st matthew passion / bach

Wednesday 23.3
20:00, BOZAR
ST MATTHEW PASSION / BACH
klara
festival
Brussels
International
Music
ST MATTHEW
PASSION / BACH
MAIN
OFFICIAL
FESTIVAL
CAR
Klarafestival
Erbarme dich
9 ST MATTHEW
PASSION
Bach
24.3
2016
P2
Wednesday 23.3
2016
20:00
BOZAR
Henry Le Boeuf Hall
English
Baroque Soloists
Monteverdi Choir
John Eliot Gardiner
English Baroque Soloists
Monteverdi Choir
Netherlands Youth Choir
John Eliot Gardiner, conductor
Mark Padmore, tenor (Evangelist)
Stephan Loges, bass (Christ)
Hannah Morrison, soprano
Jessica Cale, soprano
Alison Hill, soprano
Angharad Rowlands, soprano
Eleanor Minney, alto
Reginald Mobley, countertenor
Clare Wilkinson, alto
Thomas Herford, tenor
Hugo Hymas, tenor
James Way, tenor
Alex Ashworth, bass
Nicholas Mogg, bass
Ashley Riches, bass
Jonathan Sells, bass
European Gala
the concert is expected
to end at: 23:10
Johann Sebastian BACH
1685-1750
co-production
Passio secundum Matthaeum, BWV 244 (1727)
Parte prima
Klarafestival, BOZAR
19:00
20:00
presentation Greet Samyn's outfit
is from Manufactuur & Confetti
flowers provided by Daniël Ost
broadcast live on Klara at
intermission
Parte seconda
broadcast live on Musiq’3 at
CD’s provided by
La Boîte à Musique
Whether it’s attending a concert introduction
by specialists, talking things over afterwards
or simply relaxing with a tasty beverage,
the Klarafestivalcafé@Bozar is the place to be.
Share your Festival experiences now on
Facebook and Twitter!
#Klarafest Klarafestival
N
E
Klarafestival
Erbarme dich
9 24.3
2016
P3
Johann Sebastian Bach (1685-1750):
St Matthew Passion BWV 244
Bach’s autograph manuscript score of the Matthew
Passion is a calligraphic miracle. Phenomenal elegance
and fluency of notation characteristic of Bach in his forties
contrasts with passages made in the crabbed, rigid handwriting of his later eye-damaged years, with corrections entered
on glued-on strips of paper meticulously inserted. The impression is of a painstakingly constructed autograph score, worked
over, revised, repaired and left in a condition aspiring to some
sort of ideal.
Yet, with only this fair-copy score dating from the mid
1730s and one set of performing parts to go on, generations
of Bach scholars have so far been unable to trace the inception, planning or successive stages of the Passion’s evolution
with any degree of certainty. We do not know exactly who took
part in any of the performances given under the composer’s
direction – neither the make-up of his vocal and orchestral
forces, nor their precise number, nor how they were deployed
in the western choir loft of the Thomaskirche. And we have
no contemporary reaction to it – not the smallest shard of
evidence of what people thought about it at the time.
There is a distinct possibility – but no proof – that the
Matthew Passion was planned as part of his second annual
cycle of Leipzig cantatas, that of 1724/5, sharing with it an
emphasis on chosen chorales as the basis or focal point of
each cantata. The Passion could have been designed for its
centre, like the boss of a shield. Yet it was not to be: its first
airing was delayed by a further two years, and Bach went on
modifying it in the course of the 1730s and 1740s.
After consecutive outings in 1724 and 1725 of the fastpaced John Passion in two very different versions, and the
controversy that seems to have surrounded that work, Bach
appears to have been minded to come up with something
which gave his listeners more time to reflect and contemplate between scenes in the Gospel accounts. In the Matthew
Passion he adopts a less polemical tack, dictated in part by
Matthew’s approach, making much more room for the listener
to process the drama.
Bach agrees with (or even instructs) his librettist
Picander at the outset that most arias should be preceded by
an arioso – to form an intermediate stage, as if to prepare the
listener for the contemplative space which the aria will occupy.
Now there is enough time to savour the prodigious beauty of
each one in turn, the subtle colouring of the obbligato accompaniments, and the expanded range of emotional and meditative
response that they encompass. So, instead of waiting impatiently for an aria to end and the story to resume, we begin
to value the voice urging us to identify with the remorse, the
outrage and the outpouring of grief articulated by individual
spokesmen and women in the course of the drama, and by the
entire community voicing its contrition in the chorales. With the
liturgy pared down to just a few prayers and hymns to open
and close proceedings, and the sermon, for all its considerable
length, coming at the midway point, this was the ultimate test
for him to justify Luther’s great claim for music – that its notes
‘make the text come alive’.
Though he and his musicians were only partially in
view of the congregation, Bach’s was essentially dramatic
music: music intended to appeal to – even occasionally assault
– the senses of his listeners. From the very beginning of his
employment Bach had been warned that he ‘should make
compositions that were not theatrical’, yet his purpose was
unimpeachable: to re-enact the Passion story within his listeners’ minds, to affirm its pertinence to the men and women
of his day, addressing their concerns and fears and directing
them towards the solace and inspiration to be found within the
Passion narrative.
Bach balanced the central thread, Matthew’s re-telling
of the Passion story, with instant reactions and more measured
reflections by concerned onlookers, so as to bring it into the
present. It would be hard to better it as an essentially human
drama – one involving immense struggle and challenge, betrayal
and forgiveness, love and sacrifice, compassion and pity.
•••
We cannot tell if it was his or Picander’s idea to link the
traditional interpretation of Christ as the allegorical bridegroom
(Song of Songs) with that of his identity as the sacrificial lamb.
What we do know is that Bach’s starting-point – one that he
must have discussed and agreed with Picander at the outset
– is the concept of dialogue, a device he had already tried
out fruitfully in two movements of his John Passion and now
developed to the point where it led logically to an eventual
division into two choirs, each with its own supporting instrumental ensemble.
