M L’Arte salva L’Arte - festivalmusicaeartesacra.net Salva Arte... · Rag. Andrea Serafini...

Via Paolo VI, 29 (Piazza San Pietro)00193 Roma

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COPIA OMAGGIO

L’Arte salva L’ArteXVI Festival Internazionale di Musica e Arte Sacra

ROMA E VATICANO, 15 SETTEMBRE 2017 E DAL 4 AL 10 NOVEMBRE 2017

XVI Festival Internazionale di Musica e Arte Sacra

Iscrizione al Registro delle Persone Giuridichedella Prefettura di Roma ai sensi del DPR 361/2000

al n. 162/2002Iscrizione R.E.A. C.C.I.A.A. di Roma: n. 1011654

Legale Rappresentante e Presidente Generale, FondatoreSen. Dr. h.c. mult. Hans-Albert Courtial

Via Paolo VI, 29 (piazza San Pietro) - 00193 Roma

Telefono +39-06-68 69 187Fax +39-06-68 73 300

[email protected]


www.amicimusicasacra.comwww.musica-artesacra.org

Codice fiscale / P.IVA: 07121591007

Conto corrente bancarioBanca Credito Cooperativo di Roma Agenzia 21

Piazza Nicosia 31, RomaIBAN IT74 R08327 03221 000000002702

BIC ROMAITRR

In copertina: • in alto, Basilica di Sant’Ignazio di Loyola in Campo Marzio - Appartenente al Fondo Edifici di Culto, Ministero dell'Interno• in basso, i Wiener Philharmoniker in concerto nella Papale Basilica di San Paolo fuori le Mura(le due foto sono di Riccardo Musacchio/ Flavio Ianniello/ Cristian Gennari)

RedazioneFondazione Pro Musica e Arte Sacra

FotografieRiccardo Musacchio, Flavio Ianniello, Cristian Gennari

Grafica e stampaDigitalialab, Roma

I contenuti letterari e le fotografie sono di proprietà della Fondazione Pro Musica e Arte Sacra.Tutti i diritti sono riservati. © Fondazione Pro Musica e Arte Sacra 2017

Finito di stampare nel mese di novembre 2017presso la Tipografia Digitalialabvia di Cervara- 00155 Roma

Ars Artem Salvat

16TH International Festival of Sacred Music and Art

ROME AND VATICAN15Th SEpTEMbER 2017 AND fROM 4Th TO 10Th NOVEMbER 2017

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Medal of thePresident of theItalian Republic

WITH THE SUPPORT OF THE PRESIDENT OF THE ITALIANREPUBLIC CONFERRING HIS REPRESENTATIVE MEDAL

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THE FONDAZIONE PRO MUSICA E ARTE SACRA

FOUNDER AND GENERAL PRESIDENTSen. Dr. h.c. mult. Hans-Albert Courtial

Knight of the Grand Cross of the Order

of Merit of the Italian Republic

Ambassador of Rome to the World

BOARD OF DIRECTORSSen. Dr. Dr. h.c. Hans-Albert Courtial

Mgr. Pablo Colino

Mgr. Valentino Miserachs Grau

Nicole Anneliese Courtial M.A.

HONORARY PRESIDENTHis Eminence Angelo Cardinal Comastri

Archpriest of the Papal Basilica of St. Peter in the Vatican,

Vicar General of His Holiness for the Vatican City,

President of the Fabric of St. Peter

COMMITTEE OF HONORHis Eminence Santos Cardinal Abril y Castelló

Archpriest Emeritus of the Basilica of St. Mary Major, Rome

His Eminence Cardinal Domenico Bartolucci

(Borgo San Lorenzo, May 7, 1917 – Rome, Nov. 11, 2013)

Director Emeritus of the Cappella Musicale Pontificia "Sistina"

"Fondazione Pro Musica e Arte Sacra" Award 2010

His Eminence Andrea Cardinal Cordero Lanza di Montezemolo

Archpriest Emeritus of the Basilica of St. Paul outside

the Walls, Rome

His Eminence Timothy Cardinal Dolan

Archbishop of New York

His Eminence Cardinal James Michael Harvey

Archpriest of the Basilica of St. Paul outside the Walls, Rome

His Eminence Bernard Francis Cardinal Law

Archpriest Emeritus of the Basilica of St. Mary Major, Rome

His Eminence William Joseph Cardinal Levada

President Emeritus of the Congregation of Faith

His Eminence Francesco Cardinal Marchisano

(Racconigi, June 25, 1929 – Rome, July 27, 2014)

President Emeritus of the Workers' Office of the Holy

See and President Emeritus of the Permanent

Commission for the Protection of the Historical and

Artistic Monuments of the Holy See "Fondazione

Pro Musica e Arte Sacra" Award 2006

His Eminence Francesco Cardinal Monterisi

Archpriest Emeritus of the Basilica

of St. Paul outside the Walls, Rome

His Eminence Paul Cardinal Poupard

President Emeritus of the Pontifical Council for Culture

M° Mons. Prof. Dr. Georg Ratzinger

Protonotary apostolic, Choir Master Emeritus


His Eminence Gianfranco Cardinal Ravasi

President of the Pontifical Council for Culture

His Eminence Camillo Cardinal Ruini

Vicar General Emeritus of His Holiness

for the Diocese of Rome

The Most Reverend Archbishop Giovanni Tonucci

Archbishop Prelate of the Holy House of Loreto

His Eminence Cardinal Agostino Vallini

Vicar General Emeritus of His Holiness for the Diocese

of Rome and Archpriest of the Basilica of St. John

Lateran, Rome

Prof. Dr. Dr. Sen. h.c. Herbert Batliner

Knight of the Grand Cross with Diamonds

of the Principality of Liechtenstein,


Ralph Dommermuth

Sen. Dr. Mariapia Garavaglia


Prof. Nikolaus Harnoncourt

(Berlin, December 6, 1929 - Sankt Georgen im

Attergau, March 5, 2016) Conductor


Prof. Dr. Clemens Hellsberg


Dr. Gianni Letta


Comm. Ing. Dr. h.c. Wolfgang D. Schrempp

Commendatore Dell'Ordine Al Merito Della Repubblica Italiana

Commendatore Dell'Ordine Al Merito Melitense

Managing Director-CCS-Consulting

Richard de Tscharner


Dr. h.c. Hans Urrigshardt

(1945-2016)


Franz Welser-Möst

Conductor

THE FOUNDATION'S ORGANIGRAM

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Founder, General President and legal representative

Sen. Dr. h.c. mult. Hans-Albert Courtial

President of the Festival 2017

Dott.ssa Claudia Autieri

Secretariat

Dott.ssa Elena Regina Brandstetter

Dr. Claudia Mayu Gerken

Administration

Rag. Andrea Serafini

Press Office

Dott.ssa Sara Ciccarelli

Dott. Luca Pellegrini

Photographers

Flavio Ianniello

Riccardo Musacchio


ORGANIGRAM OF THE 16TH INTERNATIONAL FESTIVALOF SACRED MUSIC AND ART

ARTISTIC COMMITTEEMons. Pablo Colino

Emeritus Director of Music and Prefect of the Music

Department of Saint Peter in the Vatican

“Fondazione Pro Musica e Arte Sacra” Award 2014

Prof. Janos Czifra

Music Director at Salzburg Cathedral


President Emeritus of the Vienna Philharmonic Orchestra

Prof. Eberhard Metternich

Director of the Kölner Dommusik

Mons. Valentino Miserachs Grau

Emeritus Principal of the Papal Institute of Sacred Music

M° James O'Donnell

Master of the Choristers of the Westminster Abbey

M° Massimo Palombella

Director of the Papal Choir of the Sistine Chapel

COMMITTEE OF SUPPORTERSDott.ssa Claudia Autieri, President

HSH Princess Marie von und zu Liechtenstein

Vienna Philharmonic, Vienna

Papal Institute of Sacred Music, Vatican City

International Association Amici della Fondazione Pro

Musica e Arte Sacra, Rome

Förderverein der Freunde der Fondazione Pro Musica e

Arte Sacra, e.V., Germany

Courtial International s.r.l, Rome

AUDITORSDr. Demetrio Minuto, President

Dr. Carlo Bardanzellu, Auditor

Dr. Valter Sebastianelli, Auditor

Dr. Giorgio Peraldo Matton, Deputy Auditor

Dr. Silvio Paolo Magnanego, Deputy Auditor

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Every year I seek to establish a connection between the International Festival of Sacred Music and Artand an event in the life of the Church. This year is the 100th anniversary of the apparitions of the Vir-

gin Mary at Fátima. Apparitions that have marked and illuminated the troubled course of recent history.And I offer these reflections to the audience that will crowd the papal basilicas for the concerts, so that whilethey are listening to those wonderful notes, they may also find a moment for deeper thoughts that addressthe soul and encourage greater commitment.What happened at Fátima a hundred years ago?On 13 May 1917, three very poor, simple shepherd children from Aljustrel, a little village near Fátima, tooktheir families’ flocks to graze. They were illiterate because they could not afford to attend school and theirfamilies needed them to work. Who were those children? Lúcia the oldest was born on 22 March 1907. She was ten and was the youngestof seven children. Francisco and Jacinta were Lúcia’s cousins and were nine and seven years old respectively.The 13 May 1917 was a Sunday and the children had gone to mass very early, because their families, de-spite the hard work in the fields, never missed Sunday mass. For the children that was the beginning of amemorable day. When they heard the bells ringing in the distance at midday, the little shepherds ate whatthey had brought with them and then prayed the rosary together. They had started playing again, when theysaw a sudden flash of lightning. They were afraid a storm was brewing and started calling their sheep. Asecond stronger flash stopped them. They turned to the right and saw a White Lady at the top of a low holmoak, according to Lúcia, “It was a lady dressed in white, brighter than the sun, she sent out a light moreclear and intense than that of a crystal.”Astonished at the apparition, the children stared at the Lady who reassured them in gentle, maternal tones.“Don’t be afraid, I won’t harm you.”Lúcia plucked up her courage and asked: “Where are you from?”The Lady smiled and replied: “I come from heaven!”“And what do you want from me?” asked Lúcia.“I have come to ask you to return here at the same time on the 13th day of each month for the next sixmonths. Later I shall tell you who I am and what I desire. I shall return here yet a seventh time”.Encouraged, Lúcia asked: “And shall I go to heaven?”“Yes. You will.”“And, Jacinta?”“She will go too.”“And Francisco?”“He will go to heaven too, but first he will have to pray many rosaries.”The White Lady concluded: “You will suffer greatly, but the grace of God will comfort you!”What is the meaning of the Virgin Mary’s maternal appeals?In the messages given to the children at Fátima in 1917 and fully made public in 2000, it is easy to per-ceive maternal concern and a heartfelt appeal to take Christ’s Gospel seriously. The Virgin Mary’s interventionsalways tend towards this.At Fátima the Virgin Mary reminded us first and foremost that life beyond this life is real: the afterlife exists!The Virgin Mary made this insistent appeal at the dawn of the 20th century, a century of bloodshed and utopias.Martin Heidegger was right when he exclaimed: “… no age has known less than ours what man is …”In this situation the Virgin Mary reproposed the clear truth of the Gospel, which is: “Lay not up for yourselvestreasures upon earth, where moth and rust doth corrupt, and where thieves break through and steal:But lay up for yourselves treasures in heaven …” (Matthew 6: 19–20).

His EminenceAngelo CardinalComastri

PREFACE BY THE HONORARY PRESIDENT

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If we forget this wonderful truth of Paradise, human life has no meaning. Indeed, we discover evil, pain and suffering. We discover the hell that the Virgin Mary reminded us of atFátima. Namely, it is possible to deny God (the devils have already done so and that is why they are in hell)and the denial of God has its consequences, in fact, by rejecting God man locks himself up in a prison ofsuffering and torture, that burns like a consuming fire. Hell, let it be clear, is not the will of God, but of man.God wants to embrace everyone with goodness and happiness, but He cannot and will not force anyone.If man freely excludes himself from God’s embrace, he will go to hell by proudly rejecting Him. As well as the truth of hell’s existence, the Virgin Mary at Fátima reminded us of the seriousness of sin andthe tragic consequences it has produced throughout human history. War, hunger, violence of every kindand persecution are the result of man disrupting, through sin, the wonderful and delicate order of God’sbeautiful Creation. Our Lady of Fátima – the gentle Mother whom Pergolesi’s music accompanies at the foot of her Son’s cross,enhancing Jacopone da Todi’s text as no other composer has ever done – reminded us of everything thathad already been said in the Holy Scriptures, and it was fortunate that she did so.In 2000, Cardinal Ratzinger commented that: “Our Lady of Fátima reminded us that the heart open to Godis stronger than guns and weapons of every kind.” In fact, Christ said: “Fear not. I have conquered the world.”Our Lady of Fátima, with the delicacy and sincerity of a mother, reminded us of these fundamental truths.We thank her. And together with her we thankfully and joyously sing our Te Deum, the favourite work byAnton Bruckner. He was an artist and a man of clear and steadfast faith and will be with us, together withother geniuses of sacred music, at this festival.May this beautiful music not only be appreciated, but may it also inspire us to open up our souls to the in-finite beauty and goodness of God.The main aim of the festival is this: to make us better people, and more willing to build a better world.

Angelo Cardinal Comastri Vicar General of His Holiness for the Vatican City State

Archpriest of the Basilica of St Peter’s


On November 16th, 2016Papal Basilica St. Peter

in the Vatican

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Ladies and gentlemen and Friends of Sacred Music, here we are at the sixteenth edition of our Interna-tional Festival of Sacred Music and Art in the Eternal City and the Vatican: we have enjoyed fifteen

years together, accompanied by the great masterpieces that have made the history of music, sharing a jour-ney across different musical styles, eras, and expressions of faith, and discovering sacred places of in-comparable beauty. Today we continue along this path. To me this Festival is a gift, a gift I’d like to sharewith all of you to whom I extend my warmest welcome.

As you know, “Art saves Art” is the motto that has accompanied the Festival since its first editions, and itis important to remember that Fondazione Pro Musica e Arte Sacra is a non-profit institution that supportssacred music and art, working towards keeping this genre and the memory of its great composers alive byorganizing concerts in some of the world’s most solemn and artistically meaningful locations: Rome’s church-es and basilicas. If we wish for this artistic and architectural heritage of universal significance to preserveits magnificence throughout the centuries, we must take good care of it with love, devotion, and good will. This is the reason why Fondazione Pro Musica e Arte Sacra invites everyone to contribute to the memoryand the safeguarding of this patrimony so that this heritage will continue to be studied inspiring future gen-erations of artists and music-lovers alike. The appeal I send out to you once more is this: “Become the pa-trons of this world heritage!” It is in fact thanks to the contributions that our institution can carry out projects supporting sacred musicand art: over the years, we have been able to finance the restoration of important religious artworks andhave organized, since 2002, the International Festival of Sacred Music and Art.In 2010, we joined the paramount project for the restoration of the façades of the basilica of St Peter’s de-signed by Michelangelo, providing financial support for the restoration of the third lot of the church’s south-ern facade. The works then continued onto the western façade, which corresponds to the basilica’s apse,and concluded with the restoration of the northern face of the building, also based on Michelangelo’s de-sign. Presently we are working on the basilica’s domes: the Foundation has in fact decided to fund the restora-tion works on the drum supporting St Peter’s main dome and on the smaller domes over the Clementineand Gregoriana chapels. In the music field, in 2011 we also started offering support to musical ecumenical projects promoted bythe Sistine Chapel Choir, projects that have led to a solid and effective dialogue with the Lutheran Churchof Germany, the Church of England, and the Orthodox Church. This year’s Festival, following the mid-September opening in the basilica of Santa Maria Maggiore with thefamous Choir of King’s College, Cambridge, will welcome some old as well as new friends. The Vienna Philharmonic, that has been the Festival’s orchestra in residence since its very first edition, willas always greet an audience of thousands of music lovers in the basilica of San Paolo fuori le Mura. Fromthis year my personal bond with this extraordinary and unique ensemble that has performed with some ofthe world’s most illustrious conductors, offering unparalleled and moving executions of famous as well asless well-known pieces of symphonic and sacred music, becomes even stronger: I have in fact been nom-inated Wiener Philharmoniker Ambassador, an office I was thrilled to accept and that I will carry out withthe greatest sense of responsibility, since I am aware my duty will be to seek to do good through music andculture. Three are the tasks that lie ahead of us: to develop projects in relation to the refugees with musicserving as a tool for cohesion and dialogue against all kinds of marginalization; to set up an Academy linkedto the Vienna Philharmonic Orchestra for the training of tomorrow’s teachers; and to support the record-ing of less famous works that are usually neglected by the main labels. In addition, next year – again with the Wiener Philharmoniker – we will inaugurate a great project dedicated

Sen. Dr. h.c. mult.Hans-Albert Courtial

WELCOME FROM THE GENERAL PRESIDENT

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to Anton Bruckner, since 2024 will be the two-hundredth anniversary of his birth in Ansfelden, on September4, 1824. To celebrate this important and historical date, over a period of seven years – from 2018 to 2024– the Wiener Philharmoniker conducted by Christoph Eschenbach will execute the entire series of Bruck-ner’s symphonies, performing every year in one of the most important cathedrals of Europe. I can alreadyreveal the dates of these events: June 3, 2018, Symphony no.1 at the Stiftskirche St. Florian, May 2019at the St. Isaak Kathedrale in Saint Petersburg, September 14, 2019 in London, in 2020 at the SagradaFamilia in Barcelona, followed by Prague, Stockholm, Pisa and Milan. Coming back to Rome, there is another important announcement regarding the Wiener Philharmoniker Or-chestra and our Foundation: on June 29, 2018, on the Solemnity of Saints Peter and Paul we will hold anopen-air concert entitled Vienna Philharmonic playing for Refugees. The Viennese orchestra, accompa-nied by the Latvian State Choir, directed by Valery Gergiev, will perform Mozart’s Coronation Mass. On thatsame occasion, the world-acclaimed tenor Jonas Kaufmann will execute some arias from Wagner’s operas.Concert revenues will go to charity. For the fifth consecutive year, our Festival will welcome the Japanese artists of the IlluminArt PhilharmonicOrchestra and the IlluminArt Chorus conducted by Tomomi Nishimoto, our bridge towards the Far East,and since ex oriente lux, in the future I look forward to having more musical ensembles from those won-derful distant countries. Among other friends returning to the Festival are Leo Kraemer with the PalatinaKlassik Vocal Ensemble, the Philharmonischer Chor an der Saar, the Kazan State Conservatoire, and Roma


The concert on October 29th, 2015in honour and in

the presence of Their Serene

HighnessesPrince Hans-Adam IIand Princess Marie

von und zuLiechtenstein

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Sinfonietta. But as well as old friends, I am equally pleased to announce the participation of some new tal-ents, such as the Limburg Cathedral Boyschoir, and the Dresden Frauenkirche Chamber Choir with theEnsemble Instrumenta Musica – the last two also taking part in our concert to celebrate the five-hundredthanniversary of the Reformation, an event that will be held in a symbolical venue, the Basilica of Santa Mariadel Popolo, the very place where the young Augustinian friar Luther stayed during his sojourn in Rome in1510. I hope this event will also be an occasion for prayer and reconciliation where Catholics and Protes-tants will sing the Eine feste Burg ist unser Gott hymn together inspired by their common faith in Christ. I wish to extend a heartfelt thank you to all our benefactors, supporters, and sponsors who with their gen-erous support make the Fondazione Pro Musica e Arte Sacra’s present and future activities possible. I amalso grateful for Meissen’s “white gold” which is today a part of our Festival – our “gold” is the splendourof the music and of the churches that welcome these compositions, the “gold” of art, of culture, and offaith. The Meissen Porcelain Manufactory, the prestigious time-honoured German establishment born un-der the patronage of the House of Saxony, a family of great art patrons, is a company famed for its pre-cious and exquisite sacred art pieces that punctuate liturgy with designs inspired by the Bible and the livesof the Saints. Our Festival and Meissen share the same focus: to bring about and interpret beauty as a re-flection conducive to good. I entrust our projects to the protection of the Archangels – the celestial creatures who behold the Almighty’sCreation as in Haydn’s splendid oratorio, which is also part of this year’s Festival, exhorting us to “Awakethe harp, the lyre awake! And let your joyful song resound! Rejoice in the Lord, the mighty God: For lie boththe heaven and the earth hath cloth’d in stately dress!” Wonders and splendour that I hope our Festivalwill be able to deliver to the world.

