English vocal music

Countertenor Korneel Van Neste and lutenist Justin Glaie have selected a few gems of English vocal music, including works of John Danyel and John Dowland. In 1957, John Dowland published a book with lute music that would become a beacon in the history of English song. Such refined works for solo voice and lute had been common on the continent since the early 15th century, yet we can draw that the genre had not yet reached England based on the more simple examples that were written down in the times before Dowland.

Dowland sets himself apart from his contemporaries because of his strong sense of melody, his talent for selecting or even writing excellent texts and the finesse and musical significance of his lute accompaniments. Further, he stands out because of his frequent use of dance forms, his arrangements of well-known lute solos and his search for recitative-like textures. With the publication of Dowland’s Firste Booke of Songes, the contemporary Tudor audience experienced a musical event of great significance that proved to be the prelude to a new and extremely popular genre. The Firste Booke of Songes was reprinted five times and Dowland published three more song collections, as well as contributions to other printings. Moreover, the London presses were flooded with lute song books for 25 years: composers such as Thomas Campion and Robert Jones wrote several collections, while others like Alfonso Ferrabosco, John Danyel, Francis Pilkington and Thomas Morley each wrote one book. In 1622, the last publication of the genre, a lute piece by John Attey, came to light as a glorious highlight of an already musically rich period.

A solo piece for lute takes us back to early 16th century Italy, where the repertoire for this stringed instrument was already flourishing. Francesco da Milano was a leading light in this field and spent a large part of his life at the papal court in the Vatican. He was praised for his improvisations, and his Fantasia is perhaps living proof of his imaginative musical genius.

This project was created thanks to the donations of many music lovers to AMUZ’s ‘Support Fund for Young Belgian Artists’.

Programme
Francesco Canova da Milano (1497-1543). Fantasia

John Danyel (1564-ca. 1626). Like as the lute delights

Anthony Holborne (1545-1602). Pavan

John Dowland (1563-1626). Can she excuse my wrongs

John Dowland. In darkness let me dwell

John Dowland. Time stands still

Performers
Korneel Van Neste, countertenor | Justin Glaie, lute

23 January, 2021 10:00

Piano music from the Low Countries and France

Harpsichordist Mario Sarrechia plays not only in ensembles such as La Petite Bande and his own Amsterdam Corelli Collective, he also has captivating solo recitals to add to his record of achievements. He aptly explores the repertoire of the Low Countries, with music by Jan Pieterszoon Sweelinck and Joseph-Hector Fiocco. It is common knowledge that Antwerp was an important centre for harpsichord building. The instruments built in the 16th and 17th century by the Rucker family are still considered to be the Rolls Royces of harpsichords. Nevertheless, it is remarkable that relatively little is known about the instrument’s repertoire. The music practice of it’s time plays a role in this. Firstly, there was a lot of improvisation on the piano, this meant that naturally few musical traces were left behind. Secondly, there was a limited market for music prints and handwritten sources often did not survive the test of time. Thirdly, there is simply too much anonymous music left gathering dust. Fortunately, the music of the Low Countries has gained more attention in recent decades, thanks to the work of pioneer Ton Koopman.

The organist, composer and pedagogue from Amsterdam, Jan Pieterszoon Sweelinck (1562-1621) was a bridge builder between the renaissance and baroque periods. He was inspired by the Spanish and Italian schools, and especially from the English virginalists such as William Byrd and John Bull. Like the latter, Sweelinck composed virtuoso piano music full of variations and imaginative ornamentation. He also wrote complex contrapuntal works in which different voices are interwoven. His Paduana lachrymae is a series of variations on a melody by the English John Dowland (1563-1626). Sweelinck arranged this melody in different voices and combined it with contrapuntal motifs.

A century later, Joseph-Hector Fiocco (1703-1741) worked as ‘sangmeester’ (singing master), first in Antwerp, followed by the Cathedral of St Michael and St Gudula in Brussels. His Pièces de clavecin (1730) are strongly influenced by François Couperin’s French style, as much in structure as in harmonic development, melody and ornamentation. The volume contains two large suites; a succession of typically French dances with a descriptive title. However, for the last four movements of the first suite (which Sarrechia plays in his recital), Fiocco departs from the French model, forming a self-standing Italian style sonata with the tempo markings adagio, allegro, andante and vivace. The lyrical characteristics of the slow movements in particular recall the music of Fiocco’s contemporary Vivaldi, who died the same year.