Bach’s opening chorus is presented to us as an
immense tableau – an aural equivalent, say, to a grand altarpiece by Veronese or Tintoretto. At the moment when the first
choir refers to Jesus as a ‘bridegroom’, and then ‘as a lamb’, in
an abrupt expansion of the sound spectrum Bach brings in a
third choir with the chorale ‘O Lamb of God, unspotted’, sung
in unison by a group of trebles (soprano in ripieno) placed in
the ‘swallows’ nest’ organ loft in the Thomaskirche – then (but
now, alas, no longer) situated a whole nave’s length east of
the main performing area. By choosing to superimpose on his
powerful and evocative lament the timeless Agnus Dei of the
liturgy in its German versification – which would already have
been heard earlier that day at the conclusion of the morning
service – he was able to contrast the historic Jerusalem as the
site of Christ’s imminent trial and Passion with the celestial city
whose ruler, according to the Apocalypse, is the Lamb. This is
the essential dichotomy – the innocent Lamb of God and the
world of errant humanity whose sins Jesus must bear – which
will underlie the whole Passion, the fate of the one yoked to
that of the other.
Now the biblical narrative can begin. From the outset
we are offered stark new juxtapositions of texture and sonority – wide-arching secco recitative for the narrator, a ‘halo’
of four-voiced strings surrounding each of Jesus’ statements,
tense antiphonal interventions by the crowd, a reduction to
single choir for the disciples and a coming together again
for collective prayer. Soon we can discern a series of trifoliar
patterns emerging: biblical narrative (in recitative), comment (in
N
E
Klarafestival
Erbarme dich
arioso) and prayer (in aria). Gradually these begin to take on
the appearance of an ordered sequence of discrete scenes,
as though borrowed from contemporary opera, each one building towards either an individual (aria) or collective (chorale)
response to the preceding narration.
Bach’s initial musical bridge to the sermon - after the
emphatic double-choir movement ‘Sind Blitze, sind Donner’, at
which point Picander’s printed libretto ended - was a straightforward harmonisation of the chorale ‘Jesum lass ich nicht von
mir’. When he came to revise and copy out the score in the
mid 1730s, he must have seen that this fell a long way short of
balancing the structural mass of his opening chorus. Now came
the decision to replace it with the far more elaborate chorale
fantasia, a setting of Sebald Heyden’s Passiontide hymn ‘O
Mensch, bewein dein Sünde groß’. A matching pillar to the
grand chorale prologue was now in place, and as a conclusion to Part I it provided the ideal meditative opportunity for the
Christian community to unite in contrition, drawing out Luther’s
meaning of the Passion story and acting as a direct response to
Jesus’ last words about ‘fulfilling’ the Scriptures.
•••
With the resumption of music after the sermon, it takes
a second or two to realise where we have got to in the story.
Superficially nothing appears to have changed. The scene is
still Gethsemane, now after nightfall. The Daughter of Zion is
found distractedly searching for her captured lover, though
Jesus, bound hand and foot, has long since gone, taken to face
trial in front of the High Priests.
As the Passion moves towards its climax, Bach’s strategy of pulling us into the action (in ariosi), and then arranging
the angles from which we can contemplate its application to
ourselves (in the arias and chorales), becomes ever clearer.
By settling on a specific voice and selecting a specific obbligato timbre for each aria – whether solo violin, flute, oboe (and
oboes da caccia) or viola da gamba – he determines the most
appropriate accompaniment: this might be for the full string
ensemble from either left or right, or subtle combinations of
sonorities. With these arioso/aria pairings, for all their apparent
oppositions of mood, the chosen instrumental timbre is the
common denominator: a linking of voice and narrative thread.
The kaleidoscopic permutations of instrumental colour that
Bach finds seem to be boundless.
Where in the John Passion Bach ended with a choral
rondo (‘Ruht wohl’) as a reverential accompaniment to the
laying of the Saviour’s body in the grave – and therefore suggestive of a full stop of a sort – here, to conclude the Matthew,
he chooses a sarabande. The sensation is one of continuous
movement, as though the entire ritual of the Passion story has
now been heard in the listener’s conscience and will need to
be re-lived every Good Friday hereafter.
•••
9 24.3
2016
P4
Looking back, at the conclusion of the Matthew
Passion, one is struck by how the character of Jesus – a much
more human figure than the one portrayed in the John Passion
– is delineated powerfully and subtly, even when reduced, as
in the whole of Part II, to three lapidary utterances: his final Eli,
Eli, lama asabthani? (‘My God, my God, why hast thou forsaken
me?’) and prior to that Du sagest’s (‘Thou hast said’) – once to
Caiaphas, once to Pilate. Other than that, Matthew tells us, ‘he
answered him nothing.’ Yet there isn’t a single moment when
we are unaware of his presence. We see him reflected in the
eyes and voices of others, most of all in the moving summation ‘Truly this was the Son of God’. As always, the music is
the place to find Bach himself too. Much as his whole endeavour is to give a voice to others – the protagonists, the crowd,
the Gospel writer – his own is always present in the story. We
hear it in his fervour, in his empathy with the suffering of the
innocent Christ, in his sense of propriety, in his choices and
juxtapositions of narrative and commentary, and most of all in
the abrupt way he stems the tide of vengeful hysteria, cutting
into Matthew’s narration and interrupting it with a chorale
expressive of profound contrition and outrage.
There is not a single opera seria of the period that I
have studied or conducted to compare with Bach’s two surviving Passions, in terms of the intense human drama and moral
dilemma that he expresses in such a persuasive and deeply
poignant way. Bach took his cue from Luther, who, knowing
from direct experience what it was like to be persecuted, insisted that Christ’s Passion ‘should not be acted out in words or
appearances, but in one’s own life’.
The search for the most effective ways to present these
hugely demanding works has led in many instances to a timely
abandonment of the reverential rituals of oratorio performance.
One can understand therefore why some stage directors have
wanted to deconstruct Bach’s Passions and to explore different
ways of experiencing them. But in projecting these powerful
music-dramas via literal 'enacting' and explicit emoting, rather
than drawing us in as active participants experiencing human
grief, guilt and catharsis, instead we become observers watching
a show while representational characters tell us what we are
supposed to be feeling at any particular moment.
My own approach is based on the conviction that a
negotiation between action and meditation can be achieved not by replacing one set of rituals with another, but through a
considered deployment of the musical forces within a church
or on a concert platform. Give me a bare stage (not a picture
frame) peopled with choristers freed from their scores and
soloists interacting with the obbligato players, and, I believe,
the audience's imagination can fill it with images far more
vivid than any scene painter or stage director can provide.
