- Agenda
2024 | |||
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October 9, 20:00
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Belgium
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DE SINGEL, Antwerp J.S. Bach, Mass in B Minor, BWV 232 + The marriage of convenience between Vox Luminis and the Freiburger Barockorchester has already regularly heated things up, in the positive sense of the word. The next step in their collaboration is Bach’s Mass in B, or Hohe Messe. No one knows why, at the end of his life, a Protestant composer gathered up all his knowledge and expertise and expanded a previous arrangement of the Kyrie and the Gloria – a so-called Missa brevis from 1733 – into an entire Catholic Mass. It doesn’t matter anyway. The fact is that in this magnum opus, Bach succeeded in combining beauty and polyphonous complexity like never before. Bach at his best!
Coproduction: Perpodium |
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October 10, 20:00
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Germany
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Philharmonie, Berlin J.S. Bach, Mass in B Minor, BWV 232 + The marriage of convenience between Vox Luminis and the Freiburger Barockorchester has already regularly heated things up, in the positive sense of the word. The next step in their collaboration is Bach’s Mass in B, or Hohe Messe. No one knows why, at the end of his life, a Protestant composer gathered up all his knowledge and expertise and expanded a previous arrangement of the Kyrie and the Gloria – a so-called Missa brevis from 1733 – into an entire Catholic Mass. It doesn’t matter anyway. The fact is that in this magnum opus, Bach succeeded in combining beauty and polyphonous complexity like never before. Bach at his best!
Coproduction: Perpodium |
BOOK NOW |
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October 11, 20:00
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Germany
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Liederhalle, Stuttgart J.S. Bach, Mass in B Minor, BWV 232 + The marriage of convenience between Vox Luminis and the Freiburger Barockorchester has already regularly heated things up, in the positive sense of the word. The next step in their collaboration is Bach’s Mass in B, or Hohe Messe. No one knows why, at the end of his life, a Protestant composer gathered up all his knowledge and expertise and expanded a previous arrangement of the Kyrie and the Gloria – a so-called Missa brevis from 1733 – into an entire Catholic Mass. It doesn’t matter anyway. The fact is that in this magnum opus, Bach succeeded in combining beauty and polyphonous complexity like never before. Bach at his best!
Coproduction: Perpodium |
BOOK NOW |
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October 13, 20:00
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Germany
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Konzerthaus, Freiburg J.S. Bach, Mass in B Minor, BWV 232 + The marriage of convenience between Vox Luminis and the Freiburger Barockorchester has already regularly heated things up, in the positive sense of the word. The next step in their collaboration is Bach’s Mass in B, or Hohe Messe. No one knows why, at the end of his life, a Protestant composer gathered up all his knowledge and expertise and expanded a previous arrangement of the Kyrie and the Gloria – a so-called Missa brevis from 1733 – into an entire Catholic Mass. It doesn’t matter anyway. The fact is that in this magnum opus, Bach succeeded in combining beauty and polyphonous complexity like never before. Bach at his best!
Coproduction: Perpodium |
BOOK NOW |
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October 26, 20:00
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USA
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New England Conservatory of Music, Boston Ein Deutsches Barockrequiem + 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.
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October 27, 16:00
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USA
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Corpus Christi Church, New York Ein Deutsches Barockrequiem + 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.
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October 28, 19:00
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USA
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Wofford College, Spartanburg Ein Deutsches Barockrequiem + 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.
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November 2, 19:30
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Canada
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University of Alberta, Edmonton Bach, the Arnstadt Connection + From Heinrich to Johann Sebastian, the singers and players of Vox Luminis weave a rich tapestry of life and music in the German Baroque, early and late.
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November 3, 19:00
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Canada
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University of Calgary, Calgary Bach, the Arnstadt Connection + From Heinrich to Johann Sebastian, the singers and players of Vox Luminis weave a rich tapestry of life and music in the German Baroque, early and late.
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November 4, 19:30
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Canada
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University of Calgary, Calgary Bach, the Arnstadt Connection + From Heinrich to Johann Sebastian, the singers and players of Vox Luminis weave a rich tapestry of life and music in the German Baroque, early and late.
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November 6, 19:30
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USA
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St. Mary’s Cathedral, Portland 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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November 7, 19:30
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USA
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St Demetrios Greek Orthodox Church, Seattle 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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November 9, 19:30
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USA
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St.James-by-the-Sea Episcopal Church, La Jolla Ein Deutsches Barockrequiem + 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.
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November 21, 20:30
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France
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Oratoire du Louvre, Paris Ein Deutsches Barockrequiem + 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.
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BOOK NOW |
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November 22, 20:15
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The Netherlands
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Muziekgebouw aan ’t IJ, Amsterdam Ein Deutsches Barockrequiem + 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.
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November 23, 19:00
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Estonia
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Estonia kontserdisaal, Tallinn Ein Deutsches Barockrequiem + 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.
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November 24, 17:00
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Latvia
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Concert Hall Latvija, Ventspils Ein Deutsches Barockrequiem + 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.