Fifteen years after Fiocco’s death, Jacques Duphly published his Troisième livre de pièces de clavecin. Duphly (1715-1789) initially worked as an organist in Normandy but moved to Paris in 1742 and pursued a career as a harpsichordist. Whilst there, he enjoyed an outstanding reputation and gave private lessons to the most prestigious families. Few of his works survived, although we are certain he wrote four volumes of piano music. However, after his death he fell into oblivion. Is it not symbolic that he died the same year the French Revolution began? Not only did heads roll under the guillotine but harpsichords were also burnt as heretical attributes of the French aristocracy. Duphly’s Chaconne in F is the most extensive movement of his third volume. In the template of a solemn dance, Duphly links together different variations in a three-part time signature. He is not an innovator in terms of style or composition technique, but is indeed considered to be a ‘petit maître’, who according to harpsichordist Christophe Rousset, composed for the harpsichord in a “magnificent fashion”.

This project was created thanks to the donations of many music lovers to AMUZ’s ‘Support Fund for Young Belgian Artists’.

Programme
Joseph-Hector Fiocco (1703-1741)
from: Pièces de Clavecin, Opus 1
Suite in G, opus 1 nr. 1
Adagio | Allegro | Andante | Vivace

Jan Pieterszoon Sweelinck (1562-1621)
Paduana lachrymae

Jean-Jacques Duphly (1715-1789)
from: Pièces de Clavecin, 3ème livre
Chaconne in F

Performer
Mario Sarrechia, harpsichord

30 January, 2021 10:00

Music for theorbo and Baroque guitar

During the Renaissance and Baroque period there was a large variety of plucked instruments, from the small cittern to lutes with voluminous sound boxes. In Florence, one instrument in particular had a special status, namely the chitarrone. In the Florentine Camerata of Count Giovanni de’ Bardi between 1573 and 1587, singers and poets came together for discussion and music making. Whilst there, they also developed a new singing style, the recitative, in which the text was central. The chitarrone was the instrument of choice to accompany these monodic songs. From the 1600s, the term chitarrone was replaced by “theorbo”.

A striking feature of the instrument is its long neck with bass strings. This allowed the music to be performed with a wide range of tones and the instrument’s repertoire could be expanded. As a result, theorbo players were soon promoted from accompanists to soloists. With their versatile instrument – in the musical sense that is, it being a large, clumsy hazard on a stage – virtuosi were able to display all their skills. Famous specialists on the theorbo (and lute) at that time were Bellerofonte Castaldi (1580-1649) and Girolamo Kapsberger (1580-1651).

Castaldi spent most of his life in Modena and Venice. He could make ends meet with income from his estate and could spend his time freely on the arts. He must have been a colourful, free-spirited figure. His work for the theorbo is some of the most flamboyant of his time, with lively rhythms, imitative counterpoint and frequently scattered dissonances. Cecchina corrente is a movement from the collection Capricci a 2 stromenti cioè tiorba e tiorbino e per sonar solo varie sorti di balli e fantasticarie (Modena, 1622), which he illustrated with his own engravings.

The most famous and productive of the lute virtuosi was Giovanni Girolamo Kapsberger. This son of an Austrian colonel and nobleman was likely born in Venice and followed his musical career in Italy also. As early as 1605, he lived in Rome where he organised academies, known as the Wonders of Rome. Not only did he write music for his own instrument, but he also composed villanelles, madrigals, motets and veritable musical spectacles for the papal circles. For over thirty years, he was in the service of Cardinal Francesco Barberini, nephew of Pope Urban VIII. He was a central figure in the development of the theorbo as a solo instrument. His playing style was notable for its passages with arpeggios, unusual rhythms and ornamentations.

Adriaan Lauwers also plays music for Baroque guitar by other Italian and Spanish composers.

The Italian Giovanni Paolo Foscarini (fl. 1627-1649) was the star among guitarists and performed in Brussels, Paris, Rome and Venice. His nickname ‘Il Furioso’ suggests that he did not just play naive melodies in order to lull the high society to sleep. He published five volumes for the ‘chitarra spagnola’.

Francisco Guerau (1649-1722) and Santiago de Murcia (1673-1739) were equally important when it came to Spanish guitar music. Guerau’s collection Poema harmónico compuesto de varias cifras por el temple de la guitarra española (1694) contains 27 compositions and an interesting explanation of ornamentation on the guitar. They are mainly sober ‘passacalles’, a dance in triple time on a repeated bass.