For it is the intense concentration of drama within the music
and the colossal imaginative force that Bach brings to bear in
his Passions that make them the equal of the greatest staged
dramas: their power lies in what they leave unspoken. We
ignore that at our peril.
John Eliot Gardiner
N
E
Klarafestival
Erbarme dich
9 24.3
2016
P5
English Baroque Soloists
Under the patronage of HRH the Prince of Wales
The English Baroque Soloists – now in their 38th
season – have long been established as one of the world’s
leading period instrument orchestras. Throughout their repertoire, ranging from Monteverdi to Mozart and Haydn, they are
equally at home in chamber, symphonic and operatic performances. The ensemble has performed at many of the world’s
most prestigious venues including La Scala in Milan, the
Concertgebouw in Amsterdam and the Sydney Opera House.
In the course of the 1990s they performed Mozart’s seven
mature operas and recorded all Mozart’s mature symphonies
and his complete piano concerto cycle. Besides their independent existence as a period chamber orchestra the English
Baroque Soloists also participate regularly in joint projects with
the Monteverdi Choir, with whom they famously took part in
the Bach Cantata Pilgrimage in 2000, performing all of Bach’s
sacred cantatas.
Monteverdi Choir
Under the patronage of HRH the Prince of Wales
Founded by Sir John Eliot Gardiner, the Monteverdi
Choir have always focused on bringing a new perspective to their repertoire. This approach combined with their
passionate and virtuosic singing has led to them being consistently acclaimed as one of the best choirs in the world. The
Monteverdi Choir has over 150 recordings to its name and
has won numerous prizes. Among a number of trail-blazing
tours was the Bach Cantata Pilgrimage, during which the Choir
performed all 198 of J. S. Bach’s sacred cantatas in churches
throughout Europe and America. The project was recorded by
Soli Deo Gloria, the company’s own record label, and hailed
as “one of the most ambitious musical projects of all times”
by Gramophone magazine. The Choir is also committed to
training future generations of singers through the Monteverdi
Apprentices Programme. The Choir’s next landmark project
will be a tour to mark the 450th anniversary of Monteverdi’s
birth in 2017.
John Eliot Gardiner, conductor
Sir John Eliot Gardiner is one of the most versatile
and sought after conductors of our time. Founder and artistic
director of the Monteverdi Choir, the English Baroque Soloists
and the Orchestre Révolutionnaire et Romantique, he appears
regularly with leading symphony orchestras such as the LSO,
Leipzig Gewandhaus, Royal Concertgebouw, Bayerischer
Rundfunk and at the Royal Opera House, Covent Garden.
Acknowledged as a key figure in the early music revival of the
past four decades, Gardiner has led his own ensembles in a
number of ground-breaking projects and international tours,
including the year-long Bach Cantata Pilgrimage.
In recognition of his work, Sir John Eliot Gardiner has
received several international prizes, and honorary doctorates
- from the University of Cambridge, University of Lyon, the New
England Conservatory of Music, the University of Pavia and
the University of St. Andrews. He was awarded a knighthood
in 1998, received the Order of Merit of the Federal Republic
of Germany in 2005, and was made Chevalier de la Légion
d’Honneur in 2010.
His acclaimed book on Bach, Music in the Castle of
Heaven (Penguin, 2013), has been translated into several
languages. In 2014 Gardiner became the first ever President
of the Bach Archive in Leipzig. He became the inaugural
Christoph Wolff Distinguished Visiting Scholar at Harvard
University in 2014/15 and has recently been awarded the
Amsterdam Concertgebouw Prize.
Mark Padmore, tenor (Evangelist)
Mark Padmore has an international career in opera,
concert and recital. His appearances in Bach Passions have
gained particular notice especially his acclaimed performances as Evangelist in the St Matthew and St John Passions
with the Berlin Philharmonic and Sir Simon Rattle, staged by
Peter Sellars, including Berlin, Salzburg, New York and the
BBC Proms. He appears with the world’s leading orchestras including the Munich Radio, Berlin, Vienna, New York,
London Symphony and Philharmonic Orchestras, the Royal
Concertgebouw Orchestra and Orchestra of the Age of
Enlightenment. Mark gives recitals worldwide. He appears
frequently at Wigmore Hall, London where has twice sung
all three Schubert cycles. Award winning recordings include
Handel arias As Steals the Morn; the Schubert cycles with Paul
Lewis; Britten’s Serenade, Nocturne and Finzi Dies Natalis with
the Britten Sinfonia (Harmonia Mundi) and a DVD of the staged
St Matthew Passion (Berlin Philharmonic/Rattle). Mark is Artistic
Director of the St Endellion Summer Music Festival in Cornwall.
E
Klarafestival
Erbarme dich
9 24.3
2016
P6
Stephan Loges, bass (Christ)
Born in Dresden, Stephan studied at the Hochshule
der Kunste, Berlin and the Guildhall School of Music and
Drama in London and was an early winner of the Wigmore
Hall International Song Competition. Recent highlights
include Britten War Requiem with Melbourne and Sapporo
Symphony Orchestras; Saariaho The Tempest Songbook with
Scharoun Ensemble at Philharmonie Köln; Mozart Coronation
Mass and Haydn Stabat Mater with the Ensemble Orchestral
de Paris and Fabio Biondi and regular appearances with
the Scottish Chamber Orchestra. Loges has given recitals
worldwide, including regular appearances at Wigmore Hall,
London and for Oxford Lieder, as well as Carnegie Hall, New
York, Concertgebouw Amsterdam, Vienna Konzerthaus,
Klavierfestival Ruhr, La Monnaie Brussels, and the Vocal Arts
Series in Washington with pianists Roger Vignoles, Simon
Lepper, Iain Burnside, Alexander Schmalcz, Eugene Asti and
Llyr Williams.
Hannah Morrison, soprano
Born into a Scottish-Icelandic family, soprano Hannah
Morrison collaborates on a regular basis with Sir John Eliot
Gardiner, under whose direction she made her Salzburg
Festival debut in 2013 in Alexander’s Feast (Handel). Under
Gardiner’s baton she went on to sing in Schumann’s Paradise
and the Peri and Brahms’ Ein deutsches Requiem with Leipzig
Gewandhaus Orchestra in 2014. For the 2015/16 season
she will go on tour with Mozart’s “Requiem” and Bach’s “St.
