Reinhard KEISER, Brockes-Passion Reinhard Keiser, Brockes-Passion

The Brockes-Passion can be considered the archetype of the German Passion oratorio. As such, it served as a model and source of inspiration for famous later masterpieces, enjoying uninterrupted popularity throughout the 18th century when no less than 11 composers, including Handel and Telemann, set it to music. The superb version by Reinhard Keiser (1674-1739) is not only the first but also adheres most closely to the great rhetorical power and rich changes of affects of the poet’s text. In German literary history, Barthold Heinrich Brockes (1680-1747) is known above all for his innovative role during the second quarter of the 18th century century. In 1712, the year of the Brockes-Passion's first performance, Keiser, fellow citizen of Brockes in Hamburg, was already recognized as the most important opera comp oser in Germany – and, in some opinions, even in Europe. When the genius of these two great artists combined in a single work, the result could only be spectacular. The tricentennial of its first performance justified a belated but nonetheless dithyrambic tribute, here presented by the singers of the Vox Luminis ensemble and the instrumentalists of Les Muffatti.

Luis Otavio Santos  The ensemble VOX LUMINIS presented its debut concert in Namur, Belgium, in 2004. The group defi nes itself as an ensemble of variable shape, comprising solo voices augmented by continuo and instrumental accompaniment as necessary. Nearly all the members have passed through the inspiring crucible of one of Europe's leading centres for early music: the Royal Conservatorium in The Hague. It was in this city that Vox Luminis began its performing development before the group definitively based itself in Namur, from 2009 onwards. The stability and cohesion of the setting since its formation enables the ensemble to move and captivate its listeners as much through the personality behind each vocal timbre as by the cohesion, balance and homogeneity of the voices, melding into one common colour. Vox Luminis is also characterised by the enthusiasm of its members to share their passion for early music with the public. The ensemble concentrates on Italian and German repertoire from the 16th to the 18th centuries. Since its foundation, Vox Luminis has performed in many festivals in Belgium, France, Croatia and The Netherlands. In 2012, Vox Luminis was ensemble-in-residence at the Music and Memory festival in Luxueil-les-Bains, and appeared for the first time at the Utrecht Festival of Early Music, at the MA festival in Bruges, at the AMUZ in Antwerp, the Festival of Flanders in Gent, the Festival of Saintes, at the Centro Cultural Belém in Lisbon, and the Musikfest Stuttgart, among others. Vox Luminis' development continued in 2013, with the group making its debut in many European capitals: the prestigious Wigmore Hall in London, the Oratoire du Louvre in Paris, the Auditorio Nacional de Música in Madrid, in Brussels for Bozar Music, as well as in Poland. During the 2014 season, Vox Luminis will undertake tours to both the East and West coast of the United States. They will also be presenting their fi rst opera during this year. Vox Luminis is supported by the Communauté française Wallonie-Bruxelles de Belgique, and the Tournées Art et Vie.

Zsuzsi Tóth, soprano (Tochter Zion – Magd 3 – Gläubige Seele 1)
Jan Van Elsacker, tenor (Evangelist)
Peter Kooij, basse (Jesus)
Caroline Weynants, Sara Jäggi, sopranos
Jan Kullmann, Barnabás Hegyi, altos
Fernando Guimaraes, Robert Buckland, tenors
Hugo Oliveira, Lionel Meunier, basses
Lionel Meunier, direction


les Muffatti  Tirelessly, and with the greatest possible integrity, LES MUFFATTI undertake to present musical works of universal beauty, to create moments of timeless contemplation, and, above all, to promote music in the spirit of "slow food". This process implies a profound enquiry, the careful selection of instruments, allowing suffi cient opportunity for broad experimentation during rehearsals, in order that, in concert, the players' pleasure spontaneously shines through, in communicative enthusiasm. Les Muffatti selects its material from the many masterpieces that too frequently remain unknown, yet without shunning those works that incontrovertibly demonstrate the great musical expertise of the baroque and pre-classical eras. The initiative that young idealists studying at the Brussels Conservatorium embarked on in 1996 attained a new professionalism with the arrival of Peter Van Heyghen to the conductor's stand in 2004. Since then, the orchestra has gained international standing, supported by expe- rienced musicians who re-examine on a daily basis the relevance and necessity of their ideals. Today, Les Muffatti receives support from the principal Belgian programming bodies (Bozar, AMUZ, MA-Festival Bruges, the Festival de Wallonie, the Festival van Vlaanderen, among others), and regularly appears at the principal European music festivals (Oude Muziek, Utrecht; Musica Sacra, Maastricht; Saint-Michel en Thiérarche; the Musikfest Stuttgart; the Berliner Tage für Alte Musik; the Tage Alter Musik in Regensburg, etc.). The ensemble has recorded some of its favourite repertoire, paying homage to those composers whose works have unjustly been neglected by modern performers (Muffat, Pez, Bononcini, Sammartini, Leclair, Keiser). This approach regularly enjoys international acclaim, and has received many important commendations (Toccata, Diapason, Early Music Magazine, Goldberg etc.).

Peter Van Heyghen, direction
Laura Pok, Stefanie Troffaes, recorders
Stefanie Troffaes, transverse flute
Vinciane Baudhuin, Stefaan Verdegem, oboes
Lisa Goldberg, Alain De Rijckere, Isabel Favilla, bassoons
François Fernandez, Marie Haag, Catherine Meeùs, Marcin Lasia, Benedicte Verbeek, Laurent Hulsbosch, violins
Wendy Ruymen, Julie Vermeulen, altos
Marian Minnen, Corentin Dellicour, cellos
Benoît Vanden Bemden, double bass
Kris Verhelst, harpsichord
Bernard Zonderman, archlute


1. Chor (Chor gläubiger Seelen)
16. Aria (Tochter Zion)
56. Aria (Gläubige Seele)
78.-82. Choral, Recitativo, Chor, Recitativo, Aria (Gläubige Seele), Recitativo
83.-87. Aria (Gläubige Seele), Recitativo, Terzetto, Recitativo