2026 | |||
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November 8, 11:00
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Austria
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Mozarteum, Salzburg Missa in Angustiis (« Nelson Mass ») – J. Haydn +
Music is never created in a vacuum. Anyone who listens to the great works of the past is also listening to the era in which they were written, a time of upheaval, conflict and hope. Following the French Revolution, the world order was thrown completely out of balance: the wars waged by the monarchies against Napoleonic France left no one untouched.
This programme echoes that history. Camerata Salzburg, Vox Luminis XL and Lionel Meunier perform works that refer directly to the events of that time centred on Haydn’s impressive Missa in angustiis. Composed amidst the Anglo-French naval conflict, it was named after the British admiral Horatio Nelson, who won the Battle of Abukir. A work that breathed the turmoil of its time and still has something to say to us today, in these once again war-torn times. Coproduction: Perpodium |
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November 6, 19:00
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Austria
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Mozarteum, Salzburg Missa in Angustiis (« Nelson Mass ») – J. Haydn +
Music is never created in a vacuum. Anyone who listens to the great works of the past is also listening to the era in which they were written, a time of upheaval, conflict and hope. Following the French Revolution, the world order was thrown completely out of balance: the wars waged by the monarchies against Napoleonic France left no one untouched.
This programme echoes that history. Camerata Salzburg, Vox Luminis XL and Lionel Meunier perform works that refer directly to the events of that time centred on Haydn’s impressive Missa in angustiis. Composed amidst the Anglo-French naval conflict, it was named after the British admiral Horatio Nelson, who won the Battle of Abukir. A work that breathed the turmoil of its time and still has something to say to us today, in these once again war-torn times. Coproduction: Perpodium |
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November 4, 19:30
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Spain
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Auditorio Principe Felipe, Oviedo Missa in Angustiis (« Nelson Mass ») – J. Haydn +
Does the epithet Missa in angustiis (Mass for Troubled Times) refer to the stressful composition process for Joseph Haydn or tensions on the world stage in 1798? Both this added layer of meaning and the musical energy of the piece are still relevant today. Cost-cutting at the Esterházy court meant that the woodwind section had to be replaced by an organ, leading to an unusual instrumentation in Haydn’s masses.
The Requiem in D Minor by W.A. Mozart also took on a life of its own after the composer’s death: the unfinished mass was completed by his former student Franz Xaver Süszmayr, with a skill matched only by the sense of mystery in the piece. Belgium’s pride, Vox Luminis, and the acclaimed ensemble Camerata Salzburg link up these two shining examples of late 18th century church music. Coproduction: Perpodium |
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November 2, 20:00
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Spain
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Teatro de la Maestranza, Sevilla Missa in Angustiis (« Nelson Mass ») – J. Haydn +
Does the epithet Missa in angustiis (Mass for Troubled Times) refer to the stressful composition process for Joseph Haydn or tensions on the world stage in 1798? Both this added layer of meaning and the musical energy of the piece are still relevant today. Cost-cutting at the Esterházy court meant that the woodwind section had to be replaced by an organ, leading to an unusual instrumentation in Haydn’s masses.
The Requiem in D Minor by W.A. Mozart also took on a life of its own after the composer’s death: the unfinished mass was completed by his former student Franz Xaver Süszmayr, with a skill matched only by the sense of mystery in the piece. Belgium’s pride, Vox Luminis, and the acclaimed ensemble Camerata Salzburg link up these two shining examples of late 18th century church music. Coproduction: Perpodium |
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November 1, 19:30
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Spain
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Auditorio Nacional de Música, Madrid Missa in Angustiis (« Nelson Mass ») – J. Haydn +
Does the epithet Missa in angustiis (Mass for Troubled Times) refer to the stressful composition process for Joseph Haydn or tensions on the world stage in 1798? Both this added layer of meaning and the musical energy of the piece are still relevant today. Cost-cutting at the Esterházy court meant that the woodwind section had to be replaced by an organ, leading to an unusual instrumentation in Haydn’s masses.
The Requiem in D Minor by W.A. Mozart also took on a life of its own after the composer’s death: the unfinished mass was completed by his former student Franz Xaver Süszmayr, with a skill matched only by the sense of mystery in the piece. Belgium’s pride, Vox Luminis, and the acclaimed ensemble Camerata Salzburg link up these two shining examples of late 18th century church music. Coproduction: Perpodium |
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October 31, 20:00
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Belgium
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DE SINGEL, Antwerp Missa in Angustiis (« Nelson Mass ») – J. Haydn +
Does the epithet Missa in angustiis (Mass for Troubled Times) refer to the stressful composition process for Joseph Haydn or tensions on the world stage in 1798? Both this added layer of meaning and the musical energy of the piece are still relevant today. Cost-cutting at the Esterházy court meant that the woodwind section had to be replaced by an organ, leading to an unusual instrumentation in Haydn’s masses.
The Requiem in D Minor by W.A. Mozart also took on a life of its own after the composer’s death: the unfinished mass was completed by his former student Franz Xaver Süszmayr, with a skill matched only by the sense of mystery in the piece. Belgium’s pride, Vox Luminis, and the acclaimed ensemble Camerata Salzburg link up these two shining examples of late 18th century church music. Coproduction: Perpodium |
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October 30, 20:00
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Belgium
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BOZAR, Brussels Missa in Angustiis (« Nelson Mass ») – J. Haydn +
Does the epithet Missa in angustiis (Mass for Troubled Times) refer to the stressful composition process for Joseph Haydn or tensions on the world stage in 1798? Both this added layer of meaning and the musical energy of the piece are still relevant today. Cost-cutting at the Esterházy court meant that the woodwind section had to be replaced by an organ, leading to an unusual instrumentation in Haydn’s masses.
The Requiem in D Minor by W.A. Mozart also took on a life of its own after the composer’s death: the unfinished mass was completed by his former student Franz Xaver Süszmayr, with a skill matched only by the sense of mystery in the piece. Belgium’s pride, Vox Luminis, and the acclaimed ensemble Camerata Salzburg link up these two shining examples of late 18th century church music. Coproduction: Perpodium |
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October 16, 20:00
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Belgium
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St. Jakob’s Church, Bruges Der Schwanengesang – Heinrich Schütz +
A consummate musical testament, in which the composer, at the age of 86, sums up his entire life’s experience. That is Heinrich Schütz’ Schwanengesang, his ‘swan song’. No theatrical effects, but pure expression and a rare combination of inner peace and emotional depth.
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October 11, 14:30
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Belgium
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Église Saint Jean-Baptiste, Herve Sacro Monteverdi +
In 1641 Monteverdi published his Selva morale e spirituali, a major retrospective that he produced of sacred works produced over nearly three decades as musical director at St Mark’s Basilica in Venice. Covering a wide range of styles and emotions, they make use of the expressive resources he had developed as a master of the church motet, secular madrigal and opera.
Vox Luminis’s selection ranges from large-scale, colourfully accompanied motets to intimate creations for just a few singers and players. |
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October 10, 16:00
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Belgium
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Église Saints-Pierre-et-Paul, Manhay Sacro Monteverdi +
In 1641 Monteverdi published his Selva morale e spirituali, a major retrospective that he produced of sacred works produced over nearly three decades as musical director at St Mark’s Basilica in Venice. Covering a wide range of styles and emotions, they make use of the expressive resources he had developed as a master of the church motet, secular madrigal and opera.
Vox Luminis’s selection ranges from large-scale, colourfully accompanied motets to intimate creations for just a few singers and players. |
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