2024 | |||
March 27, 20:00
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Belgium
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AMUZ, Antwerp Sebastiani – Matthäus Passion + Johann Sebastiani – Matthaüs Passion
Agostino Steffani – Stabat Mater German composer Johann Sebastiani’s (1622-1683) interpretation of the Matthew’s Passion is three times shorter than Bach’s masterpiece and precedes it by about half a century. By the 17th century, settings of the Passion narrative had become the speciality of the Lutheran church. Sebastiani is said to have been the first to incorporate Lutheran chorales into the score, providing the solo voices with an accompaniment of strings and continuo. His score alternates recitatives for the evangelist and the words of Christ with hymns and chorales provided by the other singers. The work has a subtle alternation of the different movements thanks to a deliberately chosen instrumentation – only two violins accompany the words of Christ, while the chorales of the soprano solo are accompanied only by the four violas. Agostino Steffani’s Stabat Mater from 1728 completes this beautiful Passion concerto. Coproduction: Perpodium |
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March 25, 19:30
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Switzerland
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Martinskirche, Basel Sebastiani – Matthäus Passion + Johann Sebastiani – Matthaüs Passion
Agostino Steffani – Stabat Mater German composer Johann Sebastiani’s (1622-1683) interpretation of the Matthew’s Passion is three times shorter than Bach’s masterpiece and precedes it by about half a century. By the 17th century, settings of the Passion narrative had become the speciality of the Lutheran church. Sebastiani is said to have been the first to incorporate Lutheran chorales into the score, providing the solo voices with an accompaniment of strings and continuo. His score alternates recitatives for the evangelist and the words of Christ with hymns and chorales provided by the other singers. The work has a subtle alternation of the different movements thanks to a deliberately chosen instrumentation – only two violins accompany the words of Christ, while the chorales of the soprano solo are accompanied only by the four violas. Agostino Steffani’s Stabat Mater from 1728 completes this beautiful Passion concerto. Coproduction: Perpodium |
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March 17, 15:00
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The Netherlands
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Amare, The Hague Sebastiani – Matthäus Passion + Johann Sebastiani – Matthaüs Passion
Johann Caspar Kerll – Requiem German composer Johann Sebastiani’s (1622-1683) interpretation of the Matthew’s Passion is three times shorter than Bach’s masterpiece and precedes it by about half a century. By the 17th century, settings of the Passion narrative had become the speciality of the Lutheran church. Sebastiani is said to have been the first to incorporate Lutheran chorales into the score, providing the solo voices with an accompaniment of strings and continuo. His score alternates recitatives for the evangelist and the words of Christ with hymns and chorales provided by the other singers. The work has a subtle alternation of the different movements thanks to a deliberately chosen instrumentation – only two violins accompany the words of Christ, while the chorales of the soprano solo are accompanied only by the four violas. Johann Caspar Kerll’s Requiem completes this beautiful Passion concerto. Coproduction: Perpodium |
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March 16, 20:15
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The Netherlands
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Muziekgebouw, Amsterdam Sebastiani – Matthäus Passion + Johann Sebastiani – Matthaüs Passion
Johann Caspar Kerll – Requiem German composer Johann Sebastiani’s (1622-1683) interpretation of the Matthew’s Passion is three times shorter than Bach’s masterpiece and precedes it by about half a century. By the 17th century, settings of the Passion narrative had become the speciality of the Lutheran church. Sebastiani is said to have been the first to incorporate Lutheran chorales into the score, providing the solo voices with an accompaniment of strings and continuo. His score alternates recitatives for the evangelist and the words of Christ with hymns and chorales provided by the other singers. The work has a subtle alternation of the different movements thanks to a deliberately chosen instrumentation – only two violins accompany the words of Christ, while the chorales of the soprano solo are accompanied only by the four violas. Johann Caspar Kerll’s Requiem completes this beautiful Passion concerto. Coproduction: Perpodium |
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March 14, 20:00
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Switzerland
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Eglise Saint-Théodule, Sion Sebastiani – Matthäus Passion + Johann Sebastiani – Matthaüs Passion
Johann Caspar Kerll – Requiem German composer Johann Sebastiani’s (1622-1683) interpretation of the Matthew’s Passion is three times shorter than Bach’s masterpiece and precedes it by about half a century. By the 17th century, settings of the Passion narrative had become the speciality of the Lutheran church. Sebastiani is said to have been the first to incorporate Lutheran chorales into the score, providing the solo voices with an accompaniment of strings and continuo. His score alternates recitatives for the evangelist and the words of Christ with hymns and chorales provided by the other singers. The work has a subtle alternation of the different movements thanks to a deliberately chosen instrumentation – only two violins accompany the words of Christ, while the chorales of the soprano solo are accompanied only by the four violas. Johann Caspar Kerll’s Requiem completes this beautiful Passion concerto. Coproduction: Perpodium |