Sen. Dr. h.c. mult. Hans-Albert CourtialFounder and General President

of the Fondazione Pro Musica e Arte Sacra

On October 13th, 2008Papal Basilica St. Pauloutside the Walls

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October 24th, 2014Basilica St. Peter

in the Vatican

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It is enough to glance, even quickly, at the list of what has been put into action during the sixteen years sincethe foundation of the Fondazione Pro Musica e Arte Sacra, in order to understand that it is possible to ac-complish feats in the world of sacred art and its restoration and preservation that were considered impossibleor improbable but a few years ago. The secret is simple: the only thing necessary is for men and women,strongly certain of a value as important as that of sacred art, to convince other men and women to collaborateand to help save this tradition, through important acts of patronage. And that is exactly what has happened.

In order to understand the importance of what has been accomplished, it suffices to consider the over twen-ty large restoration projects that range from the Vatican Necropolis to the restoration of the lateral parts ofSt. Peter's Basilica and the German Chapel of the Pontifical Sanctuary of the Holy House of Loreto; fromthe Chapel of Sixtus V to the Borghese statue of Pope Paul V; from the Tamburini organ in the Basilica ofSt Ignatius of Loyola to the apartment of Pope Julius II. To all this can be added the extremely significantinternational Festival of Sacred Music and Art which brought back to Rome the necessary and expandedspace for reflection on these topics which, one might add, had been missing from the Italian cultural scenefor some time. The Foundation’s concerts are events that leave a deep impression, for just how extraordi-nary they truly are. This is not the opinion of the author, but rather an objective review that these culturalevents evoke every single time they occur. Among them was the unforgettable world premiere of the MassSperavi in te Domine by the modern Austrian composer Hubert Steppan, dedicated to Pope John Paul II,on the occasion of his 85th birthday and a short time after his death.

During another time in history, patronage was associated with a certain characteristic, that of magnificence:both in the sense of magnanimity, of the generosity of those whose contributions made the work possible,as well as in the sense of grandiosity, of the great worth and beauty of the works that came about.I believe that, in the case of the Fondazione pro Music e Arte Sacra, this identification of patronage withmagnificence has once again become the reality. If it can be expressed in this way, then, in occupying it-self with sacred art and music, the Foundation goes to the centre of the West’s very heart.The aesthetic dimension is, in fact, central to our tradition. Music and art are essential components of thishistoric-cultural tradition. But our West is also the Christian West and, therefore, sacred art and music con-stitute the deepest core of this tradition: it belongs to everyone but it was born from beliefs and culturesthat are identifiable in large part as Christian. Undertaking the restoration and preservation of these artis-tic and cultural testimonies; working diligently towards the reanimation, the kindling of devotion for the sa-cred in its various forms and traditions; becoming promoters of a pedagogy of beauty: these are the prin-cipal objectives of the Foundation.

It is not by chance, as I recalled above, that the Foundation has occupied itself with interventions in theinterior of four Papal Basilicas of Rome. These monuments make reference to the history of the Churchwho came into being in Rome, and who has turned Rome into a completely irreplaceable city. Working to-wards these ends is not only a question of physical recuperation of pieces of history but it also means work-ing so as to be sure to not lose the meaning of what is being passed down to us. If I may dare, I would saythat the work of the Foundation promotes the conservation and the transmission of a true and proper spir-itual patrimony: the patrimony of Rome, the patrimony of the Christian West.

Dr. Gianni Letta

ART, PATRONAGE AND CULTURAL TOURISM

FOR THE ETERNAL CITY

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The activities of the Foundation hold important value by way of cultural tourism for the city of Rome and thusfor Italy. Its concert events draws audiences from France, Spain, Austria, Japan, USA, Russia and Germany,and likewise can be said for the visits that such foreign citizens make to the places and monuments that arerestored. It is a tourism of calibre. For it entails a certain calibre regarding the tourists who participate and,consequently, regarding the quality of the places that welcome them. In addition, it is the kind of tourism which,since some time ago, has become both necessary and urgent for the city of Rome. The Foundation, in its work,promotes this tourism with concrete facts and actions, not merely intentions. It is indeed true that from onepositive deed, there generates a series of positive effects that often go beyond the intentions of the personwho himself or herself performed that deed. This is the case for the Foundation which, in doing what it setout to do, creates a virtuous circle, among which cultural tourism is one of the principal factors.The Founder and General President Dr. Hans-Albert Courtial is not only a great and contemporary Patronbut also an Ambassador of Rome to the world: the Ambassador of Christian Rome. The contents of the workthat Hans-Albert Courtial has conceived and carried out as his true and proper “mission”, are what, since2002 - the year of the birth of the Foundation - have animated Rome and have shared for thefirst time facts and values as yet unknown to the world. The praise, appreciation and gratitude for the proj-ects that have been carried out are merited by the extraordinary results of the work itself. I myself owe anexpression of my sincere gratitude, and all the best wishes for many more years of progress along this path,while always increasing the quantity of activities performed, given that the quality is already at such a veryhigh level: anything better would be impossible! Thank you.

Dr. Gianni LettaMember of the Foundation’s

Committee of Honour


Press conference onNovember 7th, 2016

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The Fondazione Pro Musica e Arte Sacra is a non-profit organization, founded on 21 June 2002 on theinitiative of Dr. Hans-Albert Courtial. His intention was to create a private institution in the Eternal City

for the promotion of sacred music at the highest level and for the restoration of treasures of sacred art. Theproject is to contribute to preserving the cultural heritage and to creating an awareness of it, involving in-dividuals, companies and pilgrims, with the profound knowledge that the preservation of a common cul-ture contributes to and furthers dialogue among peoples and that large numbers of “pilgrims” have alwayscome to Rome.

In November 2002, the Foundation which in the meantime had obtained legal recognition from the Pre-fecture of Rome began its activity of promoting sacred music by setting up the First International Festivalof Sacred Music and Art; the intention was to have sacred music performed by the most famous interna-tional musicians in the Papal Basilicas of Rome. The Vienna Philharmonic immediately agreed to be theFestival’s Orchestra in Residence and to perform in the Papal Basilicas. Many sacred music lovers arrivedin Rome for the First Festival from Germany, Switzerland, Austria, Great Britain and the United States, de-sirous of hearing the sacred music performed in the places for which it had been composed. The perfec-tion of the notes combined with the perfection of the performance in places in which sacred art is expressedto listeners with the proper solemnity makes for a moment of special emotion outside all time and is there-fore an unforgettable experience.It is the Festival that acquaints the public with the Foundation and its aims: to safeguard, preserve, pro-mote and develop the cultural patrimony located in the Eternal City. It was in this way that the FondazionePro Musica e Arte Sacra took its first steps in the activities of disseminating sacred music and preservingmasterpieces of sacred art, which it put into practice by organizing a further eleven Festivals as well as byfunding important restoration work.

It is the sponsor companies and private patrons with their donations generously made available that allowthis extraordinary cultural patrimony to be passed on to the generations to come so that the culture trans-mitted to us by those who have preceded us may not be lost. The Fondazione Pro Musica e Arte Sacrahas so far been able to provide for its activities with the following income:- Contributions and subscriptions specifically donated to the Foundation by juridical persons of public orprivate right, Italians and foreigners;- Contributions and subscriptions specifically earmarked for the Foundation, from physical persons, Ital-ian or foreign;- From activities and demonstrations organized by the Foundation (sponsorship).

For our sponsors, sponsoring the International Festival of Sacred Music and Art meant contributing to put-ting on events of outstanding musical importance because of the international quality of the musicians whotook part in them. It meant signing a contract of cultural partnership with the Fondazione Pro Musica e ArteSacra, and sharing the Foundation’s institutional aims which enable firms to be present with their logos andtheir image at events of indisputable cultural quality, in such a way that the fame of the logo has a multi-ple impact on the public with the force and fascination of culture.The firms that have supported us have shown that they are sensitive to the universal value of culture - andin particular to music and sacred art - and that they have desired to associate their image with culture, wish-ing to convey the message that culture is one of their firm’s values. For those who have donated private-


CULTURE AS AN INDIVIDUAL AND COMPANY VALUE -THE IMPORTANCE OF PATRONS

14

ly, making a voluntary contribution to the Foundation’s activity has meant endowing the Foundation withthe necessary means to achieve its goals without a fuss and without the publicity that goes with partner-ship established with sponsorship.

Both the sponsors and those who have made a contribution, as true and proper patrons, have funded theinstitutional activities of the Foundation from 2002 to today, making possible events such as the Interna-tional Festival of Sacred Music and Art, the “Fondazione Pro Musica e Arte Sacra” Award, and the inau-guration of restoration work on Rome’s cultural heritage.We express all our gratitude to the patrons and sponsor firms who have supported us in past years in thehope that their example may be followed by many others. Our thanks go to all the members of the Com-mittee of Supporters, the Circle of Supporters and the Circle of Friends of the Fondazione Pro Musica eArte Sacra.

Dott.ssa Claudia AutieriChartered accountant and auditor

President of the Committee of Supporters of the Fondazione Pro Musica e Arte Sacra


Press conference onOctober 13th, 2015

15

The invention of Europe’s first hard-paste porcelain in 1708 was documented in a straightforward labnote. Within two years, an epic saga began to unfold at Meissen’s Albrechtsburg Castle, location of Eu-

rope’s first porcelain manufactory, that saw a unique material gave rise to works of art of glittering splen-dour and life-like grace. The invention of Meissen porcelain also ushered in a new era of religious art.Ecclesiastical porcelains played a key role from very early on in the manufactory’s history. The first cruci-fix, a miniaturised version of Permoser’s Christ on the Cross, dates right back to 1719. In 1736, King Au-gust III had a set of liturgical items in Meissen porcelain sent to Rome as a gift to his friend, CardinalAnnibale Albani, an influential nephew of Pope Clement XI. The Manufactory’s then Modeller-in-Chief, Jo-hann Joachim Kaendler, produced the apostles Peter and Paul, amongst other pieces, for the assignment.The negative of his original model of Apostle Peter, comprising 25 plaster moulds in all, is one of the old-est sets of moulds still held by the Manufactory. Kaendler also created the Manufactory’s largest ever re-ligious figure group, a crucifixion scene made up of 17 separate sections, in 1743.

Such artistic aptitude and peerless craftsmanship have been passed down through the ages, eachgeneration lovingly nurturing tradition whilst constantly taking it further forward.

It is this commitment to a cultural asset and particularly cherishablelegacy that Meissen shares with Fondazione Pro Musica e ArteSacra. The two organisations are natural allies in that they both as-pire to nurture ecclesiastical art in a fitting manner and ensure itis worthily presented. A living legacy is just as important to theFondazione as it is to Meissen. If a passion for all that is spe-

cial is to be conveyed to coming generations, it is not onlycrucial that such values and several centuries of artisticcreation be protected, they also need to be got across in

such a way that a wider public can approachand experience them. Just like ecclesiasticalmusic and art, Meissen porcelain is an experi-ence for all the senses. Immersing oneself in

fine detail and breathing history is a very specialasset in our racy times that we would like to createroom for. Art and music enrich our lives whilst also con-stituting a major legacy. Meissen will be contributing tothis by fostering its own ecclesiastical art.We appreciate and support the magnificent work done byFondazione Pro Musica e Arte Sacra and relish the oppor-tunity to become involved in it.

Dr. Tillmann BlaschkeManaging Director Staatliche

Porzellan-Manufaktur Meissen GmbH

Georg NussdorferManaging Director Staatliche


LIVING COMMITMENT TO A GREAT LEGACY

Dr. Tillmann BlaschkeManaging DirectorMEISSEN®

Georg NussdorferManaging DirectorMEISSEN®

16


THE FONDAZIONE PROMUSICA E ARTE SACRA

The Fondazione Pro Musica e Arte Sacra is afoundation listed in the Register of Corporations

of the Prefecture of Rome, registration no.162/2002 in accordance with DPR 361/2000. A non-profit organisation, its objective is to promote and pre-serve the performance of sacred music and art at thehighest level.

Its main activities are the following:• to promote and draw a wider audience to religiousmusic, by organising concerts;

• to organise exhibitions and reviews of religious art;• to organise festivals, competitions, conferences,seminars, radio and television broadcasts and toexploit other platforms in order to promote culture,music and religious art;

• to organise training and advanced courses in mu-sic and sacred art, award prizes and scholarshipsin this field, promote relevant courses and re-

search, and provide support and financial aid toreligious institutions and relevant bodies of theHoly See;

• to print and produce quality publications and au-dio material to help achieve the Foundation’s aims;

• to sell worldwide television rights, pictures and au-diovisual recordings of events organised by theFoundation.

The Foundation’s funds can be significantly increasedwith donations, bequests, legacies and grants.The Foundation receives funds through contributionsand subscriptions made to it by public or private en-tities or individuals, (both Italian and foreign nationals),in addition to proceeds obtained through activitiesand events organised by the Foundation and throughwhat it receives from the “Associazione Amici dellaFondazione Pro Musica e Arte Sacra”, a non-profitorganisation whose central remit is to support of theFoundation.Each year the “Festival Internazionale di Musica eArte Sacra” is organised in the splendid settings ofthe papal basilicas of Rome.

On November 19th, 2016Papal Basilica St. Paul

outside the Walls

17

THE FOUNDATION’SOBJECTIVES

The Festival, like all activities of the FondazionePro Musica e Arte Sacra, is aimed at sensitizing

the public to its institutional aims: to safeguard, pre-serve, promote and develop the cultural patrimonypresent in Italy and to raise funds for restorationprojects. With the help of its supporters and spon-sors, since its foundation in 2002 the FondazionePro Musica e Arte Sacra has been able to supportthe following important restoration projects:• Restoration of the Chapel of St Stephen, in thetransept of the Papal Basilica of St Paul outsidethe Walls, with the help of the Festival's partner,DaimlerChrysler Italia;

• Repair of the two precious Morettini organs locat-ed in the apse of the Papal Basilica of St John Lat-eran, made in 1886;

• Restoration of the German Chapel at the Pontifi-cal Shrine of the Holy House in Loreto, Provinceof Ancona, decorated with a broad series of fres-coes on Marian themes painted by Ludovico Seitzin the years 1892-1902, with the help of the part-ner DaimlerChrysler Italia;

• Restoration of the dome of the Sixtus V Chapel inthe Papal Basilica of St Mary Major;

• Total renovation of the Library of the Pontifical In-stitute of Sacred Music in Rome, with the help ofthe partner DaimlerChrysler Italia;

• Restoration of the Chapel of St Benedict in thetransept of the Papal Basilica of St Paul outsidethe Walls, with the help of the partner Daimler-Chrysler Italia;

• Urgent interventions for the conservation andconsolidation of structures in the Mausoleums ofthe Teacher, the Ebuzi, the Egizi and the Matucciin the Vatican Necropolis beneath St Peter'sBasilica;

• Complete restoration of the Mausoleum of the Va-leri in the Vatican Necropolis beneath St Peter'sBasilica, with the contribution of the Patron Dr. h.c.Hans Urrigshardt and of the companies: LGT Bankin Liechtenstein AG, Mercedes-Benz Italia S.p.A.,Pedrollo S.p.A. and Courtial Viaggi srl;

Mausoleum of the Valeri in the VaticanNecropolis

Papal Basilica St Paul outsidethe WallsMosaic of Pope Francisand of PopeBenedict XVI

• Restoration of the statue of Pope Paul V Borghesein the Papal Basilica of St Mary Major, a work thatdates back to 1620 by Paolo Sanquirico;

• Restoration of the Tamburini Organ in the Basilicaof St Ignatius of Loyola in Campo Marzio, Rome, withthe help of the partner Mercedes-Benz Italia S.p.A.;

• Restoration of the monumental baldacchino abovethe Papal Altar in the Papal Basilica of St Paul out-side the Walls, made by Arnolfo di Cambio in 1285;

• Restoration of the wooden choir stalls of theChapel of the Choir in the Papal Basilica of St JohnLateran, located in the transept, close to the altarof the Most Blessed Sacrament, also called theColonna Chapel;

• Restoration of the Apartment of Pope Alexander VI(Rodrigo Borgia, 1492-1503) and Julius II (Giulianodella Rovere, 1503-1513) in the ancient ApostolicPalace of the Vatican, with contributions from Dr.Hans Urrigshardt and from the Fundación Ende-sa, Spain (the latter is earmarked for the lightingof the apartment), as well as from Dr Hans-AlbertCourtial personally;

• Restoration of the Mausoleum PHI, called "of theMarci", in the Vatican Necropolis beneath St Pe-ter's Basilica;

• Restoration of the southern front of the Vatican Basil-ica in the third part of the works, concerning the partof the Basilica in the form of a Greek cross, designedin the sixteenth century by Michelangelo;

• Restoration of the "Fontana della Burbera", an an-tique fountain on the northern terrace St Peter's,with contributions of the German Association"Förderverein Freunde der Fondazione Pro Musicae Arte Sacra e.V.", by their supporters and in par-ticular by Mr. Friedrich-Wilhelm Hempel;

• Restoration of the Chapel in the Mother House ofthe Society of the Divine Saviour in Palazzo CardinalCesi in Rome;

• Restoration of the Chapel in the Roman Residenceof the Consecrated Women of the Congregation Fa-milia spiritualis Opus;

• Restoration of the Priori organ in the Jesuit ChurchSt Francis Xavier (Oratorio del Caravita) in Rome;

• Restoration of the Sistine Chapel in the Papal Basil-ica of St Mary Major;

• Conservation of the works of sacred art in the AulaMagna/Auditorium of the Salesian Pontificial University;

• Creation of a mosaic panel depicting the Salus Pop-uli Madonna in the St John Paul II Sanctuary inKrakow (Poland);

• Creation of a mosaic medallion portraying PopeFrancis for the series of Popes in the Papal Basil-ica of St Paul's outside the Walls;

• Restoration of the west front of St Peter's Basilica;• Restoration of the "Rooms of St Aloysius Gonzaga"in the building complex of the Collegio Romano andthe Basilica St Ignatius Loyola.

