in 1754 by his son Carl Philipp
— artistic direction
of his Flute Sonata in C, BWV1033. Unlike Emanuel and former pupil Johann Friedrich
Jacques-Martin Hotteterre (1673-1763) Rachel Redmond: soprano
the three-part sonatas in Vivaldi’s concerto Agricola – Johann Sebastian left Leipzig
Prélude in D, from L’art de préluder André Morsch: baritone
style, this rather traditional work consists of with five volumes of cantatas: music for
opus 7 (1719) Sophie Gent & Henry Tong: violin
four movements, the last of which is a double every Sunday and feast day of the church
Suite nr.1 in d for traverso and continuo Alfonso Leal del Ojo: viola
minuet. The continuo - in this case the lute - year. The first two of these annual cycles,
opus 2 (1708) Sarah McMahon: cello
mainly serves as an accompaniment. which have been almost completely
Christine Sticher: double bass
Bach’s interest in the traverso did not preserved, testify to Bach’s well-nigh
Georg Philipp Telemann (1681-1767) Jasu Moisio, Lidewei de Sterck & Rodrigo
just appear from nowhere. After the superhuman energy, enthusiasm and
Fantasia nr.12 in g for flute, TWV40:13 Guttiérez: oboe
mid-Baroque, the recorder gradually inventiveness. From the third annual cycle
(1733) Philippe Grisvard: organ
disappeared, under the influence of flautists on – the period during which the cantatas
20 JAN 2019
20 JAN 2019
—
Johann Sebastian Bach (1685-1750) such as Johann-Joachim Quantz in in this programme were penned – Bach’s
Johann Sebastian Bach (1685-1750)
Flute Sonata in C, BWV1033 (1736) Germany and Jacques-Martin Hotteterre in production slows. He needs twice as much
Selig ist der Mann, BWV57
Adagio & allegro from Flute Sonata in e, France. Both technically and expressively, the time (mid-1725 to spring 1727) to complete
Concerto and Sinfonia from Geist und
BWV1034 (1724) traverso proved to have far greater potential; the cycle. There is not always enough time
Seele wird verwirret, BWV35
a potential that composers such as Bach and for him to write new cantatas and so he
Ach Gott, wie manches Herzeleid, BWV58
Georg Philipp Telemann explored to the limits regularly uses the work of other composers,
in all sorts of instrumental and vocal genres. such as his cousin Johann Ludwig Bach.
Like Bach, Telemann also composed
technically demanding unaccompanied Unlike the so-called ‘chorale cantata cycles’,
works for traverso. In 1732-33, for example, he a conceptual thread is missing from this
published his 12 Fantasias for Solo Flute in third cycle; Bach often recycles all sorts of
Hamburg. The last in this series, the Fantasia older librettos, written by various authors.
no.12 in G minor, consists of six clearly Striking too are a number of solo and
constructed, connected parts. The French dialogue cantatas in which the choir is only
atmosphere and taste that was becoming given a closing chorale at the most. What
popular in every European court at that time is new, finally, is the fact that Bach adapts
is undeniably audible in Hotteterre’s First movements from his own concertos into
Suite op. 2. This suite of galant style dances introductory instrumental sinfonias, often
from his Premier livre de pièces pour la flûte with a virtuoso organ part that he probably
Stefanie Troffaes’ and Julien traversière dates from 1708, the year in which played himself. A catchy example, full of
Wolfs’ planned concert had to Hotteterre was engaged as a flute virtuoso in rhythmic drive and panache, is the opening
be postponed to a later date. Louis XIV’s Grande Écurie, an ensemble that movement of the alto-solo cantata Geist
provided music for royal occasions. With Dutch surtitles und Seele wird verwirret, BWV35 from 1726.
For this, Bach reworked a movement from
— Jens Van Durme an oboe (or violin) concerto he composed
CHAMBER MUSIC VOCAL in Köthen.