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March 13, 15:00
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Belgium
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Abbaye musicale de Malonne, Namur Sebastiani – Matthäus Passion Booking via tickets@voxluminis.com. + Johann Sebastiani – Matthaüs Passion
German composer Johann Sebastiani’s (1622-1683) interpretation of the Matthew’s Passion is three times shorter than Bach’s masterpiece and precedes it by about half a century. By the 17th century, settings of the Passion narrative had become the speciality of the Lutheran church. Sebastiani is said to have been the first to incorporate Lutheran chorales into the score, providing the solo voices with an accompaniment of strings and continuo. His score alternates recitatives for the evangelist and the words of Christ with hymns and chorales provided by the other singers. The work has a subtle alternation of the different movements thanks to a deliberately chosen instrumentation – only two violins accompany the words of Christ, while the chorales of the soprano solo are accompanied only by the four violas. Coproduction: Perpodium |
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March 10, 11:00
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Germany
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Gesellschaftshaus, Magdeburg Georg Philipp Telemann & Tomaso Albinoni – Sonatas + Telemann’s confrontation with Italian music can rarely be traced so directly as in the six five-part sonatas for strings from his Eisenach period. They refer directly to Tomaso Albinoni’s Sinfonie, e concerti a cinque op. 2, printed in Venice in 1701, which contains six “church sonatas”, some of them treated in a strictly contrapuntal manner. Telemann takes up their model in a mixture of appropriation and creative treatment. A comparison of the music of the two composers promises interesting insights.
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March 9, 15:00
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Germany
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Johanniskirche, Magdeburg Reinhard Keiser – Oratorium Passionale 1729 – « Der blutige und sterbende Jesu » + For a long time, the music for the libretto of the very first Passion oratorio in German, composed by Christian Friedrich Hunold, was considered lost.
It was only in 2006, some 300 years after the first performance, that it was rediscovered in the Staatsbibliothek in Berlin in the form of a score with no indication of the composer. Further research revealed that Reinhard Keiser had written and arranged the score himself in 1729. Vox Luminis will perform this new programme live at the Telemann Festival in Magdeburg. |
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February 25, 14:30
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The Netherlands
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Schouwburg, Tilburg Stabat Mater + Vox Luminis will be performing an anthology work, Domenico Scarlatti’s Stabat Mater.
The epicentre is the Virgin Mary’s feelings. The piece expresses her love for the Infant Jesus and her profound suffering at the crucifixion of her son. The moving text of the Stabat Mater finds in Scarlatti one of its most beautiful musical expressions, made up of extreme tensions, poetic and tender passages, mostly in slow movements. All ten voices have solo roles, and the score constantly calls for all sorts of combinations between them. This variety of combinations between forces of two to ten voices gives this score great originality and constantly offers contrasting sonorities. But the first part of the concert will also be memorable. It begins with a rhymed lamentation from the twelfth century in Old French. We will then hear Lotti’s Crucifixus, followed by emotional pieces by Monteverdi and Mazzocchi, and finally a lamentation by composer-amateur Alessandro Della Ciaia, in which Mary enters into a dialogue with the angels.
Supported by Wallonie-Bruxelles International |
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February 24, 19:00
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Belgium
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Grand Manège, Namur Stabat Mater + Vox Luminis will be performing an anthology work, Domenico Scarlatti’s Stabat Mater.
The epicentre is the Virgin Mary’s feelings. The piece expresses her love for the Infant Jesus and her profound suffering at the crucifixion of her son. The moving text of the Stabat Mater finds in Scarlatti one of its most beautiful musical expressions, made up of extreme tensions, poetic and tender passages, mostly in slow movements. All ten voices have solo roles, and the score constantly calls for all sorts of combinations between them. This variety of combinations between forces of two to ten voices gives this score great originality and constantly offers contrasting sonorities. But the first part of the concert will also be memorable. It begins with a rhymed lamentation from the twelfth century in Old French. We will then hear Lotti’s Crucifixus, followed by emotional pieces by Monteverdi and Mazzocchi, and finally a lamentation by composer-amateur Alessandro Della Ciaia, in which Mary enters into a dialogue with the angels. |
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