• Restoration of the north side of St. Peter's Basilica.

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Rooms of St Aloysius

Gonzagain detail view

of ceiling

19

THE CURRENT PROJECTS

OF THE FONDAZIONE PROMUSICA E ARTE SACRA

Between 2017 and 2019 the Fondazione ProMusica e Arte Sacra is committed to support-

ing the restauration of the drum of the great domeof St. Peter’s Basilica and the minor domes of theClementine Chapel and the Gregorian Chapel.Beside this, the Fondazione Pro Musica e Arte Sacrawill also support the following musical projects:• the International Festival of Sacred Music and Art;• the Open-air Concert on June 29th 2018 with theVienna Philharmonic Orchestra.

In particular, this project aims to raise awareness forthe global refugee crisis under the motto “Vienna Phil-harmonic playing for Refugees”.The Vienna Philharmonic Orchestra will play the Coro-nation Mass by Wolfgang Amadeus Mozart and JonasKaufmann will sing some Arias.

THE SISTINE CHAPEL

CHOIR'S MUSICAL AND

ECUMENICAL PROJECTS

S ince 2011, the Fondazione Pro Musica e ArteSacra has supported the Sistine Chapel Choir, di-

rected by Msgr Massimo Palombella, in an ecu-menical-musical project that he has led, first at thebehest of Pope Benedict XVI and now of Pope Fran-cis. It is a musical exchange project with renownedchurch choirs of other denominations. The exchange generally involves two or more joint con-certs each year in Rome or the Vatican and in the in-stitutional headquarters of the Christian choir par-ticipating in the project, occasions that offer the uniquepossibility of enjoying the polyphony of the group fromRome together with other Christian choral traditions.Thus, since 2011, the Vatican's highest choir hasbeen able to meet with the great choirs of other Chris-tian denominations, such as Anglican with theChoir of Westminster Abbey in 2012, Lutheran withthe Thomanerchor in Leipzig in 2013, Orthodox withthe Moscow Synodal Choir in 2014 and the Choir of

New College Oxford in 2015.Last year the Fondazione Pro Musica e Arte Sacrasupported the Sistine Chapel Choir's ecumenical jour-ney (from 17 to 20 May 2016) to Germany, to thecities of Berlin, Wittenberg and Dresden.On Tuesday, 17 May 2016, at St Hedwig's Cathedralin Berlin, the Sistine Chapel Choir, directed by Maes-tro Massimo Palombella, performed a concert of re-ligious music, sponsored by H.Em. Dr Heiner Koch,Archbishop of Berlin.On Wednesday, 18 May 2016, the Sistine Chapel Choirwas in Wittenberg, in the German state of Saxony-An-halt, to perform an ecumenical concert of religious mu-sic at the Stadtkirche St. Marien zu Wittenberg, spon-sored by the Minister President of the state of Saxony-Anhalt, Dr Reiner Haseloff, who attended the concerttogether with Dr Friedrich Schorlemmer, Direktor derEvangelischen Akademie Wittenberg. Many attendedthe concert, partly thanks to Regierungssprecher DrMatthias Schuppe's work to promote the event, at thepress conference held at the headquarters of the Leu-corea Foundation in Wittenberg. The television and thepress gave the event much attention, at both the na-tional and state levels.The Sistine Chapel Choir also met with the DresdnerKreuzchor in Dresden to rehearse for a future jointconcert in Rome and the Vatican.On Thursday, 19 May at 18:00 in the Dresden's Luther-an church Frauenkirche, Ecumenical Vespers were cel-ebrated by Frauenkirchenpfarrer Reverend SebastianFeydt, with music by the Sistine Chapel Choir, direct-ed by Maestro Massimo Palombella, and by the Kam-merchor der Frauenkirche choir, conducted by Maes-tro Matthias Grünert. In addition, the Fondazione Pro Musica e Arte Sacra pro-vided the financial means for the Choir of New College,Oxford, an Anglican choir conducted by MaestroRobert Quinney, and the Windsbacher Knabenchor, aLutheran choir conducted by Maestro Martin Lehmann,to be in Rome on the occasion of the holy day of SaintsPeter and Paul on 29 June 2016. Both choirs were thusable to sing in Rome, at the Vatican, with the SistineChapel Choir directed by Maestro Massimo Palombel-la, on the occasion of the ecumenical concert of 28 June2016 in the Sistine Chapel at the Apostolic Palace, andat the Solemnity of the Feast of Saint Peter and SaintPaul and for the Blessing and imposition of Pallia,

presided over by His Holiness Pope Francis, with sup-porters and benefactors from the Fondazione Pro Mu-sica e Arte Sacra present.Last January, the Fondazione Pro Musica e Arte Sacraprovided financial support for the Kammerchor derFrauenkirche from Dresden, conducted by MaestroMatthias Grünert, to come to Rome. The Lutheran Choirperformed with the Sistine Chapel Choir directed byMaestro Massimo Palombella in an ecumenical con-cert in the Papal Basilica of St. John in Lateran andon the occasion of the Celebration of Second Vesperson the Solemnity of the Conversion of Saint Paul theApostle, presided over by Pope Francis in the Basil-ica of St. Paul outside the WallsThis year the Fondazione Pro Musica e Arte Sacra,thanks to the donations of their supporters andbenefactors, supported financially the ecumenical jour-ney of the Westminster Abbey Choir to Rome from Jan-

uary 23rd to January 26th , 2017.The Choir of Westminster Abbey also sung during theCelebration of the Evening Vespers at the Basilica ofSaint Paul outside the Walls in Rome, presided by PopeFrancis, on the occasion of the Solemnity of the Con-version of Saint Paul the Apostle.The Westminster Abbey Choir also performed a con-cert on January 24th, 2017 in the Basilica of St. Johnthe Lateran. On this important occasion the Choir ofWestminster Abbey, directed by Maestro JamesO’Donnell, and the Sistine Chapel Choir, directed byMaestro Massimo Palombella, performed in a joint con-cert traditional Anglican and Roman Catholic hymns.

RESTORATION

OF THE EXTERIOR

OF ST PETER’S BASILICA

T he painstaking restoration of the exterior of St Pe-ter’s, commenced by the Fabric of Saint Peter on

the eve of the Holy Year of 2000 within the frameworkof a complex plan of protection and refurbishment,has been resumed and carried forward with renewedcommitment and meticulous care with the supportof the Fondazione Pro Musica e Arte Sacra. After the restoration of the main façade in 1999, planswere developed for the necessary work on thesouth, west and north sides, which are about 46 me-

20


Via

delle

Fon

dam

enta

Northern prospect,2014/16

Western prospect,2013/14

Southern prospectthird tract,2011/12

The interventionsundertakenduring the

restoration of the lateral

prospects of the Papal

Basilica St Peterin the Vatican

with the supportof the Fondazione

Pro Musica e Arte Sacra.

Piazza di Santa Marta

21

tres in height and present a total surface area of over35,000 square metres.Restoration of the south façade was completed inthree successive phases of painstaking work over justfive years (April 2007 - May 2012). The thirdphase, regarding the element of the basilica designedon a Greek cross plan in the 16th century byMichelangelo, was carried out with support from theFondazione Pro Musica e Arte Sacra, which also fund-ed the restoration of the west façade including theexternal apse of St Peter’s (2012-2014). The by no means easy work is carried out by high-ly qualified restorers under the technical and scientificsupervision of the Fabric of Saint Peter. Their patient,silent and untiring efforts are flanked by those of the“Sanpietrini” responsible for all the masonry work,including removal of the old tiled roofs of the attic cor-nice and entablature, and the subsequent installa-tion of slabs of travertine to protect the structure asa whole. The necessary diagnostic investigations havealso been carried out with photographs taken (be-fore, during and after the restoration) and surveyingwith a laser scanner. This graphic and photograph-ic documentation was completed with all the infor-mation regarding preservation of the materials andidentification of the various kinds of deterioration pres-ent on the stone and attributable to chemical,physical and mechanical causes, thus serving as abasis for the analysis and mapping of decay and sub-sequent representation of the various operations ofrestoration. Jets of water were used to clean the traver-tine surface and the more stubborn black incrusta-tions were removed by means of micro-sandblast-ing at moderate pressure with inert materials of re-duced hardness in order to preserve the patina builtup over time (the JOS system already tested and usedin the restoration of the main façade).The restoration also constituted a unique and un-repeatable opportunity for knowledge, not leastthrough the close examination of architectural detailslocated in the higher parts of the basilica. It is there-fore hardly surprising that the recent work undertakenby the Fabric of Saint Peter made it possible for thefirst time to identify and examine certain elementsof Michelangelo’s architecture with wonderful figur-al sculptures whose sophisticated elegance is not vis-ible from below.

While the restoration of the west side, correspondingto the rear of the basilica, was nearing completion,the Fabric of Saint Peter, once again with the sup-port and collaboration of the Fondazione Pro Musi-ca e Arte Sacra, has developed plans for the con-tinuation of operations also on the 16th-century northside facing the area known as the Via delle Fonda-menta close to the Basilica. This restoration involveda surface area of approximately 6,800 square me-tres. Started in 2014 the restoration has been com-pleted during the Jubilee of Mercy 2016.It is interesting to note that the latter highly demandingrestoration project was launched in 2014, the yearmarking the 450th anniversary of the death ofMichelangelo Buonarroti (6 March 1475 – 18 Feb-ruary 1564). It was in fact Michelangelo that designedand built this part of the basilica’s exterior (apart fromthe minor stretch at the left end) between 1546 and1564. It was during the pontificate of Julius III (1550–55), Paul IV (1555–59) and Pius IV (1559–65) thatMichelangelo completed the apse and the obliquesides and began the construction of the attic and thefoundations of the linear sides of the exterior, whichwere completed in 1590 by his successor, the ar-chitect Giacomo Della Porta (1533–1602).

Papal Basilica St Peter in the Vatican -Southernprospect (thirdtract) after therestoration.

22

THE "FONDAZIONE

PRO MUSICA E ARTE

SACRA" AWARD

The Foundation Award, instituted in 2004, is grantedto the artist, supporter, benefactor or patron who

has made an outstanding contribution to music and/orreligious art. The recipient is presented with a certifi-cate and a work of art. The award ceremony takesplace at a venue chosen by the International Festivalof Sacred Music and Art to an invited audience ofmedia delegates and members of the authorities. The Foundation Award has been granted to the fol-lowing persons:Dr. Gianni Letta, Undersecretary for the President'sOffice of the Council of Ministers (1994/1995 -2001/2006 - 2008/2011), in recognition of hismoral support (2004);His Eminence Cardinal Francesco Marchisano, Arch-priest of the Basilica of St. Peter's in the Vatican, forhis efforts in the protection and conservation of sa-cred art as President of the Pontificial Commissionfor the Cultural Heritage of the Church (March 1993- October 2003) and President of the PermanentCommission for the Protection of Historical andArtistic Monuments of the Holy See (2006);Senator Dr. Mariapia Garavaglia, for her moral sup-port in the spread and promotion of religious musicand art through her constant presence at the Fes-tival di Musica e Arte Sacra (2008);

Richard de Tscharner, for his dedication to the pro-tection and preservation of religious music and artas Patron of the Foundation (2008);M° Msgr. Prof. Dr. Georg Ratzinger, Protonotary apos-tolic, Choir Master emeritus, in recognition of hislife’s work and his important achievements in thefield of Sacred Music, for dedicating himself tire-lessly to Sacred Music in the Cathedral of Regens-burg and throughout the world for more than 30years (2010);M° Msgr. Domenico Bartolucci, Music Director Emer-itus of the Papal Choir „Capella Sistina", in recogni-tion of his life’s work as composer, teacher and choirmaster and his important achievements in the fieldof Sacred Music, having dedicated himself tirelesslyto Sacred Music in the Vatican and throughout theworld for more than 50 years (2010);Prof. Dr. Clemens Hellsberg, President of the ViennaPhilharmonic, as representative of the Vienna Phil-harmonic, in recognition of the highest achieve-ments in music of the Orchestra’s members who,with their unanimously recognized professionalismand their immense musical talent for reaching lis-teners’ hearts (2010);Dr. h.c. Hans Urrigshardt, a German Patron, inrecognition for his generous activity as Patron of theFestival, and for having worked for years to promotethe Foundation’s aims (2010);M° Msgr. Pablo Colino, Prefect of the Music De-partment of St Peter in the Vatican, for dedicatinghimself to sacred music in the Vatican and through-out the world for more than 50 years (2014);


Dr. Gianni Letta

His EminenceCardinal

Marchisano

Sen. Dr. MariapiaGaravaglia


23

Prof. Dr. Dr. Herbert Batliner, Knight of the GrandCross with Diamonds of the Principality of Liecht-enstein, as a grand Patron and supporter of sacredmusic and art (2014);M° Nikolaus Harnoncourt, Austrian conductor, inrecognition of his great merits in the field of sacredmusic (2014);

M° Tomomi Nishimoto, Japanese conductor, for herdetermination in the rediscovery of the musical tra-dition of the Orasho in Japan as derived from Gre-gorian chant, and for her research on these antiquesongs (2014).

M° Msgr.DomenicoBartolucci,M° Msgr. Prof. Dr.Georg Ratzinger,Prof. Dr. ClemensHellsberg,Dr. HansUrrigshardt

M° Tomomi Nishimoto

M° Mgr. PabloColino

M° NikolausHarnoncourt

Prof. Dr. Dr. Herbert Batliner

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GREETING FROM THE

GERMAN SUPPORT

ASSOCIATION

S ince its inception fifteen years ago the Interna-tional Festival of Sacred Music and Art has es-

tablished itself as one of the most prestigious cul-tural events in the Eternal City and all over Italy. Thisdevelopment is based on the altruistic intentionaligned with the cultural activities of the Fon-dazione Pro Musica e Arte Sacra. In fact, the Fon-dazione Pro Musica e Arte Sacra seeks to link its sup-port of the precious heritage of sacred music withthe objective to restore the treasures of sacred artin the Vatican and the City of Rome and thereby topreserve human heritage. We believe that especiallytoday it is important to point out the European di-mension of this mission as European culture and artin the past as well as in the present have beenshaped deeply by Christianity.The formidable and consistently successful activities

of the Fondazione Pro Musica e Arte Sacra merit andsimultaneously require our promotion and financialsupport. The sustained interest of the German-speakingcountries in the activities of the Fondazione Pro Mu-sica e Arte Sacra led to the establishment of the char-itable association “Förderverein der Freunde der Fon-dazione Pro Musica e Arte Sacra e.V.”.The following important figures from Germany, thePrincipality of Liechtenstein and from Austria, who,based on their Christian faith as well as their pro-fessional and public reputation have become rolemodels within their group of stakeholders, foundedthe Association on May 16th, 2008:Althaus, DieterMinister President (retired) and Vice President Gov-ernmental Affairs Magna Europe, MAGNA Interna-tional GmbHBodewig, KurtFederal Minister (retired), Chairman of the BoardBaltic Sea Forum e.V., President Deutsche Verkehrs-wacht e.V.


On November 19th, 2016Basilica Sant’Ignazio

25

Courtial, Dr. Hans-Albert (President)General President of the Fondazione Pro Musica eArte SacraBusek, Dr. ErhardVice Chancellor (retired) of the Republic of Austria,President of the Institute for the Danube Region andCentral EuropeGlogowski, GerhardMinister President (retired)Gramke, Prof. Dr. Jürgen (Vice President) Minister of State (retired), Chairman of the Board ofthe Institute for European AffairsPrinz von und zu Liechtenstein, StefanAmbassador to the Principality of Liechtenstein in theFederal Republic of Germany.Marx, Dr. PeterCEO of HVM-Hamburger Versicherungsmakler GmbH/ Artus Gruppe and Liaison Representative of the In-stitute for European Affairs to the Catholic ChurchMokrzycki, Mgr. Dr. MieczysławArchbishop Lviv (Latiner) UkraineNeugebauer, Dr. DanielLawyer Overbeck, Mgr. Dr. Franz-JosefBishop of the Diocese EssenRantala, Dr. EeroMinister of Trade (retired) of the Republic of FinlandRing, Prof. Dr. KlausPresident of the Goethe University in Frankfurt (re-tired), President Polytechnic AssociationSchünemann, Prof. Dr. BerndFull Professor for criminal law/ criminal law pro-ceedings Ludwig-Maximilians-University MunichSeemann, CasparDirector of Hartz, Regehr & Partner GmbHSoika, DieterChief Editor (retired)Stich, MaxEx-Vice-President for Tourism of the ADAC (Gener-al German Automobile Association)Freifrau von Ungern-Sternberg, Dr. FranziskaAmbassador Credit Suisse (Deutschland) AGWorms, Dr. BernhardChairman of the European Senior UnionZeidler, SusanneChairman of the Board Deutsche Beteiligungs AG,Frankfurt / Germany

It is the aim of the Association to promote art, cul-ture and respectively research activities in the field.In conjunction with the aims of the Fondazione ProMusica e Arte Sacra to promote projects of sacredmusic and to preserve and restore the treasures ofsacred art, the Association dedicates its support tothe realization of these objectives. The aims allocatedwithin the statute are mainly implemented by:• the concerts of the International Festival of SacredMusic and Art for the valorisation and promulga-tion of sacred music

• exhibitions of sacred art in the Vatican• festivals, competitions, seminars, workshops, ra-dio and TV broadcasts for promoting culture as wellas sacred art and music;

• training courses in sacred art and music and re-search projects in the field.

For the ongoing four-year term of office from 11th June2015 onwards the following members have beennominated:Dr. Hans-Albert Courtial, Chairman of the Support As-sociation; Caspar Seemann; Dr. Franziska Freifrauv. Ungern-Sternberg.The Association “Förderverein der Freunde der Fon-dazione Pro Musica e Arte Sacra” thanks all the friendsand supporters of the 16th International Festival of Sa-cred Music and Art for their generous commitment.