— 18 — — 19 —SUN 20 JAN 2019
Cecilia Bernardini
Biber. Rosary Sonatas
16.30 Chamber music hall Reflection and emotion in
—
Cecilia Bernardini: violin brilliant religious scenes
Skip Sempé, Olivier Fortin, Music with an extra-musical programme
Emmanuel Frankenberg: organ, is usually associated with the Romantic,
virginal & harpsichord but Baroque composers also liked to draw
— inspiration from natural phenomena, battle
Heinrich Ignaz Franz von scenes and religious depictions. When Biber
Biber (1644-1704) was Kapellmeister in Salzburg, for instance,
Rosary Sonata nr.1: Ankündiging he wrote a cycle of fifteen sonatas for
der Geburt Christi (1674?) violin and basso continuo, with an added
passacaglia (a slow dance over a constantly
Johann Kuhnau (1660-1722) recurring bass melody, ed.), known as
prelude from Musicalische Vorstellung the Mystery or the Rosary Sonatas. The
© Jen Owens
einiger biblischer Historien (1700) ‘Mysteries’ are fifteen important events in
20 JAN 2019
20 JAN 2019
the lives of Jesus and the Virgin Mary, which
Heinrich Ignaz Franz von Biber were meditated on during the praying of
Rosary Sonata nr.4: the rosary. In each sonata, Biber had the
Darstellung im Tempel violin tuned differently, thereby creating
Johann Kuhnau exceptional sonorities and tone colours. They
prelude from Musicalische Vorstellung are all works in which virtuoso playing is
The continuous interaction between solo Bach wrote ten or so dialogue cantatas, masterfully combined with deep expression.
organ and ensemble – here strings, two a genre that is very close to opera in Heinrich Ignaz Franz von Biber
oboes and basso continuo – acts like a sort terms of its dramatic content. That is Rosary Sonata nr.10: Die Johann Kuhnau, Bach’s predecessor as
of perpetuum mobile and gives expression certainly true of his cantata Ach Gott, wie Kreuzigung Christi Thomascantor in Leipzig, went a step further
to human confusion. manches Herzeleid, BWV58, which was by explicitly quoting explanatory texts in a
first performed on January 5, 1727, the Johann Kuhnau series of musical interpretations of Biblical
Although expressly written for the Second Sunday between New Year’s Day (church- prelude from Musicalische Vorstellung stories. These texts were preferably also
Day of Christmas, 1725, the cantata Selig historically the Feast of the Circumcision) read out during the performance. Kuhnau’s
is der Mann, der die Anfechtung erduldet, and Epiphany. In this symmetrically Heinrich Ignaz Franz von Biber Biblical Sonatas were the first keyboard
BWV57, actually commemorates Saint constructed Dialogus, Jesus and the Soul Rosary Sonata nr.15: Mariae Krönung compositions to have a detailed narrative
Stephen, whose feast day also falls on converse, against a background Gospel programme. His primary aim here was to
Johann Kuhnau
26 December. In an allegorical dialogue text about the flight to Egypt and Herod’s convey the expressive power and effect of
prelude from Musicalische Vorstellung
between Jesus and the faithful Soul, slaughter of all male children of two years the music directly to the listener, so that he or
Georg Christian Lehms’ libretto takes the old and under. The central movement is the Heinrich Ignaz Franz von Biber she will not only understand it intellectually,
suffering of this first Christian martyr as an dancing soprano aria with obbligato solo Passacaglia but also feel it emotionally. Like Biber’s violin
example of the trials every Christian has violin and the for us paradoxical text ‘Ich sonatas, they are sublime gems.
to face to attain eternal life. Bach takes up bin vergnügt in meinem Leiden, denn Gott
this concept and calls the work a concerto ist meine Zuversicht’ (I am happy in my — Ignace Bossuyt
in dialogo, a dialogue cantata, for bass sorrow, because I trust in God).