Matthew Passion”. As a solo song performer she is invited to
give Lied recitals with Joseph Middleton at the Beethovenhaus
in Bonn and at Cologne Philharmonie. She has already given
vocal recitals in the UK with pianists Eugene Asti and Graham
Johnson at Oxford Festival, as well as in outstanding London
venues such as Kings Place and Wigmore Hall.
Eleanor Minney, alto
Eleanor gained a First Class Honours degree in Vocal
Studies from Trinity Laban Conservatoire of Music, London.
Upon graduating was also recipient of the Wilfred Greenhouse
Allt college prize for Cantata and Oratorio for her performance
in Bach's St. John Passion. Recent solo highlights include
Bach’s B Minor Mass and Trauer Ode (Cantata 198) with Sir
John Eliot Gardiner and the English Baroque Soloists, Bach’s St.
Matthew Passion and Monteverdi’s Vespers with the Orchestra
of the Age of Enlightenment, a series of recitals with baroque
violinist Davina Clarke, and solo recitals at London's St. Martinin-the-fields, Cadogan Hall, and St. George’s Hanover Square.
Eleanor is a 2015-2016 Young Artist and resident recitalist at
the Handel House Museum, London.
Reginald Mobley, countertenor
Countertenor Reginald Mobley fully intended to speak
his art through watercolors and oil pastels until circumstance
demanded that his own voice should speak for itself. Since
reducing his visual color palette to the black and white of a
score, he’s endeavored to open up a wider spectrum onstage.
Never bound by conventional repertoire, Reggie has a fair
bit of non-classical work in tow. Not long after becoming a
countertenor, his professional work began in Musical Theatre.
In addition that, while living in Japan he performed many
cabaret shows of gospel, jazz, and torch songs in jazz clubs
around Tokyo. And though not one to regret, Reggie has considered rediscovering his artistic roots. So if seen post concert,
forego an autograph and ask for one of his self-acclaimed stick
figure drawings.
Clare Wilkinson, alto
Particularly passionate about Bach and Byrd, Clare
spends her time making music with groups of different shapes
and sizes, and loves them all: baroque orchestra, consort of
viols, lute song, vocal consort. She has had numerous new
works written for her, several of which she premièred at the
Wigmore Hall. Clare has recorded very widely, and a number
of her disks have won Gramophone awards. She lives in the
woods in Flanders with her conductor husband.
Alex Ashworth, bass
Alex Ashworth is a concert and opera singer working
across Europe and the United Kingdom. He studied at the
Royal Academy of Music and has sung with houses including Glyndebourne Festival Opera, Welsh National Opera
and Scottish Opera. Abroad, he has performed for the Opéra
Comique in Paris, Opéra de Lille and the Icelandic Opera. On
the concert platform he has worked with conductors including
Sir John Eliot Gardiner, Sir Colin Davis and Paul McCreesh.
His recordings include Monteverdi’s Vespers, Bach’s B Minor
Mass, OEdipus Rex and Granados’ opera Maria Dell’Carmen.
E
Klarafestival
Erbarme dich
9 24.3
2016
P7
Nicholas Mogg, bass
Nicholas Mogg studies at the Royal Academy of
Music in London where he is the recipient of the Baroness de
Turckheim Award. He is a Britten-Pears Young Artist and a soloist
for the Kohn Foundation Bach Cantata Series. In 2015 he won
the Joan Chissell Schumann Lieder Prize, the Elena Gerhardt
Lieder Prize, and the Oxford Lieder Young Artist Platform.
Nicholas is grateful for the support of the Drake Calleja Trust,
Lady Clare Fund, George Law, and the Countess of Munster
Musical Trust. He studied at Clare College, Cambridge, and
was an apprentice in the Monteverdi Choi.
Ashley Riches, bass
Ashley studied at the Guildhall School of Music and
Drama and subsequently was a member of the Young Artists
programme at the Royal Opera House, Covent Garden. Ashley’s
operatic appearances include Michael in the premiere of Glare
by Eichberg (Linbury), Guglielmo Così fan Tutte (Garsington) and
Keeper of the Madhouse in The Rake’s Progress (SCO/Ticciati).
Already well established on the concert platform, Ashley’s
broad and varied repertoire includes Verdi’s Requiem, Britten
War Requiem and Shostakovich Orango. This season, Ashley
made his debut at ENO as Schaunard La Bohème, and goes
on to sing Kreon Oedipus Rex with the Berlin Philharmoniker.
Jonathan Sells, bass
Jonathan Sells studied Opera at the Guildhall School
of Music and Drama (London), winning a number of prizes. He
was then a member of the International Opera Studio, Zürich,
from 2010-2012. In concert, he has sung as a soloist at the Berlin
Philharmonie, Château de Versailles, Lincoln Center, Carnegie
Hall, Tonhalle, and the BBC Proms under William Christie, Roger
Norrington, and Ton Koopman, among others. He has appeared
in recital at Wigmore Hall, for Liedrezital Zürich, and ‘Das Lied’
(Bern). In May he will perform in the Berner Kulturcasino with
Les Passions de l’Ame and his baroque collective, Solomon’s
Knot.