Förderverein der Freunde derFondazione Pro Musica e Arte Sacra E.V.Oranienstrasse 11, D - 65604 Elz (Germany)phone 0049 (0) 6431 95 61-0fax 0049 (0) 6431 95 [email protected]

Bank account:Bank im Bistum Essen eGIBAN: DE 36360602950030379012BIC: GENODED1BBEBank Account Number: 30379012BLZ: 36060295

27

Friday, 15th September 2017, 8 pmPAPAL BASILICA ST. MARY MAJORVictoria, Magnificat primi toniByrd, Ave verum corpusPalestrina, Gloria (Missa 'Papae Marcelli')Byrd, Rorate coeliBrahms, Warum ist das Licht gegeben?Bruckner, Christus factus est pro nobisMonteverdi, Cantate DominoPurcell, Remember not, LordGabrieli, Exsultavit cor meumPurcell, Jehovah, quam multi suntChoir of King’s College, Cambridge (United Kingdom)Stephen Cleobury, Conductor

from 4th to 10th November 2017:

Saturday, 4th November 2017 PAPAL BASILICA ST. PETER IN THE VATICAN4 pm Spiritual ElevationWolfgang A. Mozart, Coronation Mass, KV 317 Illuminart Philharmonic Orchestra and Illuminart Chorus (Japan)Kana Kumamoto, sopranoTakako Nogami, mezzo-sopranoYusuke Kobori, tenorTsutomu Tanaka, baritoneTomomi Nishimoto, Conductor

5 pm Holy Mass celebrated by His Eminence Cardinal Angelo ComastriCoro del Vicariato Vaticano – Basilica di San Pietro (Vatican City)Temistocle Capone, Conductor

OrashoIlluminart Chorus (Japan)Tomomi Nishimoto, Conductor

Saturday, 4th November 2017, 9 pmBASILICA OF ST. IGNATIUS OF LOYOLA AT CAMPUS MARTIUSAnton Bruckner, Extracts from the Requiem, Mass in D minor, Te DeumPalatinaKlassik-Vokalensemble (Germany)Philharmonischer Chor an der Saar (Germany)Symphony Orchestra of Kazan State Conservatoire (Russian Federation)

Susanne Bernhard, sopranoSusanne Schaeffer, contraltoOscar de la Torre, tenorHeikki Kilpeläinen, baritoneLeo Kraemer, Conductor

Sunday, 5th November 2017, 9 pmPAPAL BASILICA ST. PAUL OUTSIDE THE WALLSWolfgang A. Mozart, Requiem in D minor, K 626Illuminart Philharmonic Orchestra and Illuminart Chorus(Japan)Kana Kumamoto, sopranoTakako Nogami, mezzo-sopranoYusuke Kobori, tenorTsutomu Tanaka, baritoneTomomi Nishimoto, Conductor

Monday, 6th November 2017, 9 pmPAPAL BASILICA ST. PAUL OUTSIDE THE WALLSWolfgang Amadeus Mozart, Concerto for Clarinet andOrchestra in A major, KV 622 Daniel Ottensamer, clarinetGiovanni Battista Pergolesi, Stabat MaterChen Reiss, sopranoBernarda Fink, mezzo-sopranoWiener Virtuosen – Members of the Wiener Philharmoniker(Austria)

Tuesday, 7th November 2017, 9 pmPAPAL BASILICA ST. PAUL OUTSIDE THE WALLSFranz Joseph Haydn, Die SchöpfungLimburger Domsingknaben (Germany)Orchestra Roma Sinfonietta (Italy)Mechthild Bach, sopranoCornel Frey, tenorThomas Laske, baritoneAndreas Bollendorf, Conductor

Friday, 10th November 2017, 7.30 pmBASILICA OF SANTA MARIA DEL POPOLOLutheran ConcertKlang der Reformation „Eine feste Burg ist unser Gott“Works by Heinrich Schütz, Samuel Scheidt, MichaelPraetorius Kammerchor der Frauenkirche Dresden (Germany)Ensemble Instrumenta Musica (Germany)Matthias Grünert, Conductor

THE FESTIVAL

THE FESTIVAL PROGRAM

Magnificat anima mea Dominum,et exultavit spiritus meus in Deo salutari meo.

Quia respexit humilitatem ancillae suae:ecce enim ex hoc beatam me dicent omnes

generationes,quia fecit mihi magna qui potens est:

et sanctum nomen ejus.et misericordia ejus a progenie in progenies

timentibus eum.Fecit potentiam in brachio suo:

dispersit superbos mente cordis sui.Deposuit potentes de sede,

et exaltavit humiles.Esurientes implevit bonis:et divites dimisit inanes.

Suscepit Israel puerum suum, recordatus misericordiae suae,

Sicut locutus est ad patres nostros, Abraham et semini ejus in saecula.

Gloria Patri, et Filio, et Spiritui Sancto;

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

Words, St Luke 1

Music, Victoria

My soul doth magnify the Lord, and my spirit hath rejoiced in God my Saviour. For he hath regarded the lowliness of his handmaiden:for, behold, from henceforth all generations shall call me blessed. For he that is mighty hath magnified me; and holy is his name. And his mercy is on them that fear him throughout all generations. He hath shewed strength with his arm; he hath scattered the proud in the imagination of their hearts. He hath put down the mighty from their seat, and hath exalted the humble and meek. He hath filled the hungry with good things; and the rich he hath sent empty away. He remembering his mercy, hath holpen his servant Israel. As he promised to our forefathers, Abraham, and his seed for ever.Glory be to the Father, and to the Son, and to the Holy Ghost; As it was in the beginning, is now, and ever shall be, world without end. Amen

Tomás luis de Victoria (1548 – 1611)Magnificat

FRIDAY 15TH SEPTEMBER 2017, 8 PM

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FRIDAY, 15TH SEPTEMBER 2017, 8 PM

PAPAL BASILICA ST. MARY MAJOR

Inauguration of the International Festival of Sacred Music and Art with the extraordinary partecipation of the Choir of King’s College, Cambridge

ChOIR Of KINg’S COllEgE, CAMbRIDgESTEphEN ClEObuRy, CONDuCTOR

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Ave verum Corpus, natumDe Maria Virgine,

Vere passum, immolatumIn cruce pro homine:Cuius latus perforatum Unda fluxit et sanguine, Esto nobis praegustatum

In mortis examine.O dulcis, O pie,

O Jesu Fili Mariae; Miserere mei. Amen

Words, 14th century. Gradualis, Book I, (1605)

Music, W. BYRD

Translation, Tr. H.N. Oxenham

Hail, true Body, born of Mary,Spotless Virgin’s virgin birth;Thou who truly hangedst wearyOn the cross for sons of earth;Thou whose sacred side was riven,Whence the water flowed and blood,O may’st thou, dear Lord, be givenAt death’s hour to be my food.O tender, O loving,O Jesu, Son of Mary,Show on me thy mercy. Amen.

William byrd (1543 – 1623)Ave verum corpus

Gloria in excelsis DeoEt in terra pax hominibus bonae voluntatis.

Laudamus teBenedicimus teAdoramus te

Glorificamus teGratias agimus tibi propter magnam gloriam tuam

Domine Deus, Rex coelestis, Deus Pateromnipotens.

Domine Fili unigenite, Jesu Christe.Domine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi, miserere nobis.Qui tollis peccata mundi, suscipe deprecationem

nostram.Qui sedes ad dexteram Patris, miserere nobis.Quoniam tu solus sanctus, tu solus Dominus,

Tu solus Altissimus, Jesu Christe,Cum Sancto Spiritu in gloria Dei Patris. Amen.

Music, Giovanni Pierluigi da Palestrina

Glory be to God on high, and in earth peace, goodwill towards men. We praise thee, we bless thee. We worship thee. We glorify thee.We give thanks to thee for thy great glory. O Lord God, heavenly King, God theFather almighty. O Lord, the only-begotten Son, Jesus Christ. O Lord God, Lamb ofGod, Son of the Father. Thou that takest away the sins of the world, have mercyupon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittestat the right hand of God the Father, have mercy upon us. For thou only art holy, thouonly art the Lord, Thou only, O Christ, with the Holy Ghost, art Most High, in theglory of God the Father. Amen.

pierluigi da palestrina (1525 – 1594)gloria

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Rorate caeli desuper, et nubes pluant justum:aperiatur terra, et germinet salvatorem.

Benedixisti, Domine, terram tuam: avertisti captivitatem Jacob.

Gloria Patri et Filio et Spiritui Sancto: sicut erat inprincipio, et nunc et semper et in saecula

saeculorum. Amen.

Rorate caeli desuper, et nubes pluant justum:aperiatur terra, et germinet salvatorem.

Words, Introit for Masses of Our Lady in Advent

Music, William Byrd (1543–1623)

Drop down, ye heavens, from above, and let theskies pour down righteousness. Let the earth open, and bring forth a Saviour.Lord, thou hast blessed thy land: thou hastturned away the captivity of Jacob.Glory be to the Father, and to the Son: and to theHoly Ghost; as it was in the beginning, is now, and ever shall be: worldwithout end. Amen.

Drop down, ye heavens, from above, and let theskies pour down righteousness. Let the earth open, and bring forth a Saviour.

William byrd (1543 – 1623)Rorate coeli

Warum ist das Licht gegeben dem Mühseligen,und das Leben den betrübten Herzen?

Die des Todes warten und er kommt nicht,und grüben ihn wohl aus dem Verborgenen;

die sich fast freuen und sind fröhlich,daß sie das Grab bekommen.

Und dem Manne, des Weg verborgen ist,und Gott vor ihm denselben bedecket.

Lasset uns unser Herzsamt den Händen aufheben zu Gott im Himmel.

Siehe, Wir preisen selig, die erduldet haben.Die Geduld Hiobs habt ihr gehöret,

und das Ende des Herrn habt ihr gesehen;denn der Herr ist barmherzig und ein Erbarmer.

Mit Fried und Freud ich fahr dahin,in Gottes Willen,

getröst ist mir mein Herz und Sinn,sanft und stille.

Wie Gott mir verheißen hat,der Tod ist mir Schlaf worden.

Words, Job 3, Lamentations 3, James 5, Luther

Music,Johannes Brahms

Wherefore is light given to him that is in misery,and life unto the bitter in soul?Which long for death, but it cometh not,and dig for it more than for hid treasures;which rejoice exceedingly and are glad when they can find the grave.And to the man whose way is hid,and whom God hath hedged in.Let us lift up our heart with our hands unto God in the heavens.Behold, we call them happy which endure:Ye have heard of the patience of Job,and have seen the end of the Lord,that the Lord is very pitiful and of tender mercy.With peace and joy I take my leave,by the will of God;my heart and mind are comforted,calm and tranquil.As God promised me,death has become a sleep.

Johannes brahms (1833 – 1897)Warum ist das licht gegeben?

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Christus factus est pro nobis obediens usque ad mortem, mortem autem crucis.

Propter quod et Deus exaltavit illum:et dedit illi nomen, quod est super omne nomen.

Words, Philippians 2: 8–9

Music, Anton Bruckner

Christ was made obedient for us unto death, even the death of the cross. Wherefore God also hath highly exalted him, andgiven him a name which is above every name.

Anton bruckner (1824 – 1896)Christus factus est pro nobis

Cantate Domino canticum novum,cantate et benedicite nomine ejus:

Quia mirabilia fecit: cantate et exultate et psalite,

psalite in cithara et voce psalmi:quia mirabilia fecit.

Words, Psalm 98

Music, Monteverdi

Sing unto the Lord a new song;Sing and bless His name,for He has done marvellous things.Sing and rejoice and praise;sing praise with the luteand voices joined with a psalm.

Claudio Monteverdi (1567 – 1643)Cantate Domino

Words, The Litany

Music, Henry Purcell

Remember not, Lord, our offences, nor the offences of our forefathers; neither take thou vengeance of our sins: but spare us, good Lord, spare thy people, whom thou hast redeemed with thy most precious blood, and be not angry with us for ever.Spare us, good Lord.

henry purcell (1659 – 1695)Remember not, lord


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Exultavit cor meum in Domino exaltatum est cornu meum in Domino,

dilatatum est os meum super inimicos meos quia laetata sum in salutari tuo.

Non est sanctus ut est Dominus neque enim est alius extra te

et non est fortis sicut Deus noster.

Words, 1 Samuel 2, 1-2

Music, Gabrieli

My heart rejoiceth in the Lord, mine horn is exalted in the Lord,my mouth is enlarged over mine enemies; because I rejoice in Thy salvation. There is none holy as the Lord, for there is none beside Thee,neither is there any rock like our God.

giovanni gabrieli (1557 – 1612)Exsultavit cor meum

Jehova, quam multi sunt hostes mei, quam multi insurgunt contra me.Quam multi dicunt de anima mea, non est ulla salus isti in Deo plane.At tu, Jehova, clypeus es circa me:

gloria mea, et extollens caput meum.Voce mea ad Jehovam clamanti

respondit mihi e monte sanctitatis suae maxime.Ego cubui et dormivi, ego expergefeci me,

quia Jehova sustentat me.Non timebo a myriadibus populi

quas circum disposuerint metatores contra me.Surge, Jehova, fac salvum me, Deus mi:

qui percussisti omnes inimicos meos maxillam,dentes improborum confregisti.

Jehova est salus, super populum tuum Sit benedictio tua maxime.

Words, Psalm 3

Music, Henry Purcell (1659–95)

Lord, how are they increased that trouble me:many are they that rise against me.Many one there be that say of my soul: There is no help for him in his God.But thou, O Lord, are my defender: thou art my worship, and the lifter up of my head.I did call upon the Lord with my voice: and he heard me out of his holy hill.I laid me down and slept, and rose up again: for the Lord sustained me.I will not be afraid for ten thousands of the people:that have set themselves against me round about.Up, Lord, and help me, O my God: for thou smites all mine enemies upon the cheek bone:thou hast broken the teeth of the ungodly.Salvation belongeth unto the Lord: and thy blessing is upon thy people.

henry purcell (1659–95)Jehova, quam multi sunt

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SATURDAY, 4TH NOVEMBER 2017, 4.00 PM

KyrieKyrie eleison.Christe eleison.Kyrie eleison.

gloriaGloria in excelsis Deo.Et in terra pax hominibus bonae voluntatis.Laudamus te. Benedicimus te.Adoramus te.Glorificamus te.

Gratias agimus tibi propter magnam gloriam tuam.Domine Deus, Rex caelestis, Deus Pater omnipotens.Domine Fili unigenite, Jesu Christe.Domine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi, miserere nobisQui tollis peccata mundi, suscipe deprecationem nostram.Qui sedes ad dexteram Patris, miserere nobis.

Quoniam tu solus Sanctus, tu solus Dominus,tu solus Altissimus, Jesu Christe.Cum Sancto Spriritu, in gloria Dei Patris. Amen.

Credo Credo in unum Deum, Patrem omnipotentem,factorem caeli et terrae,visibilium omnium et invisibilium.

Et in unum Dominum Jesum Christum,Filium Dei unigenitum.Et ex Patre natum ante omnia saecula.Deum de Deo, lumen de lumine,Deum verum de Deo vero.

Genitum, non factum, consubstantialem Patri:per quem omnia facta sunt.Qui propter nos homines et propter nostram salutemdescendit de caelis.

Et incarnatus est de Spiritu Sancto ex Maria Virgine:Et homo factus est.Crucifixus etiam pro nobis:sub Pontio Pilato passus et sepultus est.


PAPAL BASILICA ST. PETER IN THE VATICAN

Spiritual Elevation

IlluMINART phIlhARMONIC ORChESTRA AND IlluMINART ChORuSTOMOMI NIShIMOTO, CONDuCTOR

Kana Kumamoto, sopranoTakako Nogami, mezzo-sopranoYusuke Kobori, tenorTsutomu Tanaka, baritone

Wolfgang Amadeus Mozart (1756 – 1791)Coronation Mass, KV 317


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Et resurrexit tertia die, secundum Scripturas.Et ascendit in caelum: sedet ad dexteram Patris.Et iterum venturus est cum gloria,judicare vivos et mortuos:cujus regni non erit finis.

Et in Spiritum Sanctum, Dominum, et vivificantem:Qui ex Patre Filioque procedit.Qui cum Patre et Filio simul adoratur, et conglorificatur:qui locutus est Prophetas.

Et unam sanctam catholicam et apostolicam Ecclesiam.Confiteor unum baptisma in remissionem peccatorum.Et expecto resurrectionem mortuorum.Et vitam venturi saeculi, Amen.

SanctusSanctus, Sanctus, Sanctus Dominus Deus Sabaoth.Pleni sunt caeli et terra gloria tua.Hosanna in excelsis.

benedictusBenedictus qui venit in nomine Domini.Hosanna in excelsis.

Agnus DeiAgnus Dei, qui tollis peccata mundi:miserere nobis.Agnus Dei, qui tollis peccata mundi:miserere nobis.Agnus Dei, qui tollis peccata mundi:dona nobis pacem.

On November 16th, 2016 Papal Basilica St. Peter

in the Vatican

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SATURDAY, 4THNOVEMBER 2017, 5.00 PM

INTROIT«Ave maris stella,Dei Mater almaatque semper virgofelix coeli porta.Sumens illud aveGabrielis orefunda nos in pacemutans Evae nomen.Solve vincla reis,profer lumen caecis,mala nostra pelle,bona cuncta posce.Monstra te esse matrem,sumat per te precesqui pro nobis natustulit esse tuus.Virgo singularisinter omnes mitis,nos culpis solutosmites fac et castos.

Vitam praesta puram,iter para tutumut videntes Jesumsemper collaetemur.Sit laus Deo Patri,summo Christo decus,Spiritui Sanctotribus honor unus.Amen.»

KyRIELorenzo Perosi (1872-1956)from the Missa Prima Pontificalis (1897)

glORIALorenzo Perosifrom the Missa Prima Pontificalis

OffERTORyMoritz Brosig (1815 – 1887)


PAPAL BASILICA ST. PETER IN THE VATICAN

Holy Mass to open the 16th International Festival of Sacred Music and Artcelebrated by His Eminence Cardinal Angelo Comastri.

Charles gounod (1818-1893) Ave Maria Hong-hu Ada

lORENzO pEROSI, MISSA pRIMA pONTIfICAlISCORO DEl VICARIATO DEllA CITTà DEl VATICANO - bASIlICA DI S. pIETROTEMISTOClE CApONE, CONDuCTOR

Gianluca Libertucci, organ

ORAShOIlluMINART phIlhARMONIC ChORuSTOMOMI NIShIMOTO, CONDuCTOR

lorenzo perosi (1872-1956)AVE MARIS STEllA

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bENEDICTA ET VENERAbIlIS Benedicta et venerabilis es Virgo Maria, quae sinetactu pudoris inventa es Mater Salvatoris. Vir-goDei genitrix, quem totus non capit orbis, in tua seclausit viscera factus homo. Alleluja.