(Vox Christi) and soprano (Anima/Soul). CHAMBER MUSIC
— Jens Van Durme
— 20 — — 21 —SUN 20 JAN 2019
Collegium Vocale Gent
O ewiges Feuer
19.15 Introduction by Ignace Bossuyt Bach’s heavenward gaze
20.00 Concert hall
Ascension and Pentecost – the apostles
—
stare at the sky in awe: just as Jesus
Collegium Vocale Gent:
promised, God has sent mankind the Holy
choir and orchestra
Spirit, the fire that kindles faith and love. O
see p. 26
ewiges Feuer, o Ursprung der Liebe is the
Philippe Herreweghe: conductor
opening chorus of a cantata Bach composed
Dorothee Mields: soprano
for Pentecost Sunday, probably for the year
Alex Potter: alto
1746 or 1747. It is one of the last cantatas he
Thomas Hobbs: tenor
composed, or in this case, adapted from an
Peter Kooij: bass
earlier work written in 1725 or 1726. Its central
—
theme is the often used metaphor of the
Johann Sebastian Bach (1685-1750)
heart as the place where God resides. The
O ewiges Feuer, o Ursprung der Liebe,
librettist makes that link, using the first verse
20 JAN 2019
20 JAN 2019
BWV34
of the Pentecostal reading from the Gospel
Also hat Gott die Welt geliebt, BWV68
of John: ‘If anyone loves Me, he will keep My
word; and My Father will love him, and We will
interval
come to him and make Our home with him’
The cantata Also hat Gott die Welt geliebt Gospel reading, inspired Bach to compose
Johann Sebastian Bach (John 14: 23).
was composed for Whit Monday, the a brilliant ‘old-style’ double fugue, in which
Lobet Gott in seinen Reichen second day of Pentecost, to one of the nine the complex, almost endless interweaving
This is a festive composition, so there are
(Himmelfahrts-Oratorium), BWV11 texts Bach selected in 1725 from the oeuvre of voices is a reference to the eternal truth
trumpets and timpani. The instrumental
of talented poet Mariane von Ziegler. As of God’s word.
introduction of the opening chorus, O ewiges
is often the case with Bach, the opening
Feuer, immediately interprets that text:
chorus is based on a recycled chorale For the Feast of the Ascension in 1738,
the flames flare up in the violins, the long-
melody, which he adapts into a magnificent Bach composed a cantata in the form of
sustained tone of the trumpet stands for the
concertato composition. It begins fittingly an oratorio, with a narrative element taken
eternal. That this is the right interpretation
with the first words of the Gospel reading: from Gospel texts, as he did in his Passions.
can then clearly be heard in the choir, which
Also hat Gott die Welt geliebt (For God so The two recitatives are reflections on
in addition to the ewiges and Feuer also
loved the world). This is not an exuberant Jesus’s departure (Ach, Jesu, ist dein
accentuates the Liebe with lavish melisma.
jubilation with trumpets and timpani, but a Abschied and Ach ja! So komme bald
The alto aria Wohl euch, ihr ausgewählten
lyrical-pastoral love song with strings and zurück) and the arias are conceived as
Seelen is a wonderful pastoral idyll, in which
oboes, permeated with restrained joy. The prayers (Ach bleibe doch, for alto and
the heavenly timbre of two flutes and violins
soprano aria, as its text Mein glaübiges violins, and Jesu, deine Gnadenblicke, for
con sordino garland the singing voice. This
Herze, frohlocke, sing dictates, is a high- soprano, two traversos, oboe and strings
radiates an unearthly calm. The solemn
spirited call for rejoicing, with violin, oboe in unison). The cantata begins with a
call for peace, which opens the closing
and violoncello piccolo. In the aria Du chorus praising God (Lobet Gott in seinen
With Dutch surtitles chorus, Friede über Israel, shifts into an
bist geboren mir zugute the bass, nicely Reichen) and it has chorales in the middle
enthusiastic song of joy, Dankt den höchsten
enhanced by three oboes, sings about faith and at the end (Nun lieget alles unter
Wunderhänden, with the full complement of
in God. The text of the closing chorus, Wer dir and Wenn soll es doch geschehen).
VOCAL strings, oboes, trumpets and timpani.
an ihn gläubet, once again taken from the Unlike the Passions and the Christmas
— 22 — — 23 —Benefit concert for
and Easter oratorios, this oratorio is
primarily a reflective work with no featured
basso continuo as harmonic underpinning
symbolises the heavenward gaze, rising the Royal Villa Health
characters, except briefly for two angels.
