Because Lutherans do not have a fixed funeral service, Brahms selected texts from various Biblical sources for his German Requiem. Resident artists Vox Luminis trace a path from those texts to some of the familiar and less-familiar pages of their core repertoire, works that set to music exactly the same texts that Brahms selected.

With the support of Wallonie-Bruxelles International.

Because Lutherans do not have a fixed funeral service, Brahms selected texts from various Biblical sources for his German Requiem. Resident artists Vox Luminis trace a path from those texts to some of the familiar and less-familiar pages of their core repertoire, works that set to music exactly the same texts that Brahms selected.

With the support of Wallonie-Bruxelles International.

Because Lutherans do not have a fixed funeral service, Brahms selected texts from various Biblical sources for his German Requiem. Resident artists Vox Luminis trace a path from those texts to some of the familiar and less-familiar pages of their core repertoire, works that set to music exactly the same texts that Brahms selected.

With the support of Wallonie-Bruxelles International.

Because Lutherans do not have a fixed funeral service, Brahms selected texts from various Biblical sources for his German Requiem. Resident artists Vox Luminis trace a path from those texts to some of the familiar and less-familiar pages of their core repertoire, works that set to music exactly the same texts that Brahms selected.

With the support of Wallonie-Bruxelles International.

Nisi Dominus, HWV 238
Concerto for organ: selection out of opus 4 and opus 7
Laudate Pueri, HWV 237
Dixit Dominus, HWV 232

Georg Friedrich Haendel came of age in … Italy. He lived there for five years and fully mastered the Italian style between 1706 and 1710. He came to Rome in 1707, immediately winning over his Roman patrons with the liturgical, sometimes festive, sometimes intimate compositions Dixit dominus and Nisi dominus. Lionel Meunier and Vox Luminis rejoice in three brilliant, extroverted psalm settings Haendel wrote in Rome for the noble Colonna family.

Coproduction: Perpodium
Supported by the Tax Shelter of the Belgian federal government via Cronos Invest.

Nisi Dominus, HWV 238
Concerto for organ: selection out of opus 4 and opus 7
Laudate Pueri, HWV 237
Dixit Dominus, HWV 232

Georg Friedrich Haendel came of age in … Italy. He lived there for five years and fully mastered the Italian style between 1706 and 1710. He came to Rome in 1707, immediately winning over his Roman patrons with the liturgical, sometimes festive, sometimes intimate compositions Dixit dominus and Nisi dominus. Lionel Meunier and Vox Luminis rejoice in three brilliant, extroverted psalm settings Haendel wrote in Rome for the noble Colonna family.

Coproduction: Perpodium
Supported by the Tax Shelter of the Belgian federal government via Cronos Invest.

Nisi Dominus, HWV 238
Concerto for organ: selection out of opus 4 and opus 7
Laudate Pueri, HWV 237
Dixit Dominus, HWV 232

Georg Friedrich Haendel came of age in … Italy. He lived there for five years and fully mastered the Italian style between 1706 and 1710. He came to Rome in 1707, immediately winning over his Roman patrons with the liturgical, sometimes festive, sometimes intimate compositions Dixit dominus and Nisi dominus. Lionel Meunier and Vox Luminis rejoice in three brilliant, extroverted psalm settings Haendel wrote in Rome for the noble Colonna family.

Coproduction: Perpodium
Supported by the Tax Shelter of the Belgian federal government via Cronos Invest.

Nisi Dominus, HWV 238
Concerto for organ: selection out of opus 4 and opus 7
Laudate Pueri, HWV 237
Dixit Dominus, HWV 232

Georg Friedrich Haendel came of age in … Italy. He lived there for five years and fully mastered the Italian style between 1706 and 1710. He came to Rome in 1707, immediately winning over his Roman patrons with the liturgical, sometimes festive, sometimes intimate compositions Dixit dominus and Nisi dominus. Lionel Meunier and Vox Luminis rejoice in three brilliant, extroverted psalm settings Haendel wrote in Rome for the noble Colonna family.

