Roland de Lassus composed more than eighty masses, of which only two are Requiems; it is not possible to link them to the funerals of any particular individuals.

The four-part Missa pro defunctis was published in Paris in 1577. The library of an abbey in Augsburg, however, contains a transposed manuscript copy intended for an ensemble of male voices (tenors, baritones and basses). What is more, this manuscript copy includes a Dies Irae that does not appear in the Paris edition. The five-part Requiem was published in 1589, five years before Lassus’s death.

Here, our ensemble presents both compositions, highlighting the contrasting colours of the two vocal ensembles: the gravity of the four-part Requiem against the light of the five-part setting.

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In previous years, the Atelier “Wege zu Bach” has explored the key composers who inspired Bach. These came from all over Europe and included Giovanni Gabrieli, Jan Pieterszoon Sweelinck, Heinrich Schütz and Dieterich Buxtehude, but also his own family. This year, under the direction of Lionel Meunier once again, the Atelier puts the spotlight on Bach himself. Although Bach’s six motets BWV 225–230 represent only a tiny fraction of his vast catalogue of sacred music, they occupy a special place within it.

The first works to be printed after Bach’s death in 1802/03, they soon gained a foothold in the flourishing middle-class concert scene. They can be performed a cappella or with instrumental accompaniment. Lionel Meunier decided to have the participants of the atelier perform them accompanied by – naturally! – the organ. In combination with one of Schnitger’s best-preserved instruments, their wealth of colours and blend of choral warmth and solistic virtuosity will once again provide an unforgettable experience.