SANCTuSLorenzo Perosifrom the Missa Prima Pontificalis

AgNuS DEILorenzo Perosifrom the Missa Prima Pontificalis

COMMuNIONDomenico Bartolucci (1917 – 2013)Gustate et videte

Rit. Gustate et videte quoniam suavis est Dominus.Sicut dilexit me Pater, et ego dilexi vos:manete in dilectione mea. /Rit.

Hoc est praeceptum meum;ut diligatis invicem sicut dilexi vos.

Maiorem hac dilectionem nemo habetut animam suam quis ponat pro amicis suis. /Rit.

In hoc cognoscent omnesquia mei discipuli estis, si dilectionem habueritis ad invicem. /Rit.

pROCESSIONIlluminart philharmonic ChorusTomomi Nishimoto, Conductor

lAuDATE DOMINuM (ORAShO)Laudate Dominum omnes gentesLaudate eum, omnes populi.Quoniam confirmata estSuper nos misericordia eius,Et veritas Domini manet in aeternum.Gloria Patri et Filio et Spiritui Sancto.Sicut erat in principio, et nunc, et semper.Et in saecula saeculorum. Amen.

O glORIOSA (ORAShO)O Gloriosa dominaexcelsa super sidera,qui te creavit provide,lactasti sacro ubere.Quod Heva tristis abstulit,tu reddis almo germine;intrent ut astra flebiles,caeli fenestra facta es.Tu Regis alti ianuaEt porta lucis fulgida;vitam datam per Virginem,gentes redemptae, plaudite.Gloria tibi Dominequi natus es de Virgine,cum Patre et Sancto Spirituin sempiterna saecula. Amen.

NuNC DIMITTIS (ORAShO)Nunc dimittis servum tuum, Domine,secundum verbum tuum in pace.Quia viderunt oculi meisalutare tuumQuod parastiante faciem omnium populorum.Lumen ad revelationem gentium,et gloriam plebis tuae Israel.Gloria Patri et Filio et Spiritui Sancto.Sicut erat in principio, et nunc, et semper.Et in saecula saeculorum. Amen.

hOMIlyBy His Eminence Cardinal Angelo Comastri,Vicar General of His Holiness for Vatican Cityand Archpriest of St. Peter’s BasilicaThis year is the 100th anniversary of the apparitionsof Our Lady of Fátima. Apparitions that have markedand illuminated the last hundred years.We think it only right and fitting to commemorate this event.What happened at Fátima a hundred years ago?On 13 May 1917, three very poor, simple shepherdchildren from Aljustrel, a little village near Fátima, tooktheir families' flocks to graze. They were illiterate be-cause they could not afford to attend school and theirfamilies needed them to work. Who were those children? Lúcia the oldest was bornon 22 March 1907 and was the youngest of seven

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children, whom the Lord gave to Antonio dos Santosand Maria Rosa. At the time of the apparitions Lúciawas ten. Francisco and Jacinta, Lúcia's cousins, werethe sixth and seventh children of Manuel Pedro Mar-to and Olimpia de Jesus dos Santos.At the time of the apparitions Francisco was nine andJacinta seven.The 13 May 1917 was a Sunday and the children hadgone to mass very early, because their families, de-spite the hard work in the fields, never missed Sun-day mass. Olimpia Marto said one day: "God forbidI should let Sunday go by without going to mass! Idon't remember ever missing a Sunday mass, evenwhen the children were little." That's what the Fáti-ma shepherd children's families were like!But let's follow the children on that memorable day.When they heard the bells ringing in the distance atmidday, the little shepherds ate what they had broughtwith them and then prayed the rosary together. Theyhad started playing again, when they saw a suddenflash of lightning. They were afraid a storm was brew-ing and started calling their sheep. A secondstronger flash stopped them. They turned to the rightand saw a White Lady at the top of a low holm oak,according to Lúcia, "It was a lady dressed in white,brighter than the sun, she sent out a light more clearand intense than that of a crystal."Astonished at the apparition, the children stared atthe Lady who reassured them in gentle, maternaltones. "Don't be afraid, I won't harm you."Lúcia plucked up her courage and asked: "Where areyou from?"The Lady smiled and replied: "I come from heaven!""And what do you want from me?" Asked Lúcia."I have come to ask you to return here at the sametime on the 13th day of each month for the next sixmonths. Later I shall tell you who I am and what I de-sire. I shall return here yet a seventh time".Encouraged, Lúcia asked: "And shall I go to heaven?""Yes. You will.""And, Jacinta?""She will go too.""And Francisco?""He will go to heaven too, but first he will have to re-cite many rosaries."The White Lady concluded: "You will suffer greatly,but the grace of God will comfort you!"

What is the meaning of the Virgin Mary's maternalappeals?In the messages given to the children at Fátima in1917 and fully made public in 2000, it is easy to per-ceive maternal concern and a heartfelt appeal to takeChrist's Gospel seriously. The Virgin Mary's inter-ventions always tend towards this.At Fátima the Virgin Mary reminded us first and fore-most that life beyond this life is real: the afterlife ex-ists!Why did the Virgin Mary make this insistent appeal?In the 21st century the materialism of the 20th cen-tury has burst its banks like a muddy river and pro-duced mass materialism and a lifestyle called "con-sumerism", namely the frantic desire to enjoy one-self at all costs (every hour of the day and even thenight) and an eagerness for entertainment … becauseeverything comes to an end down here on earth! Jean-Paul Sartre's statement: "Man is a useless pas-sion."; Albert Camus' challenge that the most rea-sonable hypothesis is suicide; Richard Dawkins' claimthat this universe of electrons has no meaning; andJean Rostand's conclusion that man is: "A ridiculousatom, lost in an inert and immeasurable cosmos" arethe result of forgetting the meaning of life. Para-doxically human intelligence, at the very moment itclaims to have understood everything, by excludingGod has plunged into the void. This is the result ofpride!Martin Heidegger was right when he exclaimed: "…no age has known less than ours what man is …"In this situation caused by the clouding of human in-telligence the Virgin Mary reproposed the clear truthof the Gospel, which is: "Lay not up for yourselvestreasures upon earth, where moth and rust doth cor-rupt, and where thieves break through and steal:But lay up for yourselves treasures in heaven …"(Matthew 6: 19–20)."For the Son of man shall come in the glory of his Fa-ther with his angels; and then he shall reward everyman according to his works." (Matthew 16: 27).The first message of Fàtima is this: paradise exists,paradise is the feast of life, the best is yet to come!If we forget this wonderful truth, human life has nomeaning. The Virgin Mary then reminded us that hell really ex-ists. Namely, it is possible to deny God (the devils have

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already done so and that is why they are in hell) andthe denial of God has its consequences, in fact, by re-jecting God man automatically locks himself up in aprison of suffering and torture, that burns like a con-suming fire. Hell, let it be clear, is not the will of God,but of man. God wants to embrace everyone with good-ness and happiness, but He cannot and will not forceanyone. If man excludes himself definitively from God'sembrace, he will go to hell by proudly rejecting Him. Jesus has spoken clearly. In St Matthew's Gospel weread: "Again, the Kingdom of heaven is like unto a net,that was cast into the sea, and gathered of every kind:Which, when it was full, they drew to shore, and satdown, and gathered the good into vessels, but castthe bad away. So shall it be at the end of the world: the angels shallcome forth and sever the wicked from among the just,And shall cast them into the furnace of fire; there shallbe wailing and gnashing of teeth." (Matthew 13: 47–50).As well as the truth of hell's existence, the Virgin Maryreminded us of the seriousness of sin and the trag-ic consequences it has produced throughout humanhistory: war, hunger, violence of every kind, and per-secution caused by man's aggression, through sin,towards the wonderful and delicate order of the Cre-ation. The Bible once again shouts this truth on everypage, but many people pretend not to hear or theyconfine the Word of God to interpretations and re-strictions that misrepresent and betray it.The prophet Isaiah says: "Wherefore thus saith theHoly One of Israel,Because ye deprive this word, and trust in oppres-sion and perverseness, and stay thereon:Therefore this iniquity shall be to you as a breach readyto fall, swelling out in a high wall, whose breakingcometh suddenly at an instant." (Isaiah 30: 12–13).

And Jeremiah, after reminding us that the people haverefused the clean water from the spring and drunkthe stinking water from the stagnant cistern (as sooften happens), observes feelingly: "Thine ownwickedness shall correct thee, and thy backslidingsshall reprove thee: know therefore and see that it isan evil thing and bitter, that thou hast forsaken theLord thy God …" (Jeremiah 2:19).And a little later he returns to the same burning is-sue and adds: "Your iniquities have turned away thesethings, and your sins have witholden good things fromyou." (Jeremiah 5: 25).Our Lady of Fátima reminded us of everything thathad already been said in the Holy Scriptures, and itwas fortunate that someone did.Our Lady of Fátima also reminded us that the priceof living by the Gospel is paid in blood. But we mustnot be afraid to do so, because good triumphedthrough Christ. In fact, the Virgin Mary ended her mes-sage by saying: "My Immaculate Heart will triumph."In 2000, Cardinal Ratzinger commented that Our Ladyof Fatíma reminded us that: "The heart open to God,purified by contemplation of God, is stronger thanguns and weapons of every kind." In fact, Christ said: "Fear not. I have conquered theworld."Christ has vanquished the evil of man and we serene-ly await the end of the story, when God will pronouncethe definitive, final word on everything and everyone.Our Lady of Fatíma, with the delicacy and sincerityof a mother, reminded us of these fundamental truths.We thank her.

Angelo Card. ComastriVicar General of His Holiness for the Vatican City State

Archpriest of the Basilica of St Peter's


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SATURDAY 4TH NOVEMBER 2017, 9.00 PM

REquIEMRequiem aeternam dona eis, Domine,

Et lux perpetua luceat eis.

CuM SANCTISCum sanctis tuis in aeternum, quia pius est.

REquIEMEwige Ruhe gib ihnen, Herr:Und ewiges Licht leuchte ihnen.

CuM SANCTISMit deinen Heiligen in Ewigkeit, denn du bist gütig.


BASILICA OF ST. IGNATIUS OF LOYOLA AT CAMPUS MARTIUSpart of the Fund of Religious Buildings (Fondo Edifici di Culto)

pAlATINAKlASSIK-VOKAlENSEMblEphIlhARMONISChER ChOR AN DER SAARSyMphONy ORChESTRA Of KAzAN STATE CONSERVATOIRElEO KRAEMER, CONDuCTOR

Susanne Bernhard, sopranoSusanne Schaeffer, contraltoOscar de la Torre, tenorHeikki Kilpeläinen, baritone

Anton bruckner (1824 – 1896), Extracts from the Requiem

KyRIEKyrie eleison

Christe eleisonKyrie eleison

glORIAGloria in excelsis Deo.

Et in terra pax hominibus bonae voluntatis.Laudamus te.

Benedicimus te.Adoramus te.

Glorificamus te.Gratias agimus tibi propter magnam gloriam tuam.

Domine Deus, Rex caelestis, Deus Pateromnipotens.

KyRIEHerr, erbarme dich.Christus, erbarme dichHerr, erbarme dich.

glORIAEhre sei Gott in der Höhe.Und auf Erden Frieden den Menschen, die gutenWillens sind.Wir loben dich.Wir preisen dich.Wir beten dich an.Wir verherrlichen dich.Wir danken dir wegen deiner großen Herrlichkeit.Herr und Gott, König des Himmels, Gott

Anton bruckner (1824 – 1896), Mass in D minor

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Domine Fili unigenite, Jesu Christe.Domine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi, miserere nobis.Qui tollis peccata mundi, suscipe deprecationem

nostram.Qui sedes ad dexteram Patris, miserere nobis.

Quoniam tu solus Sanctus.Tu solus Dominus.

Tu solus Altissimus, Jesu Christe.Cum Sancto Spiritu, in gloria Dei Patris.

Amen.

CREDOCredo in unum Deum.

Patrem omnipotentem, factorem caeli et terrae,Visibilium omnium et invisibilium.

Et in unum Dominum Jesum Christum, Filium Deiunigenitum.

Et ex Patre natum ante omnia saecula.Deum de Deo, lumen de lumine,

Deum verum de Deo vero.Genitum, non factum, consubstantialem Patri,

Per quem omnia facta sunt.Qui propter nos homines, et propter nostram

salutemDescendit de caelis.

Et incarnatus est de Spiritu Sancto ex Maria Virgine:Et homo factus est.

Crucifixus etiam pro nobis sub Pontio Pilato:Passus et sepultus est.

Et resurrexit tertia die, secundum Scripturas.Et ascendit in caelum: sedet ad dexteram Patris.

Et iterum venturus est cum gloria,Judicare vivos et mortuos: cujus regni non erit finis.Et in Spiritum Sanctum, Dominum, et vivificantem:

Qui ex Patre Filioque procedit.Qui cum Patre et Filio simul adoratur, et

conglorificatur:Qui locutus est per Prophetas.

Et unam sanctam catholicam et apostolicamecclesiam.

Confiteor unum baptisma in remissionempeccatorum.

Et expecto resurrectionem mortuorum.

allmächtiger Vater.Herr Jesus Christus, eingeborener Sohn..Herr und Gott, Lamm Gottes, Sohn des Vaters.Du nimmst die Sünden der Welt weg, erbarmedich unser.Du nimmst die Sünden der Welt, nimm unserFlehen gnädig auf.Du sitzt zur Rechten des Vaters: erbarme dich unser.Denn du allein bist heilig,Du allein der Herr.Du allein der Höchste, Jesus Christus.Mit dem Heiligen Geist, in der Herrlichkeit vonGott dem Vater.Amen.

CREDOIch glaube an den einen Gott,Den allmächtigen Vater, Schöpfer des Himmelsund der Erde,Aller sichtbaren und unsichtbaren Dinge.Und an den einen Herrn Jesus Christus, Gotteseingeborenen Sohn.Er ist aus dem Vater geboren vor aller Zeit.Gott aus Gott, Licht aus Licht,Wahrer Gott aus dem wahren Gott.Gezeugt, nicht geschaffen, eines Wesens mit demVater,Durch den alles geschaffen worden ist.Der für uns Menschen um unseres Heiles willenVom Himmel herabgestiegen ist.Fleisch geworden durch den Heiligen Geist ausder Jungfrau MariaUnd Mensch geworden ist.Gekreuzigt wurde er für uns unter Pontius Pilatus:Er ist gestorben und begraben worden.Er ist auferstanden am dritten Tag, gemäß der Schrift.Und ist aufgefahren in den Himmel, sitzt zurRechten des Vaters.Er wird wiederkehren in Herrlichkeit,Zu urteilen über Lebende und Tote, dessen Reichkein Ende nimmt.Ich glaube an den Heiligen Geist, den Herrn undLebensspender,Der aus dem Vater und dem Sohne hervorgeht.Er wird mit dem Vater und dem Sohn angebetetund verherrlicht.Er hat gesprochen durch die Propheten.


41

Et vitam venturi saeculi.Amen

SANCTuSSanctus, sanctus, sanctus, Dominus Deus Sabaoth.

Pleni sunt caeli et terra gloria tua.Hosanna in excelsis.

bENEDICTuSBenedictus qui venit in nomine Domini,

Hosanna in excelsis.

AgNuS DEIAgnus Dei, qui tollis peccata mundi: miserere

nobis.Agnus Dei, qui tollis peccata mundi: miserere

nobis.Agnus Dei, qui tollis peccata mundi: dona nobis

pacem.

Ich glaube an die eine heilige, katholische undapostolische Kirche.Ich bekenne die eine Taufe zur Vergebung derSünden.Ich erwarte die Auferstehung der TotenUnd das Leben in der zukünftigen Welt.Amen.

SANCTuSHeilig, heilig, heilig, Herr, Gott der Heerscharen.Voll sind Himmel und Erde von deiner HerrlichkeitHosanna in der Höhe.

bENEDICTuSGepriesen sei, der da kommt im Namen des Herren.Hosanna in der Höhe.

AgNuS DEILamm Gottes, du nimmst die Sünden der Welt,erbarme dich unser.Lamm Gottes, du nimmst die Sünden der Welt,erbarme dich unser.Lamm Gottes, du nimmst die Sünden der Welt,gib uns den Frieden.

TE DEuMTe Deum laudamus, te Dominum confitemur.Te aeternum patrem omnis terra veneratur.Tibi omnes Angeli, tibi Caeli, et universae

Potestates:Tibi Cherubim et Seraphim incessabili voce

proclamant:Sanctus, sanctus, sanctus, Dominus Deus

Sabaoth,Pleni sunt caeli et terra majestatis gloriae tuae.

Te gloriosus Apostolorum chorus,Te Prophetarum laudabilis numerus,

Te martyrum candidatus laudat exercitus.Te per orbem terrarum sancta confitetur Ecclesia,

Patrem immensae majestatisVenerandum tuum verum et unicum Filium;

Sanctum quoque Paraclitum Spiritum.

TE DEuMDich, Gott, loben wir, dich, Gott, preisen wir.Dir, dem ewigen Vater, huldigt die ganze Erde.Dir rufen alle Engel, die Himmel und des WeltallsMächte,Die Cherubim und Seraphim ohne Ende zu:Heilig, heilig, heilig ist der Herr, der Gott derHeerscharen,Voll sind Himmel und Erde des Ruhmes deinerHerrlichkeit.Dich preist der glorreiche Chor der Apostel,Dich der Propheten löbliche Schar,Dich der Märtyrer strahlendes Heer .Dich preist weltweit die heilige Kirche,Dich, den Vater unermesslicher Majestät.Deinen verehrungwürdigen, wahren und einzigenSohn;

Anton bruckner (1824 – 1896), Te Deum

42


Tu, rex gloriae, Christe, tu Patris sempiternus esFilius.

Tu ad liberandum suscepturus hominemNon horruisti Virginis uterum

Tu devicto mortis aculeo,Aperuisti credentibus regna caelorum.

Tu ad dexteram Dei sedes, in Gloria Patris.Judex crederis esse venturus.

TE ERgOTe ergo quaesumus tuis famulis subveni,

Quos pretioso Sanguine redemisti.

AETERNA fACAeterna fac cum Sanctis tuis in gloria numerari.

SAlVuM fACSalvum fac populum, Domine, et benedic

haereditati tuae.Et rege eos, et extolle illos usque in aeternum.

Per singulos dies benedicimus teEt laudamus nomen tuum in saeculum saeculi.

Dignare, Domine, die isto sine peccato noscustodire.

Miserere nostri, Domine, miserere nostri.Fiat misericordia tua, Domine, super nos,

Quemadmodum speravimus in te.

IN TEIn te, Domine, speravi, non confundar in

aeternum.