Coproduction: Perpodium
Supported by the Tax Shelter of the Belgian federal government via Cronos Invest.

Nisi Dominus, HWV 238
Concerto for organ: selection out of opus 4 and opus 7
Laudate Pueri, HWV 237
Dixit Dominus, HWV 232

Georg Friedrich Haendel came of age in … Italy. He lived there for five years and fully mastered the Italian style between 1706 and 1710. He came to Rome in 1707, immediately winning over his Roman patrons with the liturgical, sometimes festive, sometimes intimate compositions Dixit dominus and Nisi dominus. Lionel Meunier and Vox Luminis rejoice in three brilliant, extroverted psalm settings Haendel wrote in Rome for the noble Colonna family.

Coproduction: Perpodium
Supported by the Tax Shelter of the Belgian federal government via Cronos Invest.

Nisi Dominus, HWV 238
Concerto for organ: selection out of opus 4 and opus 7
Laudate Pueri, HWV 237
Dixit Dominus, HWV 232

Georg Friedrich Haendel came of age in … Italy. He lived there for five years and fully mastered the Italian style between 1706 and 1710. He came to Rome in 1707, immediately winning over his Roman patrons with the liturgical, sometimes festive, sometimes intimate compositions Dixit dominus and Nisi dominus. Lionel Meunier and Vox Luminis rejoice in three brilliant, extroverted psalm settings Haendel wrote in Rome for the noble Colonna family.

Coproduction: Perpodium
Supported by the Tax Shelter of the Belgian federal government via Cronos Invest.

Nisi Dominus, HWV 238
Concerto for organ: selection out of opus 4 and opus 7
Laudate Pueri, HWV 237
Dixit Dominus, HWV 232

Georg Friedrich Haendel came of age in … Italy. He lived there for five years and fully mastered the Italian style between 1706 and 1710. He came to Rome in 1707, immediately winning over his Roman patrons with the liturgical, sometimes festive, sometimes intimate compositions Dixit dominus and Nisi dominus. Lionel Meunier and Vox Luminis rejoice in three brilliant, extroverted psalm settings Haendel wrote in Rome for the noble Colonna family.

Coproduction: Perpodium
Supported by the Tax Shelter of the Belgian federal government via Cronos Invest.

Nisi Dominus, HWV 238
Concerto for organ: selection out of opus 4 and opus 7
Laudate Pueri, HWV 237
Dixit Dominus, HWV 232

Georg Friedrich Haendel came of age in … Italy. He lived there for five years and fully mastered the Italian style between 1706 and 1710. He came to Rome in 1707, immediately winning over his Roman patrons with the liturgical, sometimes festive, sometimes intimate compositions Dixit dominus and Nisi dominus. Lionel Meunier and Vox Luminis rejoice in three brilliant, extroverted psalm settings Haendel wrote in Rome for the noble Colonna family.

Coproduction: Perpodium
Supported by the Tax Shelter of the Belgian federal government via Cronos Invest.

Franz Liszt (1811 – 1886) – Les Préludes (1854)
Franz Liszt (1811 – 1886) – Totentanz (1849)
Gabriel Fauré (1845 – 1924) – Requiem Op.48 (version 1893)

Franz Liszt (1811 – 1886) – Les Préludes (1854)
Franz Liszt (1811 – 1886) – Totentanz (1849)
Gabriel Fauré (1845 – 1924) – Requiem Op.48 (version 1893)

Franz Liszt (1811 – 1886) – Les Préludes (1854)
Franz Liszt (1811 – 1886) – Totentanz (1849)
Gabriel Fauré (1845 – 1924) – Requiem Op.48 (version 1893)

Franz Liszt (1811 – 1886) – Les Préludes (1854)
Franz Liszt (1811 – 1886) – Totentanz (1849)
Gabriel Fauré (1845 – 1924) – Requiem Op.48 (version 1893)

Without Giacomo Carissimi, the oratorio and the recitative might never have existed. The 17th-century Italian composer – an important predecessor of, and source of inspiration for Antonio Vivaldi – turned out to be a brilliant free spirit at the time of the counter-reformation. He was an advocate of emotional music to convert the people, and smuggled the intense expression of the opera into spiritual music. Operas were created with his masterly oratorios – inspired by Bible stories such as those of Jeptha and Jonas, and his reflections on the transience of worldly ambitions in Vanitas Vanitatum. These include all the drama, tension and broad emotional spectrum characteristic of 17th-century opera.