Little biographical detail is known about Santiago de Murcia, but fortunately several manuscripts of his have survived as they number amongst some of the best compositions for Baroque guitar. Cifras selectas de guitarra (1722) is a manuscript with detailed fingerings. The folios mainly contain variations on Spanish dances such as the ‘jácara’ and ‘canario’.

This project was created thanks to the donations of many music lovers to AMUZ’s ‘Support Fund for Young Belgian Artists’.

Programme
Domenico Pellegrini (d. na 1682). Ricercata per la E
Giovanni Paolo Foscarini (fl. 1629-47). Corrente con la sua variatione
Giovanni Girolamo Kapsberger (1580-1651). Toccata arpeggiata
Bellerofonte Castaldi (1580-1649). Cecchina corrente
Giovanni Girolamo Kapsberger. Capona – Canario
Giovanni Girolamo Kapsberger. Felici gl’animi
Francisco Guerau (1649-1722). Pasacalles de primo tono
Francisco Guerau / Santiago de Murcia (1673-1739). Jacaras por la E
Santiago de Murcia. Canarios por la C

Performers
Adriaan Lauwers / voice, theorbo, Baroque guitar

06 February, 2021 10:00

Compositions for 2 viola da gambas from 17th century England

Whilst Brexit has become a reality, AMUZ will continue to include music from Great Britain in its programmes. Politics aside, you can’t help but admire the phenomenal musical heritage of our neighbours across the Channel. From the Middle Ages to present day, the list of master composers and performers is impressively long. The two young Belgian musicians, Lies Wyers and Pieter Vandeveire, are devoted to the English repertoire. Besides this, Lies Wyers is also passionate about the English language. In 2015, she wrote a master thesis on the English pronunciation in 17th century vocal music.

The instrument with soft, melodic tone
For this concert, aided by the Support Fund for young Belgian Artists, Wyers and Vandeveire will not be exercising their vocal cords but the strings of their violas da gamba. This instrument was very popular throughout Western Europe for several centuries. The Italian name clarifies the way in which it is played: the string instrument is rested between the musician’s legs (gamba) and the strings are then played with a bow. The viola da gamba originated in Southern Europe in the late Middle Ages. In England, the instrument appeared at the court of Henry VIII (1491-1547), where from 1526 onwards, two viola da gamba players received a monthly salary. The king even paid for a consort of Italian musicians from 1540. After that, the viola da gamba could also be heard outside the royal court. As a result, from the middle of the 16th century, the choirboys of the Chapel Royal, Saint Paul’s Cathedral and Westminster Abbey were educated in the viola da gamba, and in the same period, the instrument’s use broadened across Britain. In comparison to the violin and cello, the viola da gamba’s popularity declined in Europe over the course of the early 18th century. Despite this, English professional and amateur musicians continued to devote themselves to the instrument, with its soft, lilting tone until the middle of the 18th century.

Repertoire
Such long-term use of the viola da gamba naturally led to a diverse repertoire. Initially, pre-existing instrumental versions of songs (polyphonic) were played, but gradually, an idiomatic repertoire developed. Composers started to take into account the technical capabilities of the instrument. Moreover, there are various sizes of violas da gamba. If you were to combine them in a ‘consort’ (ensemble), you would achieve a range of notes greater than with a vocal ensemble. The best-known composers to write for such ensembles were William Byrd (1540-1623), Tobias Hume (1579-1645), Orlando Gibbons (1583-1625), John Jenkins (1592-1678), Christopher Simpson (ca. 1602/6-1669), and Matthew Locke (1621/3-1677).

John Jenkins worked primarily in London for wealthy nobility in their manors. At the beginning of the 17th century, he performed his music in the Norfolk area for the Derham family in West Dereham and the L’Estrange family in Hunstanton. The two families were well acquainted, and Jenkins used regularly to commute between both manor houses. He had no fixed salary as such, but “he accepted what they gave him”, wrote his pupil Roger North. In the period 1633-1634, he performed several times at the royal court and then continued to spend the rest of his time “at gentleman’s houses in the country”. He lived to a great age in the home of Sir Philip Wodehouse in Kimberley, Norfolk. Eight hundred of his compositions are still enjoyed today, with focus on music for viola da gamba. The two works that Wyers and Vandeveire perform are a perfect example of Jenkins’ skills. The Pavan in A is a stylised, slow, majestic dance. The composition Divisions in C is a typical English genre piece based on the improvisational technique of variations or divisions that arose in the 17th century. A pre-existing musical line, usually a ‘ground’ (bass figure) was used as a basis for improvising a new melody. The long notes of the ground were divided into shorter ones and larger intervals were replaced with smaller ones.

