BOZAR is a key promoter of Early Music in Belgium, with a season that features the best ensembles of Belgium and the world. Due to the evolution of the sanitary situation in Europe, the series of concert planned by BOZAR cannot welcome an audience. More information soon.
20.11.2020 – 20.00 | Salle Henry Le Boeuf Lachrimae or Seven Tears Hathor Consort & Femke Gyselinck Lachrimæ, or, Seaven teares figured in seaven passionate pavans is the title of a collection of consort music published by John Dowland in 1604. The Englishman spins a wondrous web of thematic and harmonic connections through seven pavanes. At the request of the Hathor Consort, the celebrated Belgian composer Annelies van Parys has written a number of interludes. These Interludes are an exceptionally successful contemporary rejoinder to Dowland’s melancholy polyphonies. Femke Gyselinck adds a sixth layer to the mysterious, five-part gloominess with her captivating choreography. HATHOR CONSORT
Romina Lischka, viola da gamba, artistic direction
Femke Gyselinck, choreography, dance
John Dowland, Lachrimae or Seven Tears Annelies Van Parys, 6 Interludes for 5 viol and lute
20.11.2020 – 21.00 | Salle M Over Torens WÖR The weird and wonderful WÖR pumps new energy into old music with abandon. Their playful interpretations have found exceptional favour with the public. In 2018, their album Sssht won the prestigious Preis der Deutschen Schallplattenkritik. Their latest album Onder Torens features carillon music. They have taken melodies from old Belgian carillon manuscripts and arranged them for the tight tempo work of the guitar and baritone sax, the riffs of the accordion, the drones of the bagpipes and the playful character of the violin. A virtuosic and fiery interpretation. WÖR
Fabio Di Meo, baritone and soprano saxophone
Jeroen Goegebuer, violin, mandolin Pieterjan Van Kerckhoven, bagpipe, musette, soprano saxophone
Bert Ruymbeek, accordion
Jonas Scheys, guitar
21.11.2020 – 20.00 | Salle Henry Le Boeuf Clérambault: du péché à l’adoration A nocte temporis – Reinoud van Mechelen Reinoud Van Mechelen and his ensemble a nocte temporis have become firm favourites with the BOZAR audience. Having focused on Charpentier, Bach and Irish folk music in recent years, they turn their attention this season to Nicolas Clérambault. The works of this French baroque composer may not be as popular as those of Lully and Rameau, but certainly deserve to stand alongside them, as demonstrated on Van Mechelen’s intimate album Cantates françaises. The much-praised Belgian tenor furthers his discovery of Clérambault through several large-scale works, including the Te Deum and the oratorio La femme adultère. The project is a first collaboration with the prestigious Chœur de Chambre de Namur. A NOCTE TEMPORIS, NAMUR CHOIR CHAMBER
Reinoud Van Mechelen, artistic director, haute-contre
Emmanuelle de Negri, dessus
Guy Cutting, taille
Geoffroy Buffière, basse
Nicolas Clérambault, Te Deum; La muse de l’opéra, C 19 L’histoire de la femme adultère, C 191
22.11.2020 – 11.00 | Salle Henry Le Boeuf BOZAR NEXT GENERATION InVocare InVocare has a passion for early music and specializes in madrigals of the 16th and 17th centuries . Especially for the European Early Music Summit, they focus on English madrigals with attention to the original pronunciation of English. With the support of Creative Europe Programme of the European Union, Classical Futures Europe INVOCARE
Charlotte Nachtsheim, Hannah Ely, soprano
Tessa Roos, alto
Daniel Thomson, tenor
Valerio Zanolli, bariton
Œuvres de John Dowland, John Wilbye, Alfonso Ferrabosco I, John Ward
20.11.2020 – 20.30 | Salle M Over Torens Wör
The weird and wonderful WÖR pumps new energy into old music with abandon. Their playful interpretations have found exceptional favour with the public. In 2018, their album Sssht won the prestigious Preis der Deutschen Schallplattenkritik. Their latest album Onder Torens features carillon music. They have taken melodies from old Belgian carillon manuscripts and arranged them for the tight tempo work of the guitar and baritone sax, the riffs of the accordion, the drones of the bagpipes and the playful character of the violin. A virtuosic and fiery interpretation. WÖR