N
E
Klarafestival
Erbarme dich
9 24.3
2016
Musicians
English Baroque Soloists
Orchestra I
First violin
Viola
Viola da gamba
Oboe
Kati Debretzeni
Iona Davies
Julia Kuhn
James Boyd
Aliye Cornish
Reiko Ichise
Michael Niesemann
Mark Baigent
Second violin
Anne Schumann
Roy Mowatt
Jane Gordon
Double bass
Cello
Valerie Botwright
Marco Frezzato
Catherine Rimer
Flute
Bassoon
Györgyi Farkas
Rachel Beckett
Christine Garratt
Organ
James Johnstone
Orchestra II
First violin
Viola
Double bass
Bassoon
Catherine Martin
Madeleine Easton
Henrietta Wayne
Fanny Paccoud
Lisa Cochrane
Cecelia Bruggemeyer
Marco Posthingel
Flute
Organ / harpsichord
Eva Caballero
Rachel Helliwell
Silas Wollston
Cello
Second violin
James Toll
Emily Dupere
Hildburg Williams
Richte van der Meer
Kinga Gáborjáni
Oboe
Leo Duarte
Robert de Bree
Monteverdi Choir
Soprano
Alto
Tenor
Bass
Emily Armour
Charlotte Ashley
Jessica Cale*
Rebecca Hardwick
Angela Hicks
Alison Hill*
Gwendolen Martin
Eleanor Meynell
Hannah Morrison*
Angharad Rowlands*
Eleanor Minney*
Reginald Mobley*
Simon Ponsford
Kate Symonds-Joy
Matthew Venner
Clare Wilkinson*
Rory Carver
Thomas Herford*
Hugo Hymas*
Tom Kelly
Nicolas Robertson
James Way*
Alex Ashworth*
Nicholas Mogg*
Ashley Riches*
Rupert Reid
Jonathan Sells*
Lawrence Wallington
* consort soloist
Netherlands Youth Choir
Tal Sasha
Joelle Ocheng
Nimaro Ocheng
Sophia Faltas
Romy Gansevoort
Emma Becker
Hella de Ridder
Britte Wijtmans
Veronika Akhmetchina
Diana van Faassen
Hanneke Hommes
Fenna Heijbroek
Hilde van Zandbergen
Noëmi Schermann
Floor van Dijk
Levy Pletting
Noor Eddes
Femke Bruggeman
Isabel Houtmortels
Karen Stok
Clara van Vliet
Wilma ten Wolde,
chorus master
Theo Berkhout,
production manager
P8
Partner Festival van Vlaanderen Brussel
3,9 - 5,5 L/100 KM •102 - 144 G CO2/KM
9 24.3
2016
Environmental information RD 19/3/2004: www.mercedes-benz.be - Give safety priority.
The new E-Class.
Masterpiece of Intelligence.
MBS8038792_E-Klasse launch_297x210mm_EN_NoBody_v01.indd 1
09/03/16 10:13
Klarafestival
Erbarme dich
9 24.3
2016
U huilt niet
graag in het
openbaar?
Dan doet u dat gewoon thuis, luisterend naar ontroerend mooie muziek. Want dat
is de kracht van het Klarafestival, ook op radio. Klara zendt elke dag het beste van
het Klarafestival uit, van 6 tot middernacht. Leg alvast uw zakdoek klaar.
2440_KLA_Sponsor_ad_huilen_297x210.indd 1
08/03/16 11:03
Klarafestival
Erbarme dich
9 MUSIQ’3 PARTAGE
LES PASSIONS
DU KLARAFESTIVAL !
RETROUVEZ 5 CONCERTS EN DIRECT
ET 7 CONCERTS EN DIFFÉRÉ SUR
WWW.MUSIQ3.BE
AMATEURS DE FESTIVALS DE MUSIQUE CLASSIQUE,
NE MANQUEZ PAS LE FESTIVAL MUSIQ’3
LES 1, 2 ET 3 JUILLET 2016 À FLAGEY!
PLUS DE 50 CONCERTS ET 200 ARTISTES
24.3
2016
Klarafestival
Erbarme dich
9 24.3
2016
Klarafestival
Erbarme dich
9 24.3
2016
be
beclassic_BEBRUSSELS_A4_vert.indd 1
28/01/15 16:59
Klarafestival
Erbarme dich
9 24.3
2016
A LLES IS
MO G EL IJ K
TO UT EST
PO S S IBLE
DA N K Z I J U
GRÂCE À
VO U S
Klarafestival
DIT PROJECT IS ER DANKZIJ U.
C E P ROJE
ROJ E T E X I S T E G R ÂC E À VO U S .
Via de Nationale Loterij steunt u onrechtstreeks tal van
projecten waar iedereen iets aan heeft.
In 2014 ging op die manier meer dan 10 miljoen euro
naar culturele projecten zoals dit.
Avec la Loterie Nationale, jouer, c’est aussi soutenir
de nombreux projets qui profitent à tous.
En 2014, plus de 10 millions d’euros ont été redistribués
à des projets culturels comme celui-ci.
Annonce sponsor JTI_HiRes.pdf
Klarafestival
1
2/05/13
17:12
Erbarme dich
9 24.3
2016
jti.com
adv_ostFVV2010:Layout 1
Klarafestival
4/6/10
4:24 PM Page
Erbarme
dich
1
9 C R É A T E U R
13 RUE ROYALE, 1000 BRUSSELS
•
INFO@DANIELOST.BE
F L O R A L
TEL 02 217.29.17
O.L.VROUWPLEIN 26, 9100 SINT- NIKLAAS
•
24.3
•
•
FAX 02 217.31.99
TEL 03 776.17.15
•
WWW.DANIELOST.BE
FAX 03 778.13.58
2016
Partner BOZAR
9 ALLEGRO
CRESCENDO.
24.3
2016
BMW
www.bmw.be
Sheer
Driving Pleasure
Experience joy that is more powerful and more
intense every time you take the wheel of a BMW.
Become the conductor of your own driving pleasure –
playing on the most beautiful instrument. Like an artist,
BMW aspires to perfect aesthetics.