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BOOK NOW |
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December 13, 19:30
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Germany
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Reinoldihaus Dortmund, Dortmund The Young Haendel + Concerto for organ: selection out of opus 4
Nisi Dominus, HWV 238 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 Handel wrote in Rome for the noble Colonna family. |
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December 14, 20:15
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The Netherlands
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Muziekgebouw aan ‘t IJ, Amsterdam The Young Haendel + Concerto for organ: selection out of opus 4
Nisi Dominus, HWV 238 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 Handel wrote in Rome for the noble Colonna family. |
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December 15, 20:00
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Belgium
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Concertgebouw, Bruges The Young Haendel + Concerto for organ: selection out of opus 4
Nisi Dominus, HWV 238 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 Handel wrote in Rome for the noble Colonna family. |
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December 17, 20:15
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Belgium
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Flagey, Brussels The Young Haendel + Concerto for organ: selection out of opus 4
Nisi Dominus, HWV 238 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 Handel wrote in Rome for the noble Colonna family. |
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December 18, 20:00
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France
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L’Arsenal, Metz The Young Haendel + Concerto for organ: selection out of opus 4
Nisi Dominus, HWV 238 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 Handel wrote in Rome for the noble Colonna family. |
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December 19, 19:45
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Germany
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Casals Forum, Kronberg The Young Haendel + Concerto for organ: selection out of opus 4
Nisi Dominus, HWV 238 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 Handel wrote in Rome for the noble Colonna family. |
BOOK NOW |
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December 20, 19:45
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Germany
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Casals Forum, Kronberg The Young Haendel + Concerto for organ: selection out of opus 4
Nisi Dominus, HWV 238 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 Handel wrote in Rome for the noble Colonna family. |
BOOK NOW |
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December 21, 19:00
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Belgium
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Abbaye musicale, Malonne The Young Haendel + Concerto for organ: selection out of opus 4
Nisi Dominus, HWV 238 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 Handel wrote in Rome for the noble Colonna family. |
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2025 | |||
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January 17, 20:00
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Belgium
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Concertgebouw, Bruges Fauré. Requiem + Franz Liszt (1811 – 1886) – Les Préludes (1854) Franz Liszt (1811 – 1886) – Totentanz (1849) Gabriel Fauré (1845 – 1924) – Requiem Op.48 (version 1893) |
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January 18, 19:30
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Germany
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Graf-Zeppelin-Haus, Friedrichshafen Fauré. Requiem + Franz Liszt (1811 – 1886) – Les Préludes (1854) Franz Liszt (1811 – 1886) – Totentanz (1849) Gabriel Fauré (1845 – 1924) – Requiem Op.48 (version 1893) |
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January 20, 20:00
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The Netherlands
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Musis Sacrum, Arnhem Fauré. Requiem + Franz Liszt (1811 – 1886) – Les Préludes (1854) Franz Liszt (1811 – 1886) – Totentanz (1849) Gabriel Fauré (1845 – 1924) – Requiem Op.48 (version 1893) |
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January 21, 00:00
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Belgium
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Aula Magna, Louvain-la-Neuve Fauré. Requiem + Franz Liszt (1811 – 1886) – Les Préludes (1854) Franz Liszt (1811 – 1886) – Totentanz (1849) Gabriel Fauré (1845 – 1924) – Requiem Op.48 (version 1893) |
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February 5, 20:00
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Belgium
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DE SINGEL, Antwerp G. Carissimi, Oratoria + 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.
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February 7, 19:30
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United Kingdom
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Wigmore Hall, London G. Carissimi, Oratoria + 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.
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BOOK NOW |
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February 20, 20:15
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The Netherlands
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Amare, The Hague H. Purcell, The Fairy Queen + 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 |
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February 21, 20:15
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The Netherlands
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Muziekgebouw, Eindhoven H. Purcell, The Fairy Queen + 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 |
BOOK NOW |
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February 22, 20:15
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The Netherlands
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TivoliVredenburg, Utrecht H. Purcell, The Fairy Queen + 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 |
BOOK NOW |
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February 23, 19:30
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The Netherlands
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Muziekgebouw aan ’t IJ, Amsterdam H. Purcell, The Fairy Queen + 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 |
BOOK NOW |
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March 14, 20:00
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Belgium
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BOZAR, Brussels Ein Deutsches Barockrequiem + 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.
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BOOK NOW |
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March 15, 19:00
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Belgium
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Abbaye musicale, Malonne Ein Deutsches Barockrequiem + 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.
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BOOK NOW |
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March 16, 17:00
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Luxembourg
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Eglise Saint-Pierre, Lintgen Ein Deutsches Barockrequiem + 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.
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BOOK NOW |
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April 7, 20:00
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Germany
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Philharmonie, Berlin J.S. Bach : Johannes Passion + “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.
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April 8, 20:00
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Germany
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Liederhalle, Stuttgart J.S. Bach : Johannes Passion + “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.
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BOOK NOW |
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April 10, 19:30
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Spain
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Auditorio Nacional, Madrid J.S. Bach : Johannes Passion + “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.
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BOOK NOW |
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April 11, 19:00
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Spain
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Palau de la Musica, Barcelona J.S. Bach : Johannes Passion + “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.
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BOOK NOW |
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April 15, 20:15
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Belgium
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Flagey, Brussels J.S. Bach : Johannes Passion + 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.
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April 16, 20:00
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Belgium
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Concertgebouw, Bruges J.S. Bach : Johannes Passion + 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.
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BOOK NOW |
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April 18, 18:00
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Germany
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Konzerthaus, Freibourg J.S. Bach : Johannes Passion + “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.
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BOOK NOW |
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May 18, 14:30
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Belgium
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Eglise St Gilles de Chaineux, Herve Giovanni Pierluigi da Palestrina, Missa Papæ Marcelli + 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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May 20, 20:30
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France
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Oratoire du Louvre, Paris Giovanni Pierluigi da Palestrina, Missa Papæ Marcelli + 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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BOOK NOW |
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May 22, 20:00
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Spain
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Auditorio Príncipe Felipe, Oviedo Giovanni Pierluigi da Palestrina, Missa Papæ Marcelli + 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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BOOK NOW |
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May 23, 19:30
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Spain
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Auditorio Nacional de Música, Madrid Giovanni Pierluigi da Palestrina, Missa Papæ Marcelli + 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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BOOK NOW |
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