Wie den Heiligen Geist, den Tröster.Du, König der Herrlichkeit, Christus, des Vatersewiger Sohn.Du, um den Menschen zu befreien ,Scheutest du nicht den Schoß der Jungfrau.Du hast besiegt des Todes Stachel,Geöffnet den Glaubenden die Reiche der Himmel.Du sitzt zur Rechten Gottes, in der Herrlichkeitdes Vaters.Als Richter wirst du, so glauben wir, einstwiederkehren.

TE ERgODich nun bitten wir: deinen Dienern komm zu Hilfe,Die mit kostbarem Blut du erlöst hast.

AETERNA fACIn der ewigen Herrlichkeit zähle uns zu deinenHeiligen.

SAlVuM fACRette dein Volk, Herr, und segne dein Erbe.Und führe sie und erhebe sie bis in die Ewigkeit.An jedem Tag preisen wir dichUnd loben deinen Namen in der Ewigkeit derEwigkeit.In Huld bewahre du, Herr, uns an diesem Tagohne Schuld.Erbarme dich unser, o Herr, erbarme dich unser.Deine Barmherzigkeit, Gott, walte über uns,Wie wir auf dich hoffen.

IN TEAuf dich hoffe ich, Herr, dass ich nicht untergehein Ewigkeit.

43

INTROITuSRequiem Aeternam Coro e SopranoRequiem aeternam dona eis. Domine,et lux perpetua luceat eis.Te decet hymnus, Deus, in Sion,et tibi reddetur votum in JerusalemExaudi orationem meam;ad te omnis caro veniet.Requiem aeternam dona eis, Domine,et lux perpetua luceat eis..

KYRIE Coro Kyrie eleison; Christe eleison;Kyrie eleison; Christe eleison;Kyrie eleison; Christe eleison.

SEquENTIA

Dies IraeCoro Dies irae, dies illa,Solvet saeclum in favilla,Teste David cum Sibylla.Quantus tremor est futurus,

Quando Judex est venturus,Cuncta stricte discussurus!

Tuba MirumSoliTuba mirum spargens sonum,Per sepulchra regionum,Coget omnes ante thronum.Mors stupebit et naturaCum resurget creatura,ludicanti responsura.Liber scriptus profereturin quo totum continetur,Unde mundus judicetur.Judex ergo cum sedebitQuidquid latet apparebit.Nil inultum remanebit.Quid sum miser tunc dicturus?Quem patronum rogaturus,Cum vix justus sit securus?

Rex TremendaeCoroRex tremendae majestatis.Qui salvandos salvas gratis.Salva me, fons pietatis.

SUNDAY, 5TH NOVEMBER 2017, 9.00 PM

PAPAL BASILICA ST. PAUL OUTSIDE THE WALLS

IlluMINART phIlhARMONIC ORChESTRA AND IlluMINART ChORuSTOMOMI NIShIMOTO, CONDuCTOR

Kana Kumamoto, sopranoTakako Nogami, mezzo-sopranoYusuke Kobori, tenorTsutomu Tanaka, baritone

Wolfgang A. Mozart (1756-1791)Requiem in D minor, K 626


44


RecordareSoliRecordare, Jesu pie,quod sum causa tuae viae.Ne me perdas illa die.Quaerens me sedisti lassus,Redemisti crucem passus:Tantus labor non sit cassus.Juste judex ultionis,Donum fac remissionisAnte diem rationis.Ingemisco tamquam reus.Culpa rubet vultus meus:Supplicanti parce, Deus.Qui Mariam absolvisti,Et latronem exaudisti,Mihi quoque spem dedisti.

Preces meae non sunt dignae,Sed tu, bonus, fac benigneNe perenni cremer igne.

Inter oves locum praesta,Et ab haedis me sequestra,Statuens in parte dextra.

ConfutatisCoroConfutatis maledictis,Flammis acribus addictis,Voca me cum benedictis.Oro supplex et acclinis,Cor contritum quasi cinis,Gere curam mei finis.

LacrimosaCoroLacrimosa dies illa,Qua resurget ex favilla,Judicandus homo reus.Huic ergo parce, Deus:Pie Jesu, Domine,Dona eis requiem. Amen.

On November 17th, 2016 Papal Basilica St Paul

outside the Walls

45

OffERTORIuMDomine Jesu ChristeSoli, CoroDomine, Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas Tartarus, ne cadant in obscurum: sed signifer sanctus Michael repraesentet eas in lucem sanctam, quam olim Abrahae promisisti et semini eius.

Hostias CoroHostias et preces tibi. Domine, laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus; fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini eius.

SanctusCoroSanctus, sanctus, sanctus, Dominus Deus Sabaoth.Pieni sunt caeli et terra gloria tua.Hosanna in excelsis.

Benedictus SoliBenedictus qui venit in nomine Domini.

Hosanna CoroHosanna in excelsis.

Agnus Dei CoroAgnus Dei qui tollis peccata mundi,dona eis requiem.Agnus Dei qui tollis peccata mundi,dona eis requiem.Agnus Dei qui tollis peccata mundi,dona eis requiem sempiternam.

COMMuNIOLux AeternaSoprano e CoroLux aeterna luceat eis, Domine, cum sanctis tuis in aeternum quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis, cum sanctis tuis in aeternum, quia pius es.

On November 17th, 2016 Papal Basilica St Pauloutside the Walls

46

MONDAY, 6TH NOVEMBER 2017, 9.00 PM

Stabat Mater dolorosaIuxta crucem lacrimosaDum pendebat Filius.

Cuius animam gementemContristatam et dolentemPertransivit gladius.

O quam tristis et afflictaFuit illa benedictaMater unigeniti!

Quae moerebat et dolebat,Pia Mater, dum videbatNati poenas incliti.

Quis est homo qui non fleret,Matrem Christi si videretIn tanto supplicio?

Quis non posset contristari,Christi Matrem contemplariDolentem cum Filio?

Pro peccatis suae gentisVidit Iesum in tormentis,Et flagellis subditum.

Vidit suum dulcem natumMoriendo desolatumDum emisit spiritum.

Eja Mater, fons amoris Me sentire vim dolorisFac, ut tecum lugeam.

Fac, ut ardeat cor meum In amando Christum Deum Ut sibi complaceam.

Sancta Mater, istud agas,Crucifixi fige plagasCordi meo valide.

Tui nati vulnerati,Tam dignati pro me pati,Poenas mecum divide.

MONDAY, 6TH NOVEMBER 2017, 9.00 PM

PAPAL BASILICA ST. PAUL OUTSIDE THE WALLS

WIENER VIRTuOSEN – MEMbERS Of ThE WIENER phIlhARMONIKER

Daniel Ottensamer, clarinetChen Reiss, sopranoBernarda Fink, mezzo-soprano

Wolfgang Amadeus Mozart (1756 – 1791)Concerto for Clarinet and Orchestra in A major, KV 622

giovanni battista pergolesi (1710 –1736)Stabat Mater

47

Fac me tecum, pie, flere,Crucifixo condolere,Donec ego vixero.

Juxta crucem tecum stare, Et me tibi sociare In planctu desidero.

Virgo virginum praeclara,Mihi jam non sis amaraFac me tecum plangere.

Fac, ut portem Christi mortemPassionis fac consortem,Et plagas recolere.

Fac me plagis vulnerari, Fac me cruce inebriari, Et cruore Filii.

Flammis ne urar succensus Per te, Virgo, sim defensus In die judicii.

Fac me cruce custodiriMorte Christi praemuniriConfoveri gratia

Quando corpus morietur,Fac, ut animae doneturParadisi gloria. Amen.

On November 19th, 2016 Papal Basilica St Pauloutside the Walls

48

TUESDAY, 7TH NOVEMBER 2017, 9.00 PM

ERSTER TEIl Nr. 1 Einleitung

DIE VORSTElluNg DES ChAOSRezitativ mit Chor

RAphAElIm Anfange schuf Gott Himmel und Erde,und die Erde war ohne Form und leer,und Finsternis war auf der Fläche der Tiefe.

ChORUnd der Geist GottesSchwebte auf der Fläche der Wasser,Und Gott sprach: Es werde Licht!Und es ward Licht.

uRIElUnd Gott sah das Licht, daß es gut war,und Gott schied das Licht von der Finsternis.

Nr. 2 Arie mit Chor

uRIElNun schwanden vor dem heiligen StrahleDes schwarzen Dunkels gräuliche Schatten:Der erste Tag entstand.Verwirrung weicht, und Ordnung keimt empor.

Erstarrt entflieht der Höllengeister ScharIn des Abgrunds Tiefen hinabZur ewigen Nacht.

ChORVerzweiflung, Wut und SchreckenBegleiten ihren Sturz,Und eine neue WeltEntspringt auf Gottes Wort.

Nr. 3 Rezitativ

RAphAElUnd Gott machte das Firmament und teilte dieWasser,die unter dem Firmament waren, von denGewässern,die ober dem Firmament waren, und es ward so.Da tobten brausend heftige Stürme; wie Spreu vordem Winde, so flogen die Wolken, die Luftdurchschnitten feurige Blitze und schrecklichrolltendie Donner umher. Der Flut entstieg auf seinGeheißder allerquickende Regen, derallerverheerendeSchauer, der leichte, flockige Schnee.


PAPAL BASILICA ST PAUL OUTSIDE THE WALLS

lIMbuRgER DOMSINgKNAbENORChESTRA ROMA SINfONIETTAANDREAS bOllENDORf, CONDuCTOR

Mechthild Bach, sopranoCornel Frey, tenorThomas Laske, baritone

franz Joseph haydn (1732 – 1809)Die Schöpfung

49

Nr. 4 Chor mit Sopransolo

gAbRIElMit Staunen sieht das WunderwerkDer Himmelsbürger frohe Schar,Und laut ertönt aus ihren KehlenDes Schöpfers Lob,Das Lob des zweiten Tags.

ChORUnd laut ertönt aus ihren KehlenDes Schöpfers Lob,Das Lob des zweiten Tags.

Nr. 5 Rezitativ

RAphAElUnd Gott sprach: Es sammle sich das Wasserunter dem Himmel zusammen an einem Platzund es erscheine das trockne Land; und esward so.Und Gott nannte das trockne Land "Erde"und die Sammlung der Wasser nannte er"Meer";Und Gott sah, daß es gut war.

Nr. 6 Arie

RAphAElRollend in schäumenden WellenBewegt sich ungestüm das Meer.Hügel und Felsen erscheinen,Der Berge Gipfel steigt empor.Die Fläche, weit gedehnt,Durchläuft der breite StromIn mancher Krümme.Leise rauschend gleitet fortIm stillen Tal der helle Bach.

Nr. 7 Rezitativ

gAbRIElUnd Gott sprach: Es bringe die Erde Grashervor, Kräuter. die Samen geben,und Obstbäume, die Früchte bringen ihrer Artgemäß, die ihren Samen in sich selbst habenauf der Erde; und es ward so.

Nr. 8 Arie

gAbRIElNun beut die Flur das frische GrünDem Auge zur Ergötzung dar.Den anmutsvollen BlickErhöht der Blumen sanfter Schmuck.Hier duften Kräuter Balsam aus,Hier sproßt den Wunden Heil.Die Zweige krümmt der goldnen Früchte Last;Hier wölbt der Hain zum kühlen Schirme sich,Den steilen Berg bekrönt ein dichter Wald.

Nr. 9 Rezitativ

uRIElUnd die himmlischen Heerscharenverkündigtenden dritten Tag, Gott preisend und sprechend:

Nr. 10 Chor

ChORStimmt an die Saiten, ergreift die Leier,Laßt euren Lobgesang erschallen!Frohlocket dem Herrn, dem mächtigen Gott,Denn er hat Himmel und ErdeBekleidet in herrlicher Pracht!

Nr. 11 Rezitativ

uRIElUnd Gott sprach: Es sei'n Lichter an der Festedes Himmels, um den Tag von der Nacht zuscheiden und Licht auf der Erde zu geben,und es seien diese für Zeichen und für Zeitenund für Tage und für Jahre. Er machte dieSterne gleichfalls.

Nr. 12 Rezitativ

uRIElIn vollem glanze steiget jetztDie Sonne strahlend auf,Ein wonnevoller Bräutigam,Ein Riese stolz und froh,Zu rennen seine Bahn.

50


Mit leisem Gang und sanftem SchimmerSchleicht der Mond die stille Nacht hindurch.Den ausgedehnten HimmelsraumZiert ohne Zahl der hellen Sterne Gold.Und die Söhne GottesVerkündigten den vierten TagMit himmlischem Gesang,Seine Macht ausrufend also:

Nr. 13 Chor mit Soli

ChORDie Himmel erzählen die Ehre Gottes,Und seiner Hände WerkZeigt an das Firmament.

gAbRIEl, uRIEl, RAphAElDem kommenden Tage sagt es der Tag,Die Nacht, die verschwand, der folgendenNacht:


gAbRIEl, uRIEl, RAphAElIn alle Welt ergeht das Wort,Jedem Ohre klingend,Keiner Zunge fremd:


zWEITER TEIlNr. 14 Rezitativ

gAbRIElUnd Gott sprach: Es bringe das Wasser in derFülle hervor webende Geschöpfe, die Lebenhaben, und Vögel, die über der Erde fliegenmögen in dem offenen Firmamentedes Himmels.

Nr. 15 Arie

gAbRIElAuf starkem FitticheSchwinget sich der Adler stolzUnd teilet die LuftIm schnellesten FlugeZur Sonne hin.Den Morgen grüßtDer Lerche frohes Lied,Und Liebe girrtDas zarte Taubenpaar.Aus jedem Busch und Hain erschalltDer Nachtigallen süße Kehle.Noch drückte Gram nicht ihre Brust,Noch war zur Klage nicht gestimmtIhr reizender Gesang.

Nr. 16 Rezitativ

RAphAElUnd Gott schuf große Walfische und einjedes lebende Geschöpf, das sich beweget,und Gott segnete sie, sprechend:Seid fruchtbar alle, mehret euch,Bewohner der Luft, vermehret euchUnd singt auf jedem Aste!Mehret euch, ihr Flutenbewohner,Und füllet jede Tiefe!Seid fruchtbar, wachset, mehret euch,Erfreuet euch in eurem Gott!

Nr. 17 Rezitativ

RAphAElUnd die Engel rührten ihr' unsterblichen Harfenund sangen die Wunder des fünften Tags.

Nr. 18 Terzett

gAbRIElIn holder Anmut stehn,Mit jungem Grün geschmückt,Die wogigten Hügel da.Aus ihren Adern quilltIn fließendem KristallDer kühlende Bach hervor.

51

uRIElIn frohen Kreisen schwebt,Sich wiegend in der Luft,Der munteren Vögel Schar.Den bunten FederglanzErhöht im WechselflugDas goldene Sonnenlicht.

RAphAElDas helle Naß durchblitztDer Fisch und windet sichIm steten Gewühl umher.Vom tiefsten MeeresgrundWälzet sich LeviathanAuf schäumender Well' empor.

gAbRIEl, uRIEl, RAphAElWie viel sind deiner Werk', o Gott!Wer fasset ihre Zahl?Wer, o Gott! Wer fasset ihre Zahl?

Nr. 19 Chor mit Soli

ChORDer Herr ist groß in seiner Macht,Und ewig bleibt sein Ruhm.

Nr. 20 Rezitativ

RAphAElUnd Gott sprach: Es bringe die Erde hervorlebende Geschöpfe nach ihrer Art: Vieh undkrichendes Gewürm und Tiere der Erde nachihren Gattungen.

Nr. 21 Rezitativ

RAphAElGleich öffnet sich der Erde SchoßUnd sie gebiert auf Gottes WortGeschöpfe jeder Art,In vollem Wuchs und ohne Zahl.Vor Freude brüllend steht der Löwe da.Hier schießt der gelenkige Tiger empor.Das zackige Haupt erhebt der schnelle Hirsch.Mit fliegender Mähne springt und wieh'rtVoll Mut und Kraft das edle Roß.

Auf grünen Matten weidet schonDas Rind, in Herden abgeteilt.Die Triften deckt, als wie gesät,Das wollenreiche, sanfte Schaf.Wie Staub verbreitet sichIn Schwarm und WirbelDas Heer der Insekten.In langen Zügen kriechtAm Boden das Gewürm.

Nr. 22 Arie

RAphAElNun scheint in vollem Glanze der Himmel,Nun prangt in ihrem Schmucke die Erde.Die Luft erfüllt das leichte Gefieder,Das Wasser schwellt der Fische Gewimmel,Den Boden drückt der Tiere Last.Doch war noch alles nicht vollbracht.Dem ganzen fehlte das Geschöpf,Das Gottes Werke dankbar sehn,Des Herren Güte preisen soll.

Nr. 23 Rezitativ

uRIElUnd Gott schuf den Menschen nach seinemEbenbilde, nach dem Ebenbilde Gottes schuf erihn. Mann und Weib erschuf er sie. Den Atem desLebens hauchte er in sein Angesicht, und derMensch wurde zur lebendigen Seele.

Nr. 24 Arie

uRIElMit Würd' und Hoheit angetan,Mit Schönheit, Stärk' und Mut begabt,Gen Himmel aufgerichtet steht der Mensch,Ein Mann und König der Natur.Die breit gewölbt' erhabne StirnVerkünd't der Weisheit tiefen Sinn,Und aus dem hellen Blicke strahltDer Geist, des Schöpfers Hauch und Ebenbild.An seinen Busen schmieget sichFür ihn, aus ihm geformt,Die Gattin, hold und anmutsvoll.In froher Unschuld lächelt sie,

Des Frühlings reizend Bild,Ihm Liebe, Glück und Wonne zu.

Nr. 25 Rezitativ

RAphAElUnd Gott sah jedes Ding, was er gemacht hatte;und es war sehr gut. Und der himmlische Chorfeierte das Ende des sechsten Tages mit lautemGesang:

Nr. 26 Chor

ChORVollendet ist das große Werk,Der Schöpfer sieht's und freuet sich.Auch unsre Freund' erschalle laut,Des Herren Lob sei unser Lied!

Nr. 27 Terzett

gAbRIEl, uRIElZu dir, o Herr, blickt alles auf.Um Speise fleht dich alles an.Du öffnest deine Hand,Gesättigt werden sie.

RAphAElDu wendest ab dein Angesicht,Da bebet alles und erstarrt.Du nimmst den Odem weg,In Staub zerfallen sie.

gAbRIEl, uRIEl, RAphAElDen Odem hauchst du wieder aus,Und neues Leben sproßt hervor.Verjüngt ist die Gestalt der Erd'An Reiz und Kraft.

Nr. 28 Chor

ChORVollendet ist das große Werk,Des Herren Lob sei unser Lied!Alles lobe seinen Namen,Denn er allein ist hoch erhaben!Alleluja! Alleluja!

