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USA
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Emmanuel Church, Boston G. Carissimi & K. Förster +
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 that of Jeptha, 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.
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USA
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First Presbyterian Church, Stroudsburg G. Carissimi & K. Förster +
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 that of Jeptha, 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.
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Sweden
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The German church, Stockholm Bach Dynasty +
Bach’s knowledge of his family’s motets is evidenced by a remarkable collection known as the Altbachisches Archiv. This volume includes some twenty motets and a series of cantatas composed by successive generations of Bachs. It is thought to have passed through the hands of various family members, who made their own contributions and revisions, before Johann Sebastian acquired it sometime around 1739.
With the support of Wallonie-Bruxelles International |
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Spain
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Auditorio Nacional de Música, Madrid – SOLD OUT Lamentationes Hieremiae Prophetae a 5 – R. de Lassus +
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.
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Spain
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Auditorio Príncipe Felipe, Oviedo – Last tickets Lamentationes Hieremiae Prophetae a 5 – R. de Lassus +
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.
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France
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Oratoire du Louvre, Paris Lamentationes Hieremiae Prophetae a 5 – R. de Lassus +
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.
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Belgium
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Eglise St-Jean-Baptiste, Herve Lamentationes Hieremiae Prophetae a 5 – R. de Lassus +
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.
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Germany
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Konzerthaus, Freiburg – SOLD OUT Johannes Passion – J.S. Bach +
“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.
Coproduction: Perpodium |
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Belgium
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Concertgebouw, Bruges – Waiting list Johannes Passion – J.S. Bach +
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.
Coproduction: Perpodium |
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Belgium
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Flagey, Brussels – Waiting list Johannes Passion – J.S. Bach +
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.
Coproduction: Perpodium |
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