This process of division was elevated to an almost abstract form of art, whereby the composer could display creativity and the musician virtuosity. It is primarily Christopher Simpson who provides the best teaching method in his The Division-Violist or An introduction to the playing upon a ground (1659). Much like his colleague and friend John Jenkins, Simpson served various noble families in England, such as William Cavendish, Earl of Newcastle and Sir Robert Bolles. The L’Estrange family also appears in Simpson’s biography. Sir Roger L’Estrange praised Simpson’s The Division-Violist as “one of the best tutors in the world” and learning to play the viola da gamba as “a work of exceeding use in all sorts of musick whatsoever.” In 1672, a few years after Simpson’s death, Matthew Locke honoured his friend as “a person whose memory is precious among good and knowing men, for his exemplary life and excellent skill.”
Locke himself was also known as one of the greatest composers of his generation as well as being the favourite composer of King Charles II. He composed in every genre of his time, from instrumental consort music to religious anthems to masques for the stage, and he even ventured into opera. He is most likely to have composed the majority of suites during the Commonwealth of England and the republican administration from 1649 to 1660 when the interest in domestic music was at its height. In the various suites for two bass violas, he followed a similar pattern of two fantasias followed by a dance form. The fantasia is a free composition, while the Corant (in the case of the Suite in D), is a stylised dance in a triple time.

Tobias Hume was an outsider amongst other musicians. He was first a military officer (he served for the Swedish and Russian armies), but one with a great passion for music. “My profession being, as my education hath beene, armes, the onely effeminate part of me, hath been musicke”, he wrote of himself. Loves farewell from the collection The First Part of Ayres, French, Pollish and others together … with pavines, galliards, and almaines (1605) is not an effeminate tune per se but shows that even a soldier can have a sensitive and melodious soul.

This project was created thanks to the donations of many music lovers to AMUZ’s ‘Support Fund for Young Belgian Artists’.

Programme
John Jenkins (1592-1678): Pavan in a

John Jenkins: Divisions in C

Christopher Simpson (1602/06-1669): Prelude

Christopher Simpson: Divisions in F

Tobias Hume (1579?-1645): Loves farewell

Matthew Locke (1621/23-1677): Suite in d: Fantasy – Fantasy – Corant

Performers
Lies Wyers, viola da gamba & Pieter Vandeveire, viola da gamba

13 February, 2021 10:00

Ecstatic happiness, deep despair

Playing on the emotions of the audience was of paramount importance for Baroque composers. In the Renaissance, the content of a text was often overshadowed by the complex bass. Humanists from the second half of the 16th century felt that this was problematic. They wanted innovative new ways to better highlight the emotional power of the text. This led to the rise of new compositional techniques and genres, reaching their full potential in the Baroque period. As a result, theorists and composers spoke of a seconda pratica or stile moderno – a second new ‘music practice’ in which the text’s expression was central and the rules of prima pratica or stile antico were followed less strictly. Dissonances could much better symbolise pain and heartbreak. Less was also composed for several voices in counterpoint; instead the technique of the accompanied monody was prefered. Now only one singer would sing accompanied by a continuous bass line – the basso continuo. These techniques were used not only in madrigals, but also led to the development of completely new genres, such as opera, cantata and oratorio.

One of the key figures in this evolution was Claudio Monteverdi (1567-1643). During his time as Kapellmeister in Mantua, he demonstrated how this new music could move the human soul with his opera L’Orfeo. In his Venetian period he composed operas; he was still Kapellmeister of the famous Saint Mark’s Basilica, but he also wrote operas for theatres. He continued to publish collections of madrigals, such as his eighth book in 1638, the famous Madrigali guerrieri, et amorosi. Whilst he still followed the rules of the prima pratica in the first book of madrigals, his style evolved to become more free and modern in the later books. Quel sguardo sdegnosetto is a solo madrigal that appeared in the second collection Scherzi musicali (1632). In Monteverdi’s time, the term ‘scherzo’ referred to the strophic form of the text – it was not until later that ‘scherzo’ would allude to music of a light-hearted or comic nature. Quel sguardo has three strophes sung by the soprano. Her part is extremely virtuoso and has many variations in the melody. Melismatic passages, for example, contrast with abrupt, large leaps, or a recitative declamation is alternated with a more melodious line. Each strophe is accompanied by an almost identical bass line and the whole ensemble has an almost ecstatic, dancing character.