DRITTER TEIl

Nr. 29 Orchestereinleitung und Rezitativ

uRIElAus Rosenwolken bricht,Geweckt durch süßen Klang,Der Morgen jung und schön.Vom himmlischen GewölbeStrömt reine HarmonieZur Erde hinab.Seht das beglückte Paar,Wie Hand in Hand es geht!Aus ihren Blicken strahltDes heißen Danks Gefühl.Bald singt in lautem TonIhr Mund des Schöpfers Lob;Laßt unsre Stimme dannSich mengen in ihr Lied.

Nr. 30 Duett mit Chor

EVA uND ADAMVon deiner Güt', o Herr und Gott,Ist Erd' und Himmel voll.Die Welt, so groß, so wunderbar,Ist deiner Hände Werk.

ChORGesegnet sei des Herren Macht,Sein Lob erschall' in Ewigkeit.

ADAMDer Sterne hellster, o wie schönVerkündest du den Tag!Wie schmückst du ihn, o Sonne du,Des Weltalls Seel' und Aug'!

ChORMacht kund auf eurer weiten BahnDes Herren Macht und seinen Ruhm!

EVAUnd du, der Nächte Zierd' und Trost,Und all das strahlend' Heer,Verbreitet überall sein LobIn euerm Chorgesang.


52

ADAMIhr Elemente, deren KraftStets neue Formen zeugt,Ihr Dünst' und Nebel,Die der Wind versammelt und vertreibt:

EVA, ADAM uND ChORLobsinget alle Gott, dem Herrn,Groß wie sein Nam' ist seine Macht.

EVASanft rauschend lobt, o Quellen, ihn!Den Wipfel neigt, ihr Bäum'!Ihr Pflanzen duftet, Blumen hauchtIhm euern Wohlgeruch!

ADAMIhr, deren Pfad die Höh'n erklimmt,Und ihr, die niedrig kriecht,Ihr, deren Flug die Luft durchschneid't,Und ihr im tiefen Naß:

EVA, ADAM uND ChORIhr Tiere, preiset alle Gott!Ihn lobe, was nur Odem hat!

EVA uND ADAMIhr dunklen Hain', ihr Berg' und Tal',Ihr Zeugen unsres Danks,Ertönen sollt ihr früh und spätVon unserm Lobgesang.

ChORHeil dir, o Gott, o Schöpfer, Heil!Aus deinem Wort entstand die Welt,Dich beten Erd' und Himmel an,Wir preisen dich in Ewigkeit!

Nr. 31 Rezitativ

ADAMNun ist die erste Pflicht erfüllt,Dem Schöpfer haben wir gedankt.Nun folge mir, Gefährtin meines Lebens!Ich leite dich, und jeder SchrittWeckt neue Freud' in unsrer Brust,Zeigt Wunder überall.

Erkennen sollst du dann,Welch unaussprechlich GlückDer Herr uns zugedacht.Ihn preisen immerdar,Ihm weihen Herz und Sinn.Komm, folge mir, ich leite dich.

EVAO du., für den ich ward,Mein Schirm, mein Schild, mein All!Dein Will' ist mir Gesetz.So hat's der Herr bestimmt,Und dir gehorchen bringtMir Freude, Glück und Ruhm.

Nr. 32Duett

ADAMHolde Gattin, dir zur SeiteFließen sanft die Stunden hin.Jeder Augenblick ist Wonne,Keine Sorge trübet sie.

EVATeurer Gatte, dir zur Seite,Schwimmt in Freuden mir das Herz.Dir gewidmet ist mein Leben,Deine Liebe sei mein Lohn.

ADAMDer tauende Morgen,O wie ermuntert er!

EVADie Kühle des Abends,O wie erquicket sie!

ADAMWie labend istDer runden Früchte Saft!

EVAWie reizend istDer Blumen süßer Duft!

EVA uND ADAMDoch ohne dich, was wäre mir –

53

54

ADAMDer Morgentau,

EVADer Abendhauch,

ADAMDer Früchte Saft,

EVADer Blumen Duft.

EVA uND ADAMMit dir erhöht sich jede Freude,Mit dir genieß ich doppelt sie,Mit dir ist Seligkeit das Leben,Dir sei es ganz geweiht!

Nr. 33 Rezitativ

uRIElO glücklich Paar, und glücklich immerfort,Wenn falscher Wahn euch nicht verführt,Noch mehr zu wünschen als ihr habt,Und mehr zu wissen als ihr sollt!

Nr. 34 Schlußchor mit Soli

ChORSingt dem Herren alle Stimmen!Dankt ihm alle seine Werke!Laßt zu Ehren seines NamensLob im Wettgesang erschallen!Des Herren Ruhm, er bleibt in Ewigkeit!Amen!


Papal Basilica St Pauloutside the Walls

55

Motette für fünfstimmigen gemischten Chor undInstrumenteAlso hat Gott die Welt geliebt, daß er seinen

eingebornen Sohn gab, auf dass alle, die an ihngläuben, nicht verloren werden, sondern dasewige Leben haben.

We want to recognize the anniversary of the beginning of the

Reformation which started with Martin Luther's public

exposition of his 95 theses on indulgences, in Wittenberg on

October 31, 1517. The congress held here in Rome is a

response to this anniversary. Martin Luther entered the Order

of Saint Augustine in 1505 and was a member of the

Congregation of the Observance of Saxony. He originally

belonged to the community of the convent of Erfurt and then

to the community of Wittenberg. He held various positions of

government: sub-prior and regent of studies (1512-1515)

and vicar provincial of Thuringia and Meissen (1515-1518).

He exercised these services with responsibility and wisdom.

He was a renowned teacher and he was accredited as a

preacher and was available to render his services when

required. This happened with respect to internal issues (a

conflict between observants and conventuals) that brought

about his trip to Rome in 1511-1512. Santa Maria del

Popolo is the Church in which 1256 the Order of the Hermits

of Saint Augustine was founded in its present structure. As

member of a Congregation of Observance Martin Luther was

situated during his stay in Rome in that convent of Santa

Maria del Popolo being itself a Convent of Observance. To

have in this church on the occasion of the 500th anniversary

the possibility to be in contact with the music and historical

musical instruments from the time of Martin Luther, and at

the same time to be in contact with the roots of the Order, is

fascinating and exciting. May it help us to better understand

the complex ways of history and of human challenges.

Fr. Alejandro Moral Antón OSAPrior General

FRIDAY, 10TH NOVEMBER 2017, 7.30 PM

BASILICA OF SANTA MARIA DEL POPOLO

KAMMERChOR DER fRAuENKIRChE DRESDENENSEMblE INSTRuMENTA MuSICAMATThIAS gRüNERT, CONDuCTOR

lutheran ConcertKlang der Reformation „Eine feste burg ist unser gott“Works by heinrich Schütz, Samuel Scheidt, Michael praetorius


heinrich Schütz (1585 – 1672)Also hat gott die Welt geliebt SWV 380

Motette für fünfstimmigen Chor und InstrumenteHerr, auf dich traue ich, lass mich nimmermehrzu Schanden werden. Errette mich nach deinerBarmherzigkeit und hilf mir aus; neige deine

Ohren zu mir hilf mir! Sei mir ein starker Hort,dahin ich immer fliehen möge, der du hastzugesaget mir zu helfen.

heinrich Schütz (1585 – 1672)herr auf dich traue ich SWV 377

56


aus der Sammlung Terpsichore 1612für vier- bis fünfstimmiges InstrumentalensembleBallet des feusBransle de Montirande

PhilovBransle de la TorcheVolteCourante

Michael praetorius (1571 – 1621)Sechs Tänze

Motette für achtstimmigen Doppelchor undInstrumente Christ lag in Todesbanden,für unsre Sünd gegeben,der ist wieder erstanden

und hat uns bracht das Leben.Des wir sollen fröhlich sein,Gott loben und dankbar seinund singen Alleluja.Alleluja.

Samuel Scheidt (1587 – 1654) Christ lag in Todesbanden

aus der Sammlung Musae Sioniae VMotette für fünfstimmigen gemischten Chor undInstrumente Komm, Heiliger Geist, Herre Gott,erfüll mit deiner Gnaden Gutdeiner Gläubigen Herz, Mut und Sinn,

dein brünstig Lieb entzünd in ihn’.O Herr, durch deines Lichtes Glastzu dem Glauben versammelt hastdas Volk aus aller Welt Zungen,das sei dir, Herr, zu Lob gesungen.Alleluja, alleluja.

Michael praetorius (1571 – 1621)Komm, heiliger geist, herre gott

Motette für vierstimmigen gemischten Chor undInstrumente Ein feste Burg ist unser Gott,ein gute Wehr und Waffen.Er hilft uns frei aus aller Not,die uns jetzt hat betroffen.

Der alt böse Feindmit Ernst er’s jetzt meint,groß Macht und viel Listsein grausam Rüstung ist,auf Erd ist nicht seinsgleichen.

Melchior franck (1579 – 1639)Ein feste burg ist unser gott

Motette für fünfstimmigen gemischten Chor undInstrumente Die mit Tränen säen, werden mit Freuden ernten.

Sie gehen hin und weinen und tragen edlenSamen und kommen mit Freuden und bringenihre Garben.

heinrich Schütz (1585 – 1672)Die mit Tränen säen SWV 378

57

Motette für fünfstimmigen gemischten Chor undInstrumenteVater unser im Himmelreich,der du uns alle heißest gleichBrüder sein und dich rufen anund willst das Beten von uns han:Gib, daß nicht bet allein der Mund,hilf, daß es geh von Herzensgrund.

Geheiligt werd der Name dein,dein Wort bei uns hilf halten rein,

daß wir auch leben heiliglichnach deinem Namen würdiglich.Behüt uns, Herr, vor falscher Lehr,das arm verführet Volk bekehr.

Amen, das ist: Es werde wahr!Stärk unsern Glauben immerdar,auf das wir ja nicht zweifeln dran,was wir hiemit gebeten hanauf dein Wort, in dem Namen dein.So sprechen wir das Amen fein.

Johannes Eccard (1553 – 1611)Vater unser im himmelreich

aus der Sammlung Terpsichore 1612für vierstimmiges Instrumentalensemble

Michael praetorius (1571 – 1621)ballet de filou

siebenstimmige Motette zu Psalm 147aus der Marienvesper

Lauda Jerusalem Dominum:lauda Deum tuum Sion.Quoniam confortavit seras portarum tuarum:benedixit filiis tuis in te.Qui posuit fines tuos pacem:et adipe frumenti satiat te.Qui emittit eloquium suum terrae:velociter currit sermo eius.Qui dat nivem sicut lanam:nebulam sicut cinerem spargit.Mittit cry stallum suam sicut buccellas:ante faciem frigoris eius quis sustinebit?Emittet verbum suum, et liquefaciet ea:flabit spiritus eius, et fluent aquae.Qui annuntiat verbum suum Jacob:justitias et iudicia sua Israel.Non fecit taliter omni nationi:et iudicia sua non manifestavit eis.

Gloria Patri, et Filio,et Spiritui Sancto.Sicut erat in principio, et nunc, et semper,et in saecula saeculorum.Amen.

Deutsche Übersetzung: Jerusalem, lobe den Herrn,lobe, o Sion, deinen Gott.Er hat die Riegel deiner Tore gefestetund deine Söhne gesegnet, die in dir sind.Er hat deinen Grenzen Frieden gewährt,mit der Kraft des Weizens sättigt er dich.Er sendet Sein Wort zur Erde nieder,eilig läuft sein Gebot.Schnee wie Wolle schüttet er aus,streut wie Asche den Reif umher.Er wirft seinen Hagel wie Brocken herab,die Wasser erstarren von Seinem Frost.Er sendet Sein Wort und schmilzt sie auf;läßt seinen Tauwind wehn, und die Wasser fließen.

Claudio Monteverdi (1567 – 1643)lauda Jerusalem

58

Sein Wort hat Er Jacob kund gemacht,Israel Seine Satzung und Sein Gebot.Keinem der Völker hat er also getan,ihnen Seine Gebote nicht offenbart.Ehre sei dem Vater, und dem Sohne,

und dem Heiligen Geiste.Wie es war im Anfang, jetzt und immerdar,und von Ewigkeit zu EwigkeitAmen.


aus der Sammlung Terpsichore 1612 für fünfstimmiges Instrumentalensemble

Michael praetorius (1571 – 1621)bransle des Villages

Motette für sechsstimmigen gemischten ChorSWV 386Die Himmel erzählen die Ehre Gottes, und dieFeste verkündigt seiner Hände Werk. Ein Tagsagts dem andern, und eine Nacht tuts kund derandern. Es ist keine Sprache noch Rede, da mannicht ihre Stimme höre. Ihre Schnur gehet aus inalle Lande und ihre Rede an der Welt Ende. Er hatder Sonnen eine Hütten in derselben gemacht,

selbige gehet heraus wie ein Bräutigam aus seinerKammer und freuet sich wie ein Held zu laufenden Weg. Sie gehet auf an einem Ende desHimmels und läuft um bis wieder an dasselbigeEnde, und bleibt nichts für ihrer Hitz verborgen.Ehre sei dem Vater und dem Sohn und auch demHeiligen Geiste, wie es war im Anfang, jetzt undimmerdar und von Ewigkeit zu Ewigkeit. Amen.

heinrich Schütz (1585 – 1672)Die himmel erzählen die Ehre gottes

Motette für sechsstimmigen gemischten ChorSWV 388Das ist je gewißlich wahr und ein teuer wertesWort, daß Christus Jesus kommen ist in die Welt,die Sünder selig zu machen, unter welchen ichder fürnehmste bin.Aber darum ist mir Barmherzigkeit widerfahren,

auf das an mir fürnehmlich Jesus Christuserzeigete alle Geduld, zum Exempel denen, die anihn glauben sollen zum ewigen Leben.Gott, dem ewigen Könige, dem Unvergänglichenund Unsichtbaren und allein Weisen, sei Ehreund Preis in Ewigkeit, Amen.

heinrich Schütz (1585 – 1672)Das ist je gewisslich wahr

Motette für fünfstimmigen gemischten Chor SWV 372Verleih uns Frieden genädiglich, Herr Gott, zu

unsern Zeiten, es ist doch ja kein ander nicht, derfür uns könnte streiten, denn du, unser Gottalleine.

heinrich Schütz (1585 – 1672)Verleih uns frieden genädiglich

59

THE ARTISTS

CHOIRS

CHOIR OF KING’S COLLEGE,CAMBRIDGEThe Choir of King’s College, Cambridge is one of theworld’s best known choral groups. Every ChristmasEve millions of people worldwide tune into A Festi-val of Nine Lessons and Carols, which is the longestestablished annual broadcast in history, reaching 90years in 2018. Additionally, Carols from King’s, a tel-evised Christmas service also broadcast on Christ-mas Eve, celebrated its 60th anniversary in 2014. TheChoir’s international fame and reputation, enhancedby an extensive recording catalogue, has led to in-vitations to perform around the world. Last season’s much-anticipated tour of North Amer-ica featured performances and workshops in someof the region’s finest halls including The Chan Cen-tre (Vancouver), Benaroya Hall (Seattle) and The Mor-mon Tabernacle Church (Salt Lake City). In additionto performances in London, Manchester and Dublin,the Choir’s 16/17 season ended with a summer tour,visiting Verbier Festival (Switzerland) and the ThreeChoirs Festival in Worcester (UK) amongst others.Highlights this season include performances at theVatican in Rome, Athens Concert Hall, and Bernsteinanniversaryconcerts with Britten Sinfonia in the UK.The College launched its own record label in 2012with Nine Lessons & Carols. In 2014, the Choir’srecording of Fauré’s Requiem remained on the UK

classical chart for 28 weeks making it one of 2014’sbest-selling core classical albums, and the 2015 re-lease of 1615 Gabrieli in Venice was the first clas-sical album to use Dolby’s new Atmos technology, re-producing the acoustic of the Chapel. Recent releasesinclude a critically acclaimed Bach St John Passionwith the Academy of Ancient Music and Duruflé Re-quiem with the Orchestra of the Age of Enlightenment. The Choir also has a back-catalogue of more than100 albums released with EMI and Decca. The Choirexists thanks to King Henry VI who, in founding theCollege in 1441, envisaged the daily singing of serv-ices in its magnificent Chapel, which remains the pri-mary purpose of the Choir’s sixteen choristers,fourteen choral scholars and two organ scholars. Anumber of famous people have attended events inthe Chapel including British monarchs, from Eliza-beth I to the present Queen; political leaders suchas Winston Churchill and Mikhail Gorbachev; andCharles Darwin, who loved the Choir so much thathe engaged the Choristers to come and sing in hisrooms when he was at Cambridge. The Choir owesmuch to the five musicians who have maintained itsconsistently high standards over the course of the last140 years: A.H. Mann (1876), Boris Ord (1929),David Willcocks (1957), Philip Ledger (1974) and,since 1982, Stephen Cleobury. Since 1870, the cho-risters have been educated across the river from theCollege at King’s College School and receive schol-arships from King’s College to help pay for their ed-

Choir of King'sCollege,Cambridge

Photo © Edit Warmer

ucation. By the time they leave the Choir they are ableto take with them valuable musical skills, withmany aspiring to return to the Choir as choral schol-ars. The choristers are selected at audition, adver-tised nationally, when they are in Year 2, 3 or 4 (ages6 to 9) at their school. Boys usually enter the Choirin Year 4 (ages 8 to 9).Choristers: Thomas Alban, Aiken Anderson, JackBowley, Samuel Cates, Philip Curtis, Lev Godar,Joseph Hall, Elliot Hasler, George Hill, Alfred Hop-kins, Leo McNiff, Charlie Nicholson, Joshua O’Neill,George Sheldon, Julius Sirringhaus, Samuel TruemanChoral Scholars:Alto: Rupert Scarratt, Isaac Jarratt-Barnham, GeorgeGibbon, Daniel HendersonTenor: Harry Bradford, Jack Goulder, James Mick-lethwaite, Christopher NehaulBass: James Jenkins, Stephen Whitfort, CharlieBaigent, Zac Moxon, Trojan Nakade, Barney Wol-stenholme

CORO DEL VICARIATO VATICANOBASILICA DI SAN PIETROThe Choir of the Vicariate of the Vatican City – St. Pe-ter’s Basilica participates daily in the liturgy in thebasilica. It was formed in 1993 on the initiative of Car-dinal Virgilio Noè, Vicar General emeritus of His Ho-liness for the Vatican City State and Archpriest emer-itus of the Patriarchal Vatican Basilica, who wishedto have a permanent choir for the liturgy of St Peter’s.