Environmental information (RD 19/03/04): www.bmw.be
BMW19631_Klara annonce_273x186.indd 1
0.0-11.1 L/100 KM • 0-258 G/KM CO2
2/03/16 10:16
Klarafestival
Erbarme dich
9 24.3
2016
MUSIC
Centre for fIne artS
BrUSSelS
QUATUOR
EBENE
MATTHIAS GOERNE, BARITONE
100%
SCHUBERT
17 APR. ’16 — 19:00
PaleIS voor SChone KUnSten
BrUSSel
PalaIS deS BeaUx-artS
BrUxelleS
Rue Ravensteinstraat 23
1000 Brussels
+32 2 507 82 00 / bozar.be
Copyright photo: Quatuor Ebène (2015) © Julien Mignot
Klarafestival
Erbarme dich
9 24.3
2016
cEntrE fOr finE arts
BrussEls
EXPO
THE POWER OF
THE AVANT-GARDE
ART iN EuROPE DuRiNG
THE GREAT WAR & bEyOND
29 SEP. ’16 —
22 JAN. ’17
PalEis vOOr schOnE KunstEn
BrussEl
Palais dEs BEauX-arts
BruXEllEs
Rue Ravensteinstraat 23
1000 brussels
+32 2 507 82 00 / bozar.be
Copyright : Kazimir Malevich, Lady in Tram, 1913. Collectie Stedelijk Museum Amsterdam
Klarafestival
Erbarme dich
9 24.3
2016
Wij danken onze bozar PaTronS voor hun TrouWe STeun
nouS remercionS noS bozar PaTronS Pour leur SouTien Précieux
Monsieur et Madame Charles Adriaenssen • Madame Geneviève Alsteens • Madame Marie-Louise Angenent • Monsieur et Madame Etienne d’Argembeau
• Comte et Comtesse Christian d’Armand de Chateauvieux • Monsieur Laurent Arnauts • Duchesse d’Audiffret Pasquier • Monsieur et Madame Laurent Badin
• Baron en Barones Jean-Pierre de Bandt • Monsieur Erard de Becker • Monsieur et Madame Roger Begault • Madame Marie Bégault • Monsieur Jean-François
Bellis • Baron et Baronne Berghmans • Monsieur Tony Bernard • Baron en Barones Luc Bertrand • De Heer Stefaan Bettens • De Heer en Mevrouw Carl
Bevernage • Madame Bia • Mevrouw Liliane Bienfet • Professor en Mevrouw Roger Blanpain • Monsieur et Madame Mickey Boël • Comte et Comtesse Boël
• Monsieur et Madame Bernard Boon Falleur • Monsieur Vincent Boone • Monsieur Thierry Bouckaert • De Heer Harry Boukes • Monsieur Olivier Bourgois
et Madame Alice Goldet • De Heer en Mevrouw Alfons Brenninkmeijer • Ambassadeur Dr. Günther Burghardt en Mevrouw Rita Burghardt-Byl • Mevrouw
Helena Bussers • Comte et Comtesse Buysse • Madame Marie Anne Carbonez • Baron Cardon de Lichtbuer • Monsieur et Madame Michel Carlier • Monsieur
et Madame Hervé de Carmoy • Mevrouw Ingrid Ceusters-Luyten • Monsieur et Madame Jean-Charles Charki • Monsieur Robert Chatin • Prince et Princesse
de Chimay • Monsieur et Madame Christian Chéruy • Madame Marianne Claes • Monsieur Nicolas Clarembeaux • Monsieur Jim Cloos • Madame Jean de Cock
de Rameyen • Monsieur Bernard de Cock de Rameyen • Comtesse Michel Cornet d’Elzius • Monsieur et Madame Patrice Crouan • De Heer Géry Daeninck
• Monsieur et Madame Denis Dalibot • Monsieur et Madame Bernard Darty • Vicomte Davignon • De Heer en Mevrouw Philippe De Baere • De Heer en
Mevrouw Philippe Declercq • Monsieur Pascal De Graer • De heer en Mevrouw Bert De Graeve • Baron Andreas De Leenheer • Monsieur Michel Delloye
• Monsieur Jean-Marie Delwart • Monsieur et Madame Alain De Pauw • Monsieur Patrick Derom • Monsieur Laurent Desseille • Monsieur Eric Devos • Monsieur
Régis D’Hondt • De Heer en Mevrouw Xavier D’Hulst-Struyven • Monsieur et Madame Thierry R. Dillard-Desjonquères • Monsieur Michel Doret • Monsieur
Jean-Baptiste Douville de Franssu • M. Bruce Dresbach et Dr. Corinne Lewis • Monsieur Alain Dromer • De Heer en Mevrouw Bernard Dubois • Madame
Sylvie Dubois • Monsieur et Madame Pierre Dumolard-Balthazard • Monsieur et Madame Paul Dupuy • Mr. Graham Edwards • Madame Jacques E. François
• Madame Monique Fritz • Madame Sophie de Galbert • De heer en Mevrouw Marnix Galle Sioen • Madame Marie-Christine Gennart • Monsieur Oscar
Geyer • Monsieur et Madame Léo Goldschmidt • Madame Sylvia Goldschmidt • De heer André Gordts • Comtesse Nadine le Grelle •Monsieur et Madame
Pierre Guilbert • Madame Bernard Guttman • Monsieur et Madame Regnier Haegelsteen • Monsieur et Madame John van der Hagen • Monsieur Paul Haine
• Monsieur et Madame Bernard Hanotiau • De Heer en Mevrouw Philippe Haspeslagh • Monsieur Thierry Hazevoets • De Heer en Mevrouw Pieter Heering
• Monsieur Jean-Pierre Hoa • De Heer Xavier Hufkens • Madame Christine Huvelin • Mevrouw Bonno H. Hylkema • Monsieur Fernand Jacquet • Monsieur
Maxime Jadot • Barones Janssen • Baron et Baronne Paul-Emmanuel Janssen • Monsieur et Madame Mathieu Janssens van der Maelen • Madame Patricia de
Jong • Madame Elisabeth Jongen • De Heer en Mevrouw Martin Kallen • Monsieur et Madame Adnan Kandiyoti • Monsieur Claude Kandiyoti • Madame Harold
t’Kint de Roodenbeke • Monsieur Peter Klein et Madame Susanne Hinrichs • Dr. et Madame Klaus Körner • Monsieur Charles Kramarz • Madame Jean-Jacques
Kreglinger • Monsieur et Madame Charles Kriwin • Madame Marleen Lammerant • Mademoiselle Alexandra et Monsieur Ludovic van Laethem • Monsieur
et Madame Francis-Charles Lang • Monsieur et Madame Richard Laub • Madame Brigitte de Laubarede • Comte et Comtesse Yvan de Launoit • Chevalier et