In contrast to Monteverdi’s cheerful solo madrigal, Francesco Cavalli’s recitative Volgi, deh volgi piede from his opera Gli amori d’Apollo e di Dafne is striking. Monteverdi laid the foundations for the development of opera in Venice and Cavalli (1602-1676) was able to reap the benefits. Monteverdi was Cavalli’s inspirational mentor for a long time. Cavalli was taken on as a boy in 1616 at the music chapel of Saint Mark’s, which at that time was led by Monteverdi. He was to remain associated with the place for the rest of his life, not only as a singer, but also as an organist. In 1668, his many years of dedication were crowned by his appointment as Kapellmeister, one of the most prestigious titles in western music. He composed magnificent religious works, but his reputation today is especially thanks to the thirty operas he composed for the public theatres in Venice. Gli amore d’Apollo e di Dafne was his second opera, which premiered in 1640 during the carnival season in the Teatro San Cassiano. The libretto, written for Giovanni Francesco Busenello, is based on Ovid’s first book, The Metamorphoses, which tells the story of Greek god Apollo’s love for the nymph Daphne. As is often the case in stories of antiquity there are subplots, in this case, the love affair between Procri and Cephalo. Volgi, deh volgi il piede is a cry of despair from Procri, who begs her lover Cefalo to return. The recitative is a masterpiece of expressive textual declamation. The form is completely free, important words are emphasised and there are great contrasts to clarify the themes. Only a few times the line “Lassa, io m’inganno, io non son quella più” is repeated as a refrain, and symbolises Procri’s desperation.

Barbara Strozzi’s L’eraclito amoroso evokes a similar, heartbreaking emotion. Here, the protagonist has lost all faith in his beloved and is stricken with eternal pain. Strozzi (1619-1677) grew up as the adopted daughter of composer Giulio Strozzi in an artistic surrounding in Venice, where she was also taught by Francesco Cavalli. She was known as an eminent singer and composer. She published only a few books of madrigals and arias. L’eraclito amoroso is included in the collection Cantate, ariette, e duetti, opus 2 (1651), dedicated to Ferdinand III of Austria and Leonora II (Eleonora Gonzaga) of Mantua. Strozzi formed lilting strophes which were alternated with recitatives. In these strophes she uses a compositional technique common in the Baroque period, namely the lamento on ostinato bass. A short motif of a descending fourth is repeated continuously in the basso continuo, upon which the soprano can sing a free melody. Keeping with the seconda pratica tradition, Strozzi pays close attention to the expression of the text. Note, for example, the symbolic phrasing of words such as “dolor”, “sospir” and “sotterrimi”.

Several generations later, George Friedrich Handel (1685-1759) made his mark with passionate operas, oratorios and cantatas. As a young composer in 1706, Handel left Germany for Italy to learn the tricks of the trade. He stayed there until 1710, working for aristocratic patrons in Rome. He mainly composed cantatas whilst there as they could easily be performed in a domestic setting. In 1707, Handel wrote the cantata Armida abbandonata (Dietro l’orme fugaci) for prince Francesco Maria Ruspoli, which was most likely performed on a summer trip to Ruspoli’s country house in Vignanello. The young soprana Margherita Durastanti performed the piece; she would remain one of Handel’s most loyal performers, and would later perform in his opera productions in London. Ah, crudele! is one of the three arias from the cantata with an ABA structure. The sections in A are in a major key whereas the B sections in between are in minor, creating a contrast.

As a resting point between the passionate vocal works, Bart Naessens plays the Toccata in F, an instrumental work by Girolamo Frescobaldi (1583-1643). In a toccata, the composer does not follow a fixed structure, he can let his fantasy run freely. The term is derived from the Italian ‘toccara’, which means to touch. It is almost as if the harpsichordist explores the possibilities of the instrument through improvisation. Frescobaldi was the piano virtuoso of his time and held several prestigious positions. To name a few, he was the organist at the Vatican in Rome, as well as the organist to Ferdinando II, Grand Duke of Tuscany.