Reflection does not mean, however, that
free from the world. In the closing chorale,
Wenn sol ich doch geschehen, Bach Centre in Ostend
the festive element is lacking: in the grand masterfully integrates the chorale into a
opening chorus Bach backs up the strings, jubilant instrumental concerto for the full
oboes and flutes with trumpets and ensemble.
timpani. The first Gospel narration (Der
Last year, Concertgebouw Brugge and
Herr Jesus) is followed by two solos: one — Ignace Bossuyt
Collegium Vocale Gent held a highly
for the bass, Ach, Jesu, an accompagnato
successful benefit concert in support of
recitative with flutes, a lament for Jesus’s
medical projects in Katako-Kombe, in
departure; and, as an extension of this, a
Congo. Within a context of responsible
beautiful alto aria Ach, bleibe doch, which
social entrepreneurship, we intend to
Bach later reworked for the Agnus Dei of
continue such cooperation in 2019.
his Mass in B minor. The simple chorale
Nun lieget alles über dich is then followed
by the Biblical narrative about the ‘two
To this end we have programmed the world
men dressed in white’, interrupted by a
premiere of Collegium Vocale Gent and
brief alto reflection Ach ja! So komme The Royal Villa is part of
Clara Pons’s film-concert Lebenslicht on
bald zurück. In the soprano aria Jesu, the BZIO group (Bundling
Friday evening, 18 January as a benefit
deine Gnadenblikke the absence of the of Care Initiatives Ostend).
20 JAN 2019
concert in support of a charity in our
BENEFIT
Next to the Royal Villa,
own country: the Royal Villa oncological
the group also includes
rehabilitation centre, in Ostend.
a rehabilitation centre, a
As a health centre and a care hotel, the
rehabilitation hospital and a
Royal Villa promotes life and quality of
care home. The rehabilitation
life, with a particular focus on a healthy
centre within the Royal
lifestyle and wellbeing. In its various
Villa is an extension of
rehabilitation programmes, cancer
the rehabilitation Centre
patients, their relatives and friends can
IMBO. In the care hotel one
meet and mingle with others with similar
can completely relax in a
experiences. This Royal Villa Ostend care
beautiful part of the coastal
programme was started to meet a need
heritage. 10 ergonomically
for specialised cancer rehabilitation and
designed rooms guarantee
from the very beginning its aim was to
comfortable recovery or a
help cancer patients reintegrate into
holiday by the sea. The rooms
society as soon as possible after their
are adapted to the patients’
treatment. Oncological rehabilitation
care needs. The Royal Villa
with holistic vision increases a cancer
is a real oasis of tranquillity
patient’s quality of life both during and
and hence the ideal place for
after treatment. This benefit is greatly
patients to recover, to relax
enhanced by the group interaction with
and to revitalise.
fellow patients, which has a strengthening
© Michiel Hendryckx
and encouraging effect. Patients
www.koninklijkevilla.be
with other pathologies are meanwhile
also welcome in the Royal Villa.
— 24 — — 25 —Collegium Vocale Gent Biographies
Choir Orchestra traverso
Patrick Beuckels Collegium Vocale Gent (BE) was
soprano first violin Jan Van den Borre founded in 1970 on the initiative of
Dorothee Mields Christine Busch Philippe Herreweghe. It was one of the The Akademie für Alte Musik Berlin (DE),
Annelies Brants Isabelle Farr oboe first ensembles to apply new insights Akamus for short, was founded in 1982. It
Chiyuki Okamura Maria Roca Marcel Ponseele about Baroque performance practice is one of the world’s top orchestras, with
Magdalena Podkościelna Taka Kitazato to vocal music. For each project, the its own concert series in its home city and
second violin Timothée Oudinot ▲ ensemble brings together the ideal cast, in Munich, and regular collaborations with
contratenor Dietlind Mayer which allows them to perform a wide the Staatsoper Unter den Linden, the RIAS
Alex Potter Marieke Bouche cornet repertoire, from Renaissance polyphony Kammerchor, Sasha Waltz & Guests, and
Piotr Olech Lotta Suvanto Marleen Leicher to contemporary music. Baroque music, René Jacobs. Bach’s dialogue cantatas,
Cécile Pilorger particularly that of J.S. Bach, is central the most recent of its many acclaimed
Alexander Schneider viola trombone to the ensemble’s concert calendar. recordings, features Sophie Karthäuser
Deirdre Dowling Simen Van Mechelen Collegium Vocale Gent have made dozens and Michael Volle as vocal soloists.