Fabio Di Meo, baritone and soprano saxophone
Jeroen Goegebuer, violin, mandolin Pieterjan Van Kerckhoven, bagpipe, musette, soprano saxophone
Bert Ruymbeek, accordion
Jonas Scheys, guitar
Lachrimæ, or, Seaven teares figured in seaven passionate pavans is the title of a collection of consort music published by John Dowland in 1604. The Englishman spins a wondrous web of thematic and harmonic connections through seven pavanes. At the request of the Hathor Consort, the celebrated Belgian composer Annelies van Parys has written a number of interludes. These Interludes are an exceptionally successful contemporary rejoinder to Dowland’s melancholy polyphonies. Femke Gyselinck adds a sixth layer to the mysterious, five-part gloominess with her captivating choreography. HATHOR CONSORT
Romina Lischka, viola da gamba, artistic direction
Femke Gyselinck, choreography, dance
John Dowland, Lachrimae or Seven Tears Annelies Van Parys, 6 Interludes for 5 viol and lute
In the spring of 1749, Frederick the Great, King of Prussia, welcomed Bach to his City Palace in Potsdam and challenged him to improvise a fugue for six voices on a difficult theme. Bach was reluctant to take on the challenge on the spot, but once he was back in Leipzig he quickly committed the complex counterpoint to paper. He published this fugue along with a number of canons on the same ‘royal theme’ under the name Das Musikalisches Opfer. These canons are some of Bach’s purest experiments using the laws of counterpoint. The German ensemble Continuum takes great pleasure in disentangling these ingenious constructions. Collaboration: Académie royale de Belgique CONTINUUM
Elina Albach, artistic director
Femke Gyselinck, choreography, dance
Johann Sebastian Bach, Fantasia, BWV 572 Dies sind die heilgen zehn Gebot, BWV 679 Musikalisches Opfer, BWV 1079 Dies sind die heilgen zehn Gebot, BWV 678 Choral “Christ, unser Herr, zum Jordan kam”,
BWV 684 (uit · extr. Clavierübung III) Choral “Liebster Jesu, wir sind hier”, BWV 731 Passacaglia, BWV 582
21.11.2020 – 20.00 | Palais des Académies Clérambault: du péché à l’adoration A nocte temporis – Reinoud van Mechelen
Reinoud Van Mechelen and his ensemble a nocte temporis have become firm favourites with the BOZAR audience. Having focused on Charpentier, Bach and Irish folk music in recent years, they turn their attention this season to Nicolas Clérambault. The works of this French baroque composer may not be as popular as those of Lully and Rameau, but certainly deserve to stand alongside them, as demonstrated on Van Mechelen’s intimate album Cantates françaises. The much-praised Belgian tenor furthers his discovery of Clérambault through several large-scale works, including the Te Deum and the oratorio La femme adultère. The project is a first collaboration with the prestigious Chœur de Chambre de Namur. A NOCTE TEMPORIS, NAMUR CHOIR CHAMBER
Reinoud Van Mechelen, artistic director, countertenor
Emmanuelle de Negri, dessus
Guy Cutting, taille
Geoffroy Buffière, basse
Nicolas Clérambault, Te Deum; La muse de l’opéra, C 19 L’histoire de la femme adultère, C 191
22.11.2020 – 11.00 | Salle Henry Le Boeuf BOZAR NEXT GENERATION InVocare
InVocare has a passion for early music and specializes in madrigals of the 16th and 17th centuries . Especially for the European Early Music Summit, they focus on English madrigals with attention to the original pronunciation of English. With the support of Creative Europe Programme of the European Union, Classical Futures Europe INVOCARE
Charlotte Nachtsheim, Hannah Ely, soprano
Tessa Roos, alto
Daniel Thomson, tenor
Valerio Zanolli, bariton
Nicolas Œuvres de John Dowland, John Wilbye, Alfonso Ferrabosco I, John Ward