Madame Laurent Josi • Monsieur Pierre Lebeau • Monsieur et Madame François Legein • Monsieur et Madame Laurent Legein • Monsieur et Madame CharlesHenri Lehideux • Monsieur Mark Le Jeune • Monsieur et Madame Gérald Leprince Jungbluth • Madame Dominique Leroy • De Heer en Mevrouw Thomas
Leysen • De Heer en Mevrouw Paul Lievevrouw – Van der Wee • Madame Florence Lippens • Madame Daphné Lippitt • Monsieur et Madame Clive Llewellyn
• Monsieur Manfred Loeb • Madame Marguerite de Longeville • Comte et Comtesse Jean-Baptiste de Looz-Corswarem • Monsieur et Madame Thierry Lorang
• De Heer Peter Maenhout • Madame Oscar Mairlot • Monsieur et Madame Jean-Pierre Mariën • Notaris Luc L. R. Marroyen • De Heer en Mevrouw Frederic
Martens • Monsieur et Madame Yves-Loïc Martin • De Heer en Mevrouw Paul Maselis • Monsieur et Madame Dominique Mathieu-Defforey • Madame Luc
Mikolajczak • De Heer en Mevrouw Frank Monstrey-Noé • Baron et Baronne Dominique Moorkens • Madame Jean Moureau-Stoclet • Madame Nelson • De
Heer en Mevrouw Robert van Oordt • Mevrouw Thérèse Opstal • Monsieur Laurent Pampfer • Monsieur Jean-Philippe Parain • Comte et Comtesse Baudouin
du Parc Locmaria • Madame Jessica Parser • Monsieur et Madame Dominique Peninon • Monsieur et Madame Olivier Périer • Monsieur Frédéric Peyré
• Madame Florence Pierre • Madame Marie-Caroline Plaquet • Madame Suzanne de Potter • Madame Marie-Neige Prignon • Monsieur et Madame André
Querton • Madame Hermine Rédélé Siegrist • Madame Agnès Rein – Bollack • De Heer Hendrik Reychler • Madame Olivia Nicole Robinet-Mahé • De Heer
en Mevrouw Anton van Rossum • Monsieur et Madame Bernard Ruiz Picasso • Monsieur et Madame Jean Russotto • Monsieur et Madame Dominique de
Saint-Rapt • Monsieur et Madame Frederic Samama • Mevrouw Anne-Marie Saquet • Monsieur Jean-Pierre Schaeken-Willemaers • Monsieur Eric-Emmanuel
Schmitt • Monsieur et Madame Philippe Schöller • Monsieur et Madame Hans C. Schwab • Madame Ingrid Schwaiger • Chevalier Alec de Selliers de Moranville
• Chevalier Baudouin de Selliers de Moranville • Monsieur et Madame Tommaso Setari • Madame Gaëlle Siegrist Mendelssohn • Madame Valérie Siegrist du
Couëdic • Monsieur Sergio Gondim Simao • Messieurs Bernard Slegten et Olivier Toegemann • Mr. & Mrs. Trevor Soames • Monsieur Patrick Solvay • Madame
Mario Spandre • Monsieur Eric Speeckaert • Vicomte Philippe de Spoelberch • Monsieur Bernard Steyaert et Madame Wivine de Traux • De Heer en Mevrouw
Jan Steyaert • Stichting Liedts-Meesen • Monsieur et Madame Stoclet • Baron et Baronne Hugues van der Straten • Monsieur et Madame Julien Struyven • De
Heer en Mevrouw Frank Sweerts • De Heer Coen Teulings • Monsieur Daniel Thierry • Monsieur Gilbert Tornel • Madame Astrid Ullens de Schooten • Madame
Brigitte Ullens de Schooten • Monsieur Marc Urban • De Heer Marc Vandecandelaere • De heren Pascal van der Kelen en Patrick Haemelinck • Monsieur et
Madame Bruno Vanderschelden • Mevrouw Greet Van de Velde • De heer Jan Van Doninck • Madame Nadine van Havre • Madame Lizzie Van Nieuwenhuyse
• Mevrouw Ludo Van Thillo • De Heer Johan Van Wassenhove • Baron et Baronne de Vaucleroy • Baronne Velge • De Heer Eric Verbeeck • Monsieur et Madame
Denis Vergé • Monsieur et Madame Bernard Vergnes • Monsieur et Madame Alexis Verougstraete • Mevrouw Eddy Vermeersch • De Heer en Mevrouw Axel
Vervoordt • Monsieur Guy Vieillevigne • De Heer en Mevrouw Karel Vinck • Vrienden van het Zoute • Monsieur Alain Vulihman • Madame Gabriel Waucquez
• Monsieur et Madame Peter Wilhelm • Monsieur et Madame Luc Willame • Monsieur Robert Willocx • Madame Véronique Wilmot • Monsieur et Madame
Antoine Winckler • Monsieur et Madame Bernard Woronoff • Chevalier Godefroid de Wouters d’Oplinter • Baron Guy de Wouters d’Oplinter†• Mr. Johan
Ysewyn & Ms Georgia Brooks • Zeno X Gallery – Antwerp • Monsieur et Madame Jacques Zucker
corporate patrons
ABN AMRO · BANK OF NEW YORK MELLON · EDMOND DE ROTHSCHILD (EUROPE) · BIRD & BIRD · BKCP · KBC BANK NV · EDF LUMINUS · LHOIST
· LINKLATERS · LOMBARD ODIER · NH HOTELES · PUILAETCO DEWAAY PRIVATE BANKERS S.A. · SOCIéTé FéDéRALE DE PARTICIPATIONS ET
D’INVESTIDDEMENTS S.A. · FEDERALE PARTICIPATIE EN INVESTERINGSMAATSCHAPPIJ NV ·
Contact : 02 507 84 21 ou 02 507 84 01 - Membership@bozar.be
Klarafestival
Erbarme dich
9 24.3
2016
ONZE PARTNERS · NOS PARTENAIRES · OUR PARTNERS
Overheidssteun · Soutien public · Public partners
KONINKRIJK BELGIË
Federale Overheidsdienst
Buitenlandse Zaken,
Buitenlandse Handel en
Ontwikkelingssamenwerking
ROYAUME DE BELGIQUE
Service public fédéral
Affaires étrangères,
Commerce extérieur et
Coopération au Développement
Federale Regering · Gouvernement Fédéral
Diensten van de Eerste Minister, Cel algemene beleidscoördinatie · Services du Premier Ministre, Cellule de coordination générale de la politique · Diensten
van de Vice-eersteminister en Minister van Werk, Economie en Consumenten, belast met Buitenlandse Handel · Services du Vice-Premier Ministre
et Ministre de l’Emploi, de l’Economie et des Consommateurs, chargé du Commerce extérieur · Diensten van de Vice-eersteminister en Minister van
Veiligheid en Binnenlandse Zaken, belast met Grote Steden en de Regie der gebouwen · Services du Vice-Premier Ministre et Ministre de la Sécurité et