tenor Kaat De Cock Claire McIntyre of recordings: featuring Renaissance Raphael Alpermann (DE), who has been
Thomas Hobbs Joost Swinkels polyphony, Baroque music, Classical and involved with Akamus since its foundation,
Malcolm Bennett cello Romantic oratorios and contemporary teaches at the Hanns Eisler School where
Johannes Gaubitz Ageet Zweistra bassoon music. The ensemble and their conductor he himself trained. He is also regularly to
are the central guests at the annual be heard with the Berliner Philharmoniker
HEAVEN ON EARTH
Vincent Lesage Harm-Jan Schwitters Julien Debordes
Bach Academy Bruges in January. and other famous orchestras. As a child
BIOGR APHIES
bass piccolo cello trumpet Michaela Hasselt (DE) tried out all
Peter Kooij Ageet Zweistra ▲ Alain De Rudder ▲ kinds of instruments before ultimately
Philipp Kaven Steven Verhaert ▲ Philippe Herreweghe (BE) is undeniably choosing the harpsichord, which she
Robert van der Vinne double bass Yorick Roscam ▲ one of the specialists in Renaissance and studied in Munich, Berlin and finally
Bart Vandewege Miriam Shalinsky Baroque music. This is amply evidenced Leipzig. Based in that latter city, she
tromba da tirarsi by his work with Collegium Vocale Gent, performs with a wide range of ensembles,
organ Alain De Rudder ● La Chapelle Royale and the Ensemble from Baroque to Contemporary. Felice
Maude Gratton Vocal Européen. His energetic, authentic Venanzoni (IT) is a harpsichordist,
timpani and rhetorical approach to this repertoire coach and conductor, for instance at
Michael Juen ▲ is universally praised. Since 1991, he Oper Frankfurt and the Semperoper in
has also devoted his attention to the Dresden. He also regularly participates in
Classical and Romantic repertoire, with the opera productions of the renowned
the Orchestre des Champs-Elysées. Ensemble Matheus, with which he has
Since 1997, he has been a regular guest appeared in New York, Beaune, Stockholm
conductor of the Antwerp Symphony and the Salzburger Festspiele. Petteri
Orchestra, with which he has focussed Pitko (FI) leads the Finnish Baroque
on a refreshing interpretation of (pre) Orchestra and also performs regularly
Romantic music. A few years ago Philippe with the Sheridan Ensemble. Interested
Herreweghe founded the record label in new harpsichord music, he has
Phi, which has meanwhile released premiered work by Misato Mochizuki,
over 30 CDs featuring very diverse Sarah Nemtsov, Perttu Haapanen,
repertoire from Collegium Vocale Gent, Sebastian Fagerlund and Jyrki Linjama.
the Orchestre des Champs-Elysées and
various soloist and ensemble friends. In
2010 the city of Leipzig awarded Philippe
● 18 January Herreweghe its prestigious Bach Medal.
▲ 20 January
— 27 —Graduating from Amsterdam After studying Germanic languages,
Conservatory with the highest distinction Olav Grondelaers (BE) followed his
and winning numerous competition prizes late calling and became a classical
got the career of Cecilia Bernardini (NL) Ignace Bossuyt (BE) is Professor Emeritus Winners of the International Musica guitarist. He was awarded his master’s
off to a glorious start. She now regularly of Leuven University’s Musicology Antiqua Competition Bruges in 2007, degree in guitar and lute in 1998 at the
performs with illustrious ensembles, such Research Unit. His research is primarily Ensemble Marsyas (UK) are now an Brussels Conservatory. In 1999 he started
as the Scottish Chamber Orchestra, focussed on Renaissance polyphony. integral part of the English, Scottish work as a music compiler at what was
Camerata Salzburg, the Netherlands He also regularly publishes for a wider and Irish music scene. In 2017 their CD then Radio 3. Since last autumn, he
Bach Society and the Dunedin Consort, audience. Leuven University Press Edinburgh 1742, which brings together has hosted Music Matters on Klara.
with whom she has previously appeared recently published his monograph De the music of Handel and Barsanti, was
at the Bach Academy. She also plays oratoria van Alessandro Scarlatti and chosen by Gramophone as CD of the Year.