This project was created thanks to the donations of many music lovers to AMUZ’s ‘Support Fund for Young Belgian Artists’.

Programme
Francesco Cavalli (1602-1676): Volgi, deh volgi il piede, uit: Gli amori d’Apollo e di Dafne

Georg Friedrich Händel (1685-1759): Ah, crudele, uit: Armida abbandonata, HWV 105

Girolamo Frescobaldi (1583-1643): Toccata in F

Barbara Strozzi (1619-1677): L’Eraclito amoroso, uit: Cantate, ariette e duetti, opus 2

Claudio Monteverdi (1567-1643): Quel sguardo sdegnosetto, SV 247

Performers
Deborah Cachet, soprano | Bart Naessens, harpsichord | Edouard Catalan, cello

20 February, 2021 10:00

The landscape of the polyphonists. The world of the Franco-Flemish School 1400-1600

In the summer of 2018 Paul Van Nevel’s book Het landschap van de Polyfonisten – De wereld van de Franco-Flamands was released. In his book Van Nevel traces the hypothesis that the melancholic and imitative style of Franco-Flemish composers was shaped by the character of the landscapes, which they would have experienced in their childhood (stillness, a safe environment, melancholia). Together with the photographer Luk Van Eeckhout, Paul Van Nevel spent over twenty years journeying through the Franco-Flemish scenery to produce a fascinating and substantial work with no fewer than 168 magnificent photos.

In this concert the audience is presented with this hypothesis head-on: for each of the thirteen works performed the landscapes of each composer’s childhood will be projected for all to see. Listeners will be swept away to another Franco-Flemish world by a total of twenty-five photographs of landscape and pictures of Franco-Flemish cathedrals, whilst the Huelgas Ensemble performs works by Antoine Busnois, Nicolas Gombert, Johannes Ockeghem, Josquin Desprez and Pierre de Manchicourt, to name but a few. Audience members will experience the interplay between landscape and music in the most arrestingly intimate way.

Programme
Johannes Symonis Hasprois (Haspres ca. 1360-Rome 1428)
Ma douce amour, virelai à 3

Antoine Busnois (Busnes ca. 1430-Brugge 1492)
Bel Acueil rondeau, à 1, 2 & 3

Johannes Ockeghem (St.-Ghislain ca. 1420-Tours 1497)
uit: Missa Caput à 4
Sanctus

Josquin des Prez (St. Sauveur (?) ca. 1455-Condé-sur-l’Escaut 1521)
Cueur langoreulx, chanson à 5
uit: Missa Malheur me bat à 4, 2 & 6
Agnus Dei

Antoine de Févin (Atrecht ca. 1470-Blois ca. 1511)
Lamentaties voor Witte Donderdag, Lectio primo à 4

Jean Mouton (Samer ca. 1459-St.-Quentin 1522)
Qui ne regrettoit le gentil Févin, lamento à 4

Nicolle des Celliers de Hesdin (Hesdin ca. 1490-Beauvais 1538)
Parasti in dulcedine tua, motet à 5

Jean l’Héritier (bisdom Teerenburg ca. 1480-Avignon ca.1552)
Locutus est Dominus, motet à 9

Josquin Baston (Artois ca. 1495-ca.1550)
Ung souvenir me conforte, chanson à 5

Pierre de Manchicourt (Béthune ca. 1510-Madrid 1564)
uit: Missa Veni Sancte Spiritus à 6
Agnus Dei

Nicolas Gombert (La Gorgue ca. 1495-Tournai ca. 1560)
O malheureuse journee, chanson à 5
uit: Missa Tempore Paschali à 6 & 12
Agnus Dei

Performers
Maud Gnidzaz, Dorothea Jakob, Helen Cassano, Sabine Lutzenberger, cantus | Paul Bentley-Angell, Adriaan De Koster, Olivier Coiffet, Tom Phillips, Matthew Vine, tenor | Frederik Sjollema, baritonans | Guillaume Olry, Joel Frederiksen, bassus | Paul Van Nevel, artistic director

Practical
Wednesday 3 March 2021, 8.00 p.m.
The concert will take place without an audience. You are warmly invited to watch the concert via live stream.

03 March, 2021 20:00