Without Giacomo Carissimi, the oratorio and the recitative might never have existed. The 17th-century Italian composer – an important predecessor of, and source of inspiration for Antonio Vivaldi – turned out to be a brilliant free spirit at the time of the counter-reformation. He was an advocate of emotional music to convert the people, and smuggled the intense expression of the opera into spiritual music. Operas were created with his masterly oratorios – inspired by Bible stories such as those of Jeptha and Jonas, and his reflections on the transience of worldly ambitions in Vanitas Vanitatum. These include all the drama, tension and broad emotional spectrum characteristic of 17th-century opera.

Vox Luminis brings the enchanting story of The Fairy Queen to life. The Fairy Queen draws its inspiration from Shakespeare’s A Midsummer Night’s Dream, a piece that also strongly stimulates the visual imagination. The brilliant voices of Vox Luminis will resound amongst a spirited shadow play balancing between reality and subconsciousness, a new project by artistic director Lionel Meunier and scenographer Emilie Lauwers, in cooperation with dramaturge Isaline Claeys and filmmaker Mário Melo Costa.

Co-production : Concertgebouw Brugge

Vox Luminis brings the enchanting story of The Fairy Queen to life. The Fairy Queen draws its inspiration from Shakespeare’s A Midsummer Night’s Dream, a piece that also strongly stimulates the visual imagination. The brilliant voices of Vox Luminis will resound amongst a spirited shadow play balancing between reality and subconsciousness, a new project by artistic director Lionel Meunier and scenographer Emilie Lauwers, in cooperation with dramaturge Isaline Claeys and filmmaker Mário Melo Costa.

Co-production : Concertgebouw Brugge

Vox Luminis brings the enchanting story of The Fairy Queen to life. The Fairy Queen draws its inspiration from Shakespeare’s A Midsummer Night’s Dream, a piece that also strongly stimulates the visual imagination. The brilliant voices of Vox Luminis will resound amongst a spirited shadow play balancing between reality and subconsciousness, a new project by artistic director Lionel Meunier and scenographer Emilie Lauwers, in cooperation with dramaturge Isaline Claeys and filmmaker Mário Melo Costa.

Co-production : Concertgebouw Brugge

Vox Luminis brings the enchanting story of The Fairy Queen to life. The Fairy Queen draws its inspiration from Shakespeare’s A Midsummer Night’s Dream, a piece that also strongly stimulates the visual imagination. The brilliant voices of Vox Luminis will resound amongst a spirited shadow play balancing between reality and subconsciousness, a new project by artistic director Lionel Meunier and scenographer Emilie Lauwers, in cooperation with dramaturge Isaline Claeys and filmmaker Mário Melo Costa.

Co-production : Concertgebouw Brugge

Because Lutherans do not have a fixed funeral service, Brahms selected texts from various Biblical sources for his German Requiem. Vox Luminis traces a path from those texts to some of the familiar and less-familiar pages of their core repertoire, works that set to music exactly the same texts that Brahms selected.

Because Lutherans do not have a fixed funeral service, Brahms selected texts from various Biblical sources for his German Requiem. Vox Luminis traces a path from those texts to some of the familiar and less-familiar pages of their core repertoire, works that set to music exactly the same texts that Brahms selected.

Because Lutherans do not have a fixed funeral service, Brahms selected texts from various Biblical sources for his German Requiem. Vox Luminis traces a path from those texts to some of the familiar and less-familiar pages of their core repertoire, works that set to music exactly the same texts that Brahms selected.

