J.S. Bach, Die Himmel erzählen die Ehre Gottes, BWV 76 •
C. Graupner: Meine Kindlein, lasset uns nicht lieben mit Worten, GWV 1143/23
G. P. Telemann: Viel sind berufen, aber wenig sind auserwählt, TWV 1: 1478

J.S. Bach, Johannespassion BWV 245

The Mass in B minor holds a special place even among the choral works of JS Bach. Completed in 1749, one year before the composer’s death, it incorporates music dating from much earlier periods and is often held to provide a summation of his art. For Bach scholar Christoph Wolff, this ‘mighty setting preserved the musical and artistic creed of its creator for posterity.’

Heinrich Ignaz Franz von Biber is best known as the unequaled violin virtuoso of his time and as Mozart’s predecessor at the archbishop’s court in Salzburg. There, during his employment as Kapellmeister, Biber wrote a Requiem not less impressive in its expressive qualities than Mozart’s, with poignant solos and sorrowful choruses. Alongside Biber’s Requiem, you can listen to Monteverdi’s Litaniae de la Beate Vergine as well as the poignant Stabat Mater by Agostino Steffani.

Jean-Philippe Rameau : Laboravi clamans,
Jean-Philippe Rameau : Paroles qui ont précédé le Te Deum,
François-André Danican Philidor : Marche de triomphe avec des trompettes et des timbales,
Marc-Antoine Charpentier : Te Deum H 146

Jean-Philippe Rameau : Laboravi clamans,
Jean-Philippe Rameau : Paroles qui ont précédé le Te Deum,
François-André Danican Philidor : Marche de triomphe avec des trompettes et des timbales,
Marc-Antoine Charpentier : Te Deum H 146

All ears are tuned to the voices of Vox Luminis as they embark upon a dialectic of two extreme poles: those of Light and Shadow. This musical programme follows the course of a man who entrusts, gets lost, sees himself destroyed and seems to be able to rise just before his encounter with death. In Elizabethan English polyphony, the themes interweave to create an infinity of nuance. The different positions of the singers throughout the concert add extra depth, resonance and meaning to the quest from the darkness towards the light. In the darkest of darkness and facing the obstacles of life, a glimmer of hope arises. What beckons is clarity of spirit, sparkling beauty, and divine intelligence; the principle of knowledge and consciousness.

A German Requiem, but then without Brahms! Lionel Meunier has for many years nurtured a deep love for the hero of German romantic choral music and his luminous requiem. He conceived the idea of looking to the texts of Brahms’ older, Baroque settings. With these meditations on death and hope, Vox Luminis now creates a new requiem, based on Baroque principles. The result is stunning.
Did you fall head over heels for the new album that the international supergroup dedicated to this programme? Or you are one of the thousands of fans of their ever-lucid sound spectacle? Then ‘book soon’ is the message, and exquisite motets by Johann Heinrich Schein, Andreas Hammerschmidt and Johann Philipp Förtsch the promise….

People living in the nineteenth-century were completely mad about Bach. Lucky them! Thanks to them, Bach was able to make it to worldwide composer number one. In his double-choir motets, the Baroque giant used powerful polyphonichorse pairs. Today, the reins of this are in the hands of Lionel Meunier and Vox Luminis for part two of their Bach dyptych. Mendelssohn also makes a brief appearance: as saviour of Bach’s legacy, the romanticist deserves a place in this gallery of voices. 

A poetic evening of art, architecture and music. This is a unique opportunity to experience with all the senses a Dutch monument of international significance: De Haar Castle. Our closing evening just outside the city promises a rich and intimate experience, including access to the castle, chapel and gardens. In the richly decorated historic rooms, you will be provided with commentary and explanations, and will hear short musical performances by well-known names such as Pieter-Jan Belder, The Spirit of Gambo, Katarina Livljanić and Vox Luminis. 

Private concert

Private concert

All ears are tuned to the voices of Vox Luminis as they embark upon a dialectic of two extreme poles: those of Light and Shadow. This musical programme follows the course of a man who entrusts, gets lost, sees himself destroyed and seems to be able to rise just before his encounter with death. In Elizabethan English polyphony, the themes interweave to create an infinity of nuance. The different positions of the singers throughout the concert add extra depth, resonance and meaning to the quest from the darkness towards the light. In the darkest of darkness and facing the obstacles of life, a glimmer of hope arises. What beckons is clarity of spirit, sparkling beauty, and divine intelligence; the principle of knowledge and consciousness.

All ears are tuned to the voices of Vox Luminis as they embark upon a dialectic of two extreme poles: those of Light and Shadow. This musical programme follows the course of a man who entrusts, gets lost, sees himself destroyed and seems to be able to rise just before his encounter with death. In Elizabethan English polyphony, the themes interweave to create an infinity of nuance. The different positions of the singers throughout the concert add extra depth, resonance and meaning to the quest from the darkness towards the light. In the darkest of darkness and facing the obstacles of life, a glimmer of hope arises. What beckons is clarity of spirit, sparkling beauty, and divine intelligence; the principle of knowledge and consciousness.

Under the direction of Lionel Meunier, the acclaimed Belgian vocal ensemble Vox Luminis performs Monteverdi’s masterful Marian Vespers in St. Mary’s Cathedral.

In 1600, the composer Emilio de’ Cavalieri wrote bitterly that he and not Jacopo Peri had invented opera. Rappresentatione di Anima e di Corpo would therefore seem to have been the very first opera. Cavalieri’s Rappresentatione, with its mix of dance, drama and music has since become a key work in our art history.

In 1600, the composer Emilio de’ Cavalieri wrote bitterly that he and not Jacopo Peri had invented opera. Rappresentatione di Anima e di Corpo would therefore seem to have been the very first opera. Cavalieri’s Rappresentatione, with its mix of dance, drama and music has since become a key work in our art history.

Cavalieri’s Rappresentatione di anima e di corpo magnifies voices and bodies in what was, at the dawn of the 17th century, the first oratorio to combine scenography, dance and music. Under the direction of Lionel Meunier, the voices of Vox Luminis bring to life the allegorical quarrel between Body and Soul. Emilie Lauwers’ scenography builds a bridge between the past and present in her interpretation of this leading work in art history.

To open the Flagey Choir Days, Cavalieri’s Rappresentatione di anima e di corpo magnifies voices and bodies in what was, at the dawn of the 17th century, the first oratorio to combine scenography, dance and music. Under the direction of Lionel Meunier, curator of the festival, the voices of Vox Luminis bring to life the allegorical quarrel between Body and Soul. Emilie Lauwers’ scenography builds a bridge between the past and present in her interpretation of this leading work in art history.