The choir consists mainly of boy singers formerly withthe Sistine Chapel Choir and female voices mostlyfrom the choir of S. Maria in Via and other musicalinstitutions in Rome and Lazio.Soprano: Alessandra Biondi, Luisa Boccia, FabriziaCicero, Melania Dellisanti, Anthea De Luca, LetiziaDe Luca, Manuela Garofalo, Asami Hanaoka, Mari-na Madeddu, Simona Marè, Giovanna Massarelli,Olimpia Mazara Grimaldi, Giorgia Montini, IsannaMorelli, Beatrice Petricola, Daniela Petrini, CatiaVitagliano, Daniela VonaAlto: Marzia Azzari, Sara Caporelli, Elisa Capuano,Francesca Cassanelli, Francesca Castrianni, TizianaDe Santis, Asia Diaz, Laura Fioriti, Stefania Mastro-giovanni, Cecilia Montalbotti, Irene Pasqua, ClaudiaPetronio, Donatella Ramini, Anna Rando, HendrinaScheo, Paola Tardiola, Claudia UmbroTenor: Alessandro Anelli, Gerardo Bovenzi, Alessan-dro Fina, Alessandro Loreto, Claudio Mariani, Mar-co Nappini, Daniele Passeri, Raimundo Perira, Lui-gi Pontillo, Fabio Serani, Paolo TraicaBass: Cristian Aldaredi, Roberto Azzari, AlessioCacciamani, Paolo Ciavarelli, Giuseppe Dalli Cardil-lo, Daniele Denora, Giuseppe Di Maio, MassimilianoFiorini, Francesco Gaetani, Marco Lauciani, SilvanoMarconato, Fernando Mascanzoni, AlessandroMuzio, Angelo Nardinocchi, Matteo Nardinocchi, Ste-fano Rosati, Danilo Serraiocco

ILLUMINART CHORUSUnder the artistic direction of Tomomi Nishimoto, Il-luminart Chorus is engaged in stage performances,restoration performances of long-lost Minyo tunes (lo-cal folk songs), and stage production workshops asit works toward making contributions to societythrough artistic and cultural activities. It puts on his-torically-based performances such as its 2014restoration of “Orasho,” a Gregorian hymn, in Hira-do, Nagasaki that had been passed down verballyin the area since its introduction approximately 456years ago. In 2015, the Chorus has performed in tra-ditional Japanese temples and theatres, including amusical memorial service commemorating the1200-year anniversary of Mount Koyasan, a stagingof the opera Madame Butterfly at Kyoto Minamiza,Shinbashi Enbujo and Osaka Syochikuza, and a per-formance at the “Sennyu-ji Otobutai.”

60

THE ARTISTS

Coro del VicariatoVaticano - Basilica

di San Pietro

61

Soprano: Yuko Adachi, Kayoko Amino, Yoko Araki,Masae Awata, Hiroko Chiba, Asami Deguchi, HikariFujita, Kazue Fukano, Kazue Fukuda, Naoko Fukushi-ma, Etsuko Gamoh, Fumiko Hamada, Tamiko Hase,Yumiko Hasegawa, Rieko Hattori, Kahoko Hanyu,Kazuko Hirabayashi, Mari Horinaka, ShihomiHosokawa, Chieko Hishinuma, Hiroko Ikegami, Ko-toko Ikegami, Haruna Ikenaka, Chiharu Inagaki,Manami Ishikawa, Noriko Ishiwatari, Reiko Iwao, RenkoKaitsuka, Misako Kamimura, Yayoi Katano, MasueKawabata, Akiko Kawabe, Satomi Kawakami, SumakoKawamura, Kei Kinase, Rumi Kirikawa, Hiromi Kishi,Kuniko Kitamoto, Masako Kiyomiya, Harumi Koido, Yu-miko Komoda, Akemi Kondo, Natsuki Koyama, YumikoKoyamaishi, Keiko Kurobe, Mikiko Maruta, Kazuko Mat-sunaga, Yoshiko Matsuoka, Kyoko Matsushita, Hat-sumi Matsuyama, Fumiko Miyauchi, Kana Miyazaki,Haruka Mizu, Yukiko Mori, Hiromi Murakami, NatsukiNagai, Yurika Nagayama, Tomiko Nakajima, TomoeNakashima, Mayumi Nishigaki, Kazumi Nishimura,Toshie Nonaka, Mika Ojita, Yuko Okita, Akiko Okuma,Saori Okura, Atsuko Omata, Mari Onoue, Yasue Ota,Hiroko Sakabe, Toshiko Sakai, Aki Sakurai, Kazue Saku-rai, Mito Sasaki, Rimiko Sato, Shitomi Sato, MegumiSatoh, Yuriko Sayama, Mariko Shinagawa, KumikoSowa, Kumi Suzuki, Yukari Taguchi, Shigeyo Takahashi,Miyako Takashima, Motoko Takayama, Masako Takei,Yoko Tamae, Ikuko Tanahashi, Hiroko Tanie, RumikoTanioka, Akiyo Uchida, Tomomi Uchida, Mariko Ya-jima, Narumi Yamaguchi, Keiko Yamamoto, Yoko Ya-maoka, Kiyomi Yamano, Keiko Yamashita, Kyoko Yokoi,Kuniko Yoneyama, Kazue Yoshida, Kaori YoshinagaAlto: Yukiko Ambo, Yuka Araki, Sumiyo Aoki, MachikoChikayama, Noriko Fujinoki, Yukie Fujita, Yasuko Fu-rukawa, Tamiko Hase, Tomoko Hirono, Setsuko Hoshi-no, Haruko Hirayama, Chitose Hashiba, HiromiHasegawa, Mutsuko Ichinose, Tomoko Ishimoto, RyokoIshikawa, Chiharu Ito, Kimie Ishii, Yoshiko Ishida,

Kayo Jo, Sei Kaji, Atsuko Kanaya, Yayoi Katayama, Fu-miko Kawamura, Miki Kishi, Naoko Kobayashi, TomokoKobayashi, Yoko Kobayashi, Yoshiko Kodama, HisakoKon, Ikuko Koseki, Miyako Kotsuka, Yukiko Kuroda,Hideko Masunaga, Etsuko Murakami, Keiko Mizuno,Kyoko Matsumoto, Chikako Matsunaga, Kayoko Mori-moto, Setsuko Murakami, Eriko Miyauchi, Midori Mor-ishita, Maki Miura, Miki Minami, Akiyo Nagai, MarikoNagai, Shigeko Nitta, Haruko Ono, Tamae Oku, YukieOnoue, Masayo Ohashi, Mutsumi Oda, Misao Sumitani,Yumiko Shimizu, Takako Sawada, Chieko Sako, MitsuruSakazaki, Yasue Sonoyama, Kaomi Shimizu, Naoko Sh-iomitsu, Noriko Sawada, Hitomi Sekine, Reiko Sato, YukieShindo, Ritsuko Sasaki, Mariko Suzuki, Michiko Sasaji-ma, Rii Takeuchi, Yumiko Toda, Mieko Tsuboi, MahoTamai, Maya Tanaka, Yukiko Tanaka, Reiko Takagi,Mieko Terahara, Chizuko Takaoka, Toshie Tejima,Keiko Tsubata, Michiyo Takeyama, Hiroko Tomoyoshi,Reina Tanaka, Junko Watanabe, Mayumi Yamada, TataraYamaguchi, Aki Yamada, Junko Yasuda, Taeko Yoshi-hara, Karen YoshiharaTenor: Hitoshi Araki, Tsutomu Banno, Manrico Car-ta, Riccardo Cecchi, Anselmo Fabiani, Andrea Fer-mi, Toru Fukui, Takashi Ishino, Andrea Martini, Hi-ronori Miyauchi, Simone Ponziani, Naoki Okamoto,Seijiro Okuma, Marco Nani, Nicola Nicoloso, Mar-co Santarelli, Nozomi Suzuki, Chiyoshi Takahashi,Paolo Traica, Mineo Toyoshima, Akio YoshidaBass: Aldo Calabrò, Katsuya Chiba, Dario Colasan-ti, Andrea D’Amelio, Fabrizio Di Bernardo, Massim-iliano Fiorini, Norio Fujihara, Tetsuji Fuwa, CesidioIacobone, Yasuyuki Igarashi, Takahisa Ishikawa,Masaki Kajiwara, Haruo Kemmotsu, Toru Koito, YoshioKon, Hikari Kozuki, Shoji Miyazawa, Akira Ohta, Nao-fumi Okubo, Carlo Riccioli, Hiroto Sasajima, AndreaScorsolini, Massimo Simeoli, Taiki Tanaka, MarcoTartaglia, Hiroyuki Ueda, Koichi Yamakoshi, TsuyoshiYoneyama, Hajime Yoshioka

Illuminart Chorus Photo © Hideyuki ARAI

KAMMERCHOR DERFRAUENKIRCHE DRESDENSince its establishment in 2005, the Chamber Choirof the Frauenkirche has become increasingly promi-nent in the Dresden music scene. The 30 semi-pro-fessional singers are devoted primarily to the a cap-pella literature and the oratorios of the 17th and 18th

centuries. Sacred choir music constitutes the heartof the repertoire, which includes the important a cap-pella works and most of the choral works of the 18th

century – among them many Bach cantatas, as wellas the Masses of Haydn and Mozart. The main taskof the chamber choir is the arrangement of worshipservices and concerts at the Frauenkirche. In addi-tion, it functions as an ambassador of church mu-sic outside of Dresden: concert tours have taken thechoir not only to the surrounding area, but also toFrance, Japan, Italy, and Great Britain. In the

Frauenkirche and on concert tours, the chamber choirhas performed before prominent guests, such as theAmerican President Barack Obama, ChancellorAngela Merkel, past Federal President Horst Köhler,and, at the beginning of the year in Rome, beforePope Francis. Since its debut CD in 2006, numer-ous other recordings have been released: for example,the much paid attention to live recordings of Christ-mas oratorios and the Mass in B Minor by JohannSebastian Bach from the Frauenkirche by Berlin Clas-sics. Many radio and television programs have fea-tured the work of the choir. This year, as well, you canlook forward to the Chamber Choir’s new CD.Soprano I: Norina Bamberg, Susanne Grünert,Christiane Schubert, Ulrike Thätner, Dorit von der OstenSoprano II: Ulrike Heindel, Monika Schneider Alto I: Annedor Heidkamp, Christiane Sichelschmidt,Cornelia Tschöpe, Claudia PhilippAlto II: Dorothea Bleyl, Elisabeth Gruël, Cornelia Rabe-neck, Susanne ArndtTenor I: Florian Kircheis, Martin Schultze-GrieblerTenor II: Hans-Martin Sachs, Jörg Sichelschmidt Bass I: Frieder Bamberg, Joachim Bleyl, ChristophHeinBass II: Jörn Gruël, Hans-Christian Hoch, Brian vonRueden, Carl-Johann Winkler

LIMBURGER DOMSINGKNABENShortly after their foundation by Bishop Dr. Wil-helm Kempf in 1967, the general public becameaware of the Limburg Cathedral Boys Choir and theirhigh musical standard. Since then, evidence of thishas been apparent in Services in the LimburgCathedral, concerts, both nationally and interna-tionally, performances of large-scale oratorios, as wellas recordings, including television and radio pro-ductions. The reason for this remarkable developmentis the fact that a profound and thorough musical train-ing for the boys, based on the model of otherrenowned boys choirs was of great importance tothose responsible for the foundation of the choir. Therefore, logically, in 1969 the then Episcopal the-ological seminary was converted into a training cen-tre known as the Boarding School of Fine Arts for theLimburg Cathedral Boys Choir. Since then theboys choir sings and rehearses there.

62

THE ARTISTS

Kammerchor derFrauenkirche

Dresden

Photo © Rene Gaens

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Furthermore, the house and its surroundings pro-vide ideal conditions for an upbringing with a Chris-tian leaning suitable for boys. The boys and young menutilize the possibility to structure and organise their dai-ly challenges in a cultivated and bright atmosphere,which still allows them to be children. Not only do theouter grounds, with their recreational and sport pos-sibilities, help the highly committed team of instruc-tors to further creativity and inventiveness in the boys,but all of this serves to complement the boys in theirlife designs by standing side by side with the home. Around 60 boys currently attend the boarding schoolwhich is used as a day school. When needed, they arecollected from school and receive a meal cooked forthem in-house at flexible times. Moreover, many boysjust come to choir rehearsals and voice training, or toplay with their friends before a rehearsal. Basic pillarsof the musical training are the four weekly choir re-hearsals flanked by voice training and instrumental les-sons. The competent staff specialized in all areas makea high standard of choral work possible, which alsohas a strong drawing power. This has a strong positive influence on the boys. Theysing with the greatest possible individual commitment,concentration and with a healthy portion of ambitionin rehearsals and performances. At the same time

they sense quite clearly when what they communi-cate makes an impact on their listeners. Singing inthe Cathedral and in concerts out of town as well astouring and getting to know foreign cultures are animportant source of motivation for their time-con-suming activity.Soprano I: Johann Escher, Jan-Ole Gensior, LukasHannappel, Simon Hebgen, Noah Heep, MarioSchmitt, Julian Vogel, Simon Wahl, Lukas WendtSoprano II: Alexander Buguslavski, Anton Hering, EliasNeis, Luis Schlipper, Jan SollondzAlt I: Leo Bäumlisberger, Jeremias Bollendorf, Lars Gr-eff, Niklas Mittag, Laurenz Nettesheim, Marc Rothardt Alt II: Felix Marx, Niclas Gehringer, Jakob Hebgen,Mirsa Heigl, Marius Jünemann, Ryan Kollang, Max-imilian WolffTenor I: Moritz Hartmann, Martin Höhler, PeterSchäfer, Phillip MarxTenor II: Anton Drossel, Emanuel Hecker, SebastianLampert, Lukas Müller, Leon Streubel, RichardKalbskopfBass I: Jonathan Drossel, Matthias Hannappel, JonasMeester, Jan Platt, Robert Schäfer, Paul Scherer, JakobSommerBass II: Yannik Breski, Simon Bühler, ChristophRudolph, Nils Gensior, Leonard Götz, Fabian Töppel

LimburgerDomsingknaben

PALATINAKLASSIK-VOKALENSEMBLEThe PalatinaKlassik vocal ensemble consists of 40vocalist from Palatinate and Saarland regions and isknown as one of the most distinctive ensembles ofits kind in south-west Germany. The press writes:„Flawless choir sound. Versatile in its expressions andfine-tuned in its register harmonization. The choirsound you always wish for, but seldom find“.The vocal ensembles repertoire reaches from the 15th

to the 21st century – from a compact a-capella formationto a large scale symphonic choir ensemble (in coop-eration with „Philharmonischer Chor an der Saar“).Sopran: Cathrin Bungert, Christiane Frank, JessicaHedrich, Cornelia Hirtz, Annerose Hoffmann, Arien-za Quagliotti, Anne Reinringer, Claudia Rivinius,Gabriela Rudolf, Jana Sophie WagnerAlt: Anne Blass-Ziegler, Gerda Gandert-Schramm,Monika Koch-Buhl, Hisako Krämer, Ruth Martin, An-drea Schramm, Margret Steimer, Ute WikenhauserTenor: Christoph Barth, Franz Fuchs, Julian Kuhn,Bernhard Schneider, Michael Wagner.Bass: Manfred Adam, Jens Hedrich, Michael Köhl,Burkhard Schramm, Andreas Woll

PHILHARMONISCHERCHOR AN DER SAARThe Saarland Philharmonic Choir is renowned at homeand abroad for its perfected repertoire of concert mass-es and oratorios spanning all stylistic periods. The choirwas founded in 1960 under pianist Robert Leonardy,who was subsequently appointed professor at the Saar-land Conservatory of Music. In 1969 Leo Kraemer tookover the musical direction of the choir and developedit into an internationally recognized oratorio choir. Thechoir’s members now hail from Saarland and theneighboring state of Rhineland-Palatinate. The reper-toire of the Saarland Philharmonic Choir – which haslargely performed in tandem with the Speyer Cathe-dral Choir and the Choir of the Saarland Bach Soci-ety – includes oratorios, concert masses and requiemsof various periods. After Leo Kraemer’s retirement ascathedral organist and director of music at theSpeyer Cathedral in 2009, the choir entered into aclose musical collaboration with Kraemer’s Palati-naKlassik Vocal Ensemble, at home in Speyer. Ven-ues in Germany at which the choir has performed dur-ing the past 40 years include Speyer, Mannheim, Lud-

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PalatinaKlassik-Vokalensemble

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wigshafen, Kaiserslautern, Saarbrücken, the VölklingenIronworks World Cultural Heritage Site, and varioustowns and cities in Saarland and Rhineland-Palati-nate. International concert tours have taken the choirto Chartres, Salzburg, Rome, Minsk, Kazan, and St.Petersburg. The choir has celebrated success in thefestival program of the St. Petersburg Philharmonic,having been invited a total of five times. The choir hasalso performed numerous a cappella concerts in as-sociation with Leo Kraemer’s organ concerts, large-ly in the Speyer Cathedral and the St. LaurentiusChurch of the choir’s hometown Schwalbach-Hülzweiler.Soprano: Liane Birk, Cathrin Bungert, Madelaine

Gauer, Jessica Hedrich, Cornelia Hirtz, Annerose Hoff-mann, Mirka Agathe Mazurek, Sabine Neu-Grütz-macher, Anne Reimringer, Claudia Rivinius, EllenSchoenen, Verena WiesemannAlto: Gertraud Blass-Knauber, Anne Blass-Ziegler,Waltraud Gindorf, Alice Feld-Geraldy, Margret Knier-im, Petra Kölling, Ulla Kops, Stefanie Louis, Ruth Mar-tin, Helga Petry, Gertrud Quinten, Andrea Schramm,Ulrike Soranna, Margret SteimerTenor: Christoph Barth, Walter Birk, Gerd Dornoff,Fuchs Frantz, Alfons Geraldy, Leonardy Gerhard,Clemens Gergen, Heiner Knierim, Johannes MazurekBass: Michael Köhl, Jens Hedrich, Martin Ziegler, An-dreas Woll

PhilharmonischerChor an der Saar

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ORCHESTRAS

INSTRUMENTA MUSICAWas founded in 2004 on the initiative of Ercole Nisi-ni during his studies at the Institute of Old Music atthe Trossingen Music College. Since then, the en-semble has performed with its founding membersand in various ensembles under the direction of Er-cole Nisini, as well as in cooperation with vocal en-sembles such as ensemble officium, the DresdenChamber Choir, the Chamber Choir of theFrauenkirche Dresden, and the Saxon Vocal En-semble. They have also appeared at festivals and inconcert halls such as the Dresden Frauenkirche, TheBlack Forest Music Festival, the Skálholt SummerConcerts (Iceland), the Heinrich Schütz MusicFestival, the Brandenburg Summer Concerts, theWDR Radio House Concerts, the MichaelsteinMonastery Foundation, the Old Days Music Re-gensburg, and the Varazdin Baroque Evenings. NineCD productions by labels including RAMÉE,Christophorus, Carus, Rondeau, and SONY, aswell as concert recordings and interviews for WDR,SFR, Radio 3 (Italy) and Deutschlandradio