“This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.

“This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.

“This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.

“This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.

“This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.

Vox Luminis cast new light on Bach’s St John Passion. Together with the Freiburger Baroque Orchestra, they perform the second version of this work and not the familiar third. The ink on the opening and closing choruses in this second version was barely dry when they were first performed on 30 March, 1725. These movements give the Passion a more subdued feel. Different yet familiar.

Vox Luminis cast new light on Bach’s St John Passion. Together with the Freiburger Baroque Orchestra, they perform the second version of this work and not the familiar third. The ink on the opening and closing choruses in this second version was barely dry when they were first performed on 30 March, 1725. These movements give the Passion a more subdued feel. Different yet familiar.

“This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.

In the mid-16th century, a heated debate raged in the Vatican about polyphony in religious practice. The complex play of simultaneously sung lines made it difficult to understand the words, sceptics maintained, which was good reason to ban polyphonic music from the liturgy. Their most notorious opponent – as legend has it – was Pope Marcellus II. His adamant insistence that polyphony could in fact be clearly understood may have been the most remarkable statement of his papacy, which only lasted 22 days. Giovanni Pierluigi da Palestrina was charged with writing a new mass to prove the Pope right. The Missa Papae Marcelli is a success in every respect: transparent textures ensure the texts are fluent without the slightest compromise in terms of style or refinement. The piece became a paragon of Tridentine polyphony, inspiring generations of composers and leading to the epithet ‘saviour of polyphony’ for da Palestrina.

In the mid-16th century, a heated debate raged in the Vatican about polyphony in religious practice. The complex play of simultaneously sung lines made it difficult to understand the words, sceptics maintained, which was good reason to ban polyphonic music from the liturgy. Their most notorious opponent – as legend has it – was Pope Marcellus II. His adamant insistence that polyphony could in fact be clearly understood may have been the most remarkable statement of his papacy, which only lasted 22 days. Giovanni Pierluigi da Palestrina was charged with writing a new mass to prove the Pope right. The Missa Papae Marcelli is a success in every respect: transparent textures ensure the texts are fluent without the slightest compromise in terms of style or refinement. The piece became a paragon of Tridentine polyphony, inspiring generations of composers and leading to the epithet ‘saviour of polyphony’ for da Palestrina.

In the mid-16th century, a heated debate raged in the Vatican about polyphony in religious practice. The complex play of simultaneously sung lines made it difficult to understand the words, sceptics maintained, which was good reason to ban polyphonic music from the liturgy. Their most notorious opponent – as legend has it – was Pope Marcellus II. His adamant insistence that polyphony could in fact be clearly understood may have been the most remarkable statement of his papacy, which only lasted 22 days. Giovanni Pierluigi da Palestrina was charged with writing a new mass to prove the Pope right. The Missa Papae Marcelli is a success in every respect: transparent textures ensure the texts are fluent without the slightest compromise in terms of style or refinement. The piece became a paragon of Tridentine polyphony, inspiring generations of composers and leading to the epithet ‘saviour of polyphony’ for da Palestrina.

In the mid-16th century, a heated debate raged in the Vatican about polyphony in religious practice. The complex play of simultaneously sung lines made it difficult to understand the words, sceptics maintained, which was good reason to ban polyphonic music from the liturgy. Their most notorious opponent – as legend has it – was Pope Marcellus II. His adamant insistence that polyphony could in fact be clearly understood may have been the most remarkable statement of his papacy, which only lasted 22 days. Giovanni Pierluigi da Palestrina was charged with writing a new mass to prove the Pope right. The Missa Papae Marcelli is a success in every respect: transparent textures ensure the texts are fluent without the slightest compromise in terms of style or refinement. The piece became a paragon of Tridentine polyphony, inspiring generations of composers and leading to the epithet ‘saviour of polyphony’ for da Palestrina.