de l’Intérieur, chargé des Grandes Villes et de la Régie des bâtiments · Diensten van de Vice-eersteminister en Minister van Ontwikkelingssamenwerking,
Digitale Agenda, Telecommunicatie en Post · Services du Vice-Premier Ministre et Ministre de la Coopération au développement, de l’Agenda numérique,
des Télécommunications et de la Poste · Diensten van de Vice-eersteminister en Minister van Buitenlandse Zaken en Europese Zaken, belast met Beliris
en de Federale Culturele Instellingen · Services du Vice-Premier Ministre et Ministre des Affaires étrangères et européennes, chargé de Beliris et des
Institutions culturelles fédérales · Diensten van de Minister van Begroting, belast met de Nationale Loterij · Services du Ministre du Budget, chargé de la
Loterie nationale · Diensten van de Minister van Financiën · Services du Ministre des Finances
Vlaamse Gemeenschap
Kabinet van de Minister-president en Minister van Buitenlands Beleid en Onroerend Erfgoed · Kabinet van de Minister van Cultuur, Media, Jeugd en Brussel
Communauté Française
Cabinet du Ministre-Président · Cabinet de la Vice-Présidente et Ministre de l’Education, de la Petite enfance, des Crèches et de la Culture · Cabinet du
Ministre de l’Aide à la jeunesse, des Maisons de justice et de la Promotion de Bruxelles
Deutschsprachige Gemeinschaft Belgiens
Kabinett des Ministerpräsidenten
Région Wallonne
Cabinet du Ministre-Président
Brussels Hoofdstedelijk Gewest · Région de Bruxelles-Capitale
Kabinet van de Minister-President · Cabinet du Ministre-Président · Kabinet van de Minister van Financiën, Begroting, Externe Betrekkingen en
Ontwikkelingssamenwerking · Cabinet du Ministre des Finances, du Budget, des Relations extérieures et de la Coopération au Développement
Vlaamse Gemeenschapscommissie ∙ Commission Communautaire Française Stad Brussel ∙ Ville de Bruxelles
Internationale partners · Partenaires internationaux · International partners
European Concert Hall Organisation: Concertgebouw Amsterdam · Gesellschaft der Musikfreunde in Wien · Wiener Konzerthausgesellschaft · Cité
de la Musique Paris · Barbican Centre London · Town Hall & Symphony Hall Birmingham · Kölner Philharmonie · The Athens Concert Hall Organization ·
Konserthuset Stockholm · Festspielhaus Baden-Baden · Théâtre des Champs-élysées Paris · Salle de concerts Grande-Duchesse Joséphine-Charlotte de
Luxembourg · Paleis voor Schone Kunsten Brussel/Palais des Beaux-Arts de Bruxelles · The Sage Gateshead · Palace of Art Budapest · L’Auditori Barcelona ·
Elbphilharmonie Hamburg · Casa da Música Porto · Calouste Gulbenkian Foundation Lisboa · Palau de la Música Catalana Barcelona · Konzerthaus Dortmund
Institutionele partners · Partenaires institutionnels · Institutional partners
Structurele partners · Partenaires structurels · Structural partners
Media partners · Partenaires médias
Bevoorrechte partners · Partenaires privilégiés · Privileged partners
BOZAR
Stichtingen · Foundations
Officiële leveranciers · Fournisseurs officiels
EXPO PHOTO
MUSIC
Promotiepartners · Partenaires promotionnels
Klarafestival
Erbarme dich
klara
festival
Brussels
International
Music
9 24.3
2016
Klarafestival is s a joint project of Flanders Festival Brussels & Klara
main partners public funding Vlaamse Gemeenschap
͸ Kabinet van de Minister van
Cultuur, Media, Jeugd en Brussel
De Heer Sven Gatz
͸ Viceminister-president van de Vlaamse
Regering, Vlaams minister van Binnenlands Bestuur, Inburgering, Wonen,
Gelijke Kansen en armoedebestrijding
Mevrouw Liesbeth Homans
Brussels Hoofdstedelijk Gewest / Région de Bruxelles-Capitale
͸ Kabinet van de Minister van Financiën,
Begroting, Externe Betrekkingen
en Onwikkelingssamen-werking
& Voorzitter van het College van de
Vlaamse Gemeenschapscommissie
(VGC), belast met Onderwijs, Vorming,
Begroting en Communicatie
De Heer Guy Vanhengel
͸ Staatssecretaris van het Brussels
Hoofdstedelijk Gewest belast met
Ontwikkelingssamenwerking, Verkeersveiligheidsbeleid, Gewestelijke en
gemeentelijke Informatica en
Digitalisering, Gelijkekansenbeleid
en Dierenwelzijn
Mevrouw Bianca Debaets
concert partners ͸ Minister van de Brusselse
Hoofdstedelijke Regering, belast
met Mobiliteit & Openbare Werken
͸ Minister, Lid van het College van de
Vlaamse Gemeenschapscommissie
(VGC), belast met Cultuur, Jeugd,
Sport en Stedelijk Beleid
De Heer Pascal Smet
official festival car
associations AMARANT / BRUSSELS NV / DE BUURTWINKEL / DE ZILVEREN PASSER / HOBO / LCD CHARMONY / LOKAAL DIENSTENCENTRUM DE HARMONIE /
LOKAAL DIENSTENCENTRUM LOTUS / NEOS / OCMW'S VAN ANTWERPEN, BRUGGE, GENT, MECHELEN EN WEMMEL / ROTARY VAN COUDENBERG /
SENIORENCENTRUM BOD / VUB ALUMNI / WIJKPARTENARIAAT DE SCHAKEL
official festival suppliers business seats OPTIMA, BNP PARIBAS FORTIS, KLARA, ERIK DRALANS, GIMV, KBC, MÖBIUS, OMNIA TRAVEL, QUANTEUS
Klarafestival
Erbarme dich
9 24.3
2016
klara
festival
Brussels
International
Music
Roots
& Exile
8
24.3 2017
Save the date
klarafestival.be
ARTISTIC PARTNERS MAIN
PARTNERS OFFICIAL
FESTIVAL
CAR