in a duo with pianist Keiko Shichijo. his book about Bach’s Mass in B minor. Artistic Director of the ensemble The Hildebrandt Consort (BE) is named
Skip Sempé (US) and his Capriccio Peter Whelan (IE) is a bassoonist and after Zacharias Hildebrandt, an organ
Stravagante are at the forefront of early harpsichordist who is equally at home builder and contemporary of Johann
music. A few years ago, Skip recorded Andreas Brantelid (SE/DK) was an on both period and modern instruments. Sebastian Bach, who thought very highly
Jean Gilles’s Requiem in Bruges together early starter. He was given his first music Since last year, he has been Artistic of him. Besides Baroque, the consort
with Collegium Vocale Gent, a production lessons by his father Ingemar and made Director of the Irish Baroque Orchestra. also enters into cross-overs, such as its
that still tours. Since garnering great his debut as an orchestral soloist at He is also one of the artistic forces behind collaboration with De Nieuwe Snaar for
success in the Bruges harpsichord the age of 14, performing Elgar’s Cello the Irish National Opera. Rachel Redmond Nekka Nacht in Antwerp’s Sportpaleis.
competition, Olivier Fortin (CA) has won Concerto with the Royal Danish Orchestra. (UK) began her career as a member of Wouter Dekoninck (BE) studied at the
himself world renown as a soloist and Among his numerous recitals and Le Jardin des Voix, Les Arts Florissants’ Lemmensinstituut in Leuven and is
as artistic director of his own ensemble orchestral performances, his concerts programme for talented young singers. titular organist of the historic Penceler
Masques. His recording of Couperin’s performed at the invitation of Philippe She has appeared as a soloist with organ (1714) in Saint Gertrude’s church
key work L’art de toucher le clavecin Herreweghe are particularly worthy numerous French and international in Leuven. With his own ensemble, he
BIOGR APHIES
BIOGR APHIES
was recently published by Outhere. of note. Andreas plays the 1707 ‘Boni- ensembles, such as Aedes, Les Cris de often plays his own transcriptions, such
Emmanuel Frankenberg (NL) plays the Hegar’ Stradivarius, generously made Paris, Capriccio Stravagante and the as a Grosse Messe based on Bach’s
harpsichord and the natural horn. He has available to him by Christen Sveaas. Dunedin Consort. Until last year, André Clavier-Übung III (German Organ Mass).
performed with numerous ensembles, Morsch (DE) was a member of Oper
including Akamus, the Orchestra of Stuttgart’s ensemble. In December
Thomas Hobbs (GB) studied at the Royal
the Eighteenth Century and Capriccio CONTINUUM (DE) are an adventurous he appeared at the National Opera
College of Music and has since sung with
Stravagante. He is also a member of young ensemble who explore the ‘essence’ Amsterdam in Enescu’s Oedipe.
ensembles such as I Fagiolini, Dunedin
the acclaimed Goldfinch Ensemble. of early music and push the boundaries His repertoire ranges from Bach to
Consort, Classical Opera Company,
of tradition. Since their debut in 2015, Martin and from opera to lied.
Accademia Bizantina, Pygmalion,
Wim Berteloot (BE) is city carillonneur they have performed at the Thüringer
Akademie für Alte Musik Berlin and the
of Bruges, where he previously assisted Bachwochen, Bachfest Leipzig and
Bournemouth Symphony Orchestra.
Frank Deleu for a number of years. He Radialsystem V, often with a specially
With gambist Romina Lischka and
studied at Ghent Conservatory and the developed theatrical concept. Last year
lutenist Sofie Vanden Eynde, he released
Carillon School ‘Jef Denyn’ in Mechelen. they released the CD Traumwerk, a
the CD Orpheus’ Noble Strings.
He is conductor of the male-voice concept album collaboration with actor/
choir De Kerels. He regularly composes rapper Robert Gwisdek. Elina Albach
music for choir and for carillon. (DE), daughter of a musical Berlin Johan Huys (BE) studied piano, organ,
family, studied under teachers such as music history and chamber music in
Jörg-Andreas Bötticher, Ton Koopman Ghent. He had a fine concert career,
and Rudolf Lutz. She is a beneficiary both as a soloist and in chamber music.
of Podium Esslingen’s #BeBeethoven He also taught harpsichord at the
fellowship programme, which gives young Ghent Conservatory, where he was
artists space to explore and develop. principal from 1982 to 1996. Since 1977
he has been chairman of the Musica
Antiqua Brugge competition. He is also
Chairman of the Orpheus Institute.
— 28 — — 29 —You can also read
