Wednesday 23.3 20:00, BOZAR

klara Brussels International Music festival

ST MATTHEW PASSION / BACH

ST MATTHEW PASSION / BACH

OFFICIAL FESTIVAL CAR MAIN

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ST MATTHEW PASSION Bach 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 Johann Sebastian BACH

1685-1750

Passio secundum Matthaeum, BWV 244

(1727)

Parte prima

intermission

Parte seconda

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2016

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Wednesday 

23.3 2016 20:00

BOZAR Henry Le Boeuf Hall

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Johann Sebastian Bach

(1685-1750)

: St Matthew Passion BWV 244

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2016

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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 handwri ting of his later eye-damaged years, with corrections entered on glued-on strips of paper meticulously inserted. The impres sion is of a painstakingly constructed autograph score, worked over, revised, repaired and left in a condition aspiring to some sort of ideal. 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 liste ners’ 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. 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 incep tion, 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.

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.

• • •

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.

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 instru mental ensemble.

After consecutive outings in 1724 and 1725 of the fast paced 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 contem plate 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 accompa niments, and the expanded range of emotional and meditative response that they encompass. So, instead of waiting impa tiently 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’. Bach’s opening chorus is presented to us as an immense tableau – an aural equivalent, say, to a grand altar piece 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 sono rity – 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

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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 buil ding 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 straight forward 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 conclu sion 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.

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 summa tion ‘Truly this was the Son of God’. As always, the music is the place to find Bach himself too. Much as his whole endea vour 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.

• • •

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. There is not a single opera seria of the period that I have studied or conducted to compare with Bach’s two survi ving 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, insi sted that Christ’s Passion ‘should not be acted out in words or appearances, but in one’s own life’.

As the Passion moves towards its climax, Bach’s stra tegy 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 obbli gato 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 sugge stive 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.

• • •

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

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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 reper toire, ranging from Monteverdi to Mozart and Haydn, they are equally at home in chamber, symphonic and operatic perfor mances. 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 inde pendent 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 perspec tive to their repertoire. This approach combined with their passionate and virtuosic singing has led to them being consis tently 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 perfor mances 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 orches tras 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.

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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. Martin in-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 consi dered 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 inclu ding 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.

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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.

Klarafestival Musicians Erbarme dich English Baroque Soloists Orchestra I First violin

Kati Debretzeni Iona Davies Julia Kuhn

Viola

James Boyd Aliye Cornish

Second violin

Anne Schumann Roy Mowatt Jane Gordon

Cello

Marco Frezzato Catherine Rimer

Orchestra II First violin

Catherine Martin Madeleine Easton Henrietta Wayne

Second violin

James Toll Emily Dupere Hildburg Williams

Viola

Fanny Paccoud Lisa Cochrane

Cello

Richte van der Meer Kinga Gáborjáni

Viola da gamba

Reiko Ichise

Double bass

Valerie Botwright

Flute

Rachel Beckett Christine Garratt

Double bass

Cecelia Bruggemeyer

Flute

Eva Caballero Rachel Helliwell

Oboe

Leo Duarte Robert de Bree

Monteverdi Choir Soprano

Emily Armour Charlotte Ashley Jessica Cale* Rebecca Hardwick Angela Hicks Alison Hill* Gwendolen Martin Eleanor Meynell Hannah Morrison* Angharad Rowlands*

Alto

Eleanor Minney* Reginald Mobley* Simon Ponsford Kate Symonds-Joy Matthew Venner Clare Wilkinson*

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

Tenor

Rory Carver Thomas Herford* Hugo Hymas* Tom Kelly Nicolas Robertson James Way* Floor van Dijk Levy Pletting Noor Eddes Femke Bruggeman Isabel Houtmortels Karen Stok Clara van Vliet

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Oboe

Michael Niesemann Mark Baigent

Bassoon

Györgyi Farkas

Organ

James Johnstone

Bassoon

Marco Posthingel

Organ / harpsichord

Silas Wollston

Bass

Alex Ashworth* Nicholas Mogg* Ashley Riches* Rupert Reid Jonathan Sells* Lawrence Wallington * consort soloist Wilma ten Wolde, chorus master Theo Berkhout, production manager

P8

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9 24.3

2016

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 Charles Henri 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 - [email protected]

Klarafestival Erbarme dich

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

9 24.3

2016 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 Aff aires 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

EXPO PHOTO MUSIC

Promotiepartners · Partenaires promotionnels Offi ciële leveranciers · Fournisseurs offi ciels

Klarafestival

klara

Brussels International Music

festival

Erbarme dich 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 Binnen lands 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, Verkeers- veiligheidsbeleid, Gewestelijke en gemeentelijke Informatica en Digitalisering, Gelijkekansenbeleid en Dierenwelzijn

Mevrouw Bianca Debaets

͸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 concert partners  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

Brussels International Music

festival

Roots & Exile

8 24.3

2017 ARTISTIC  PARTNERS 

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MAIN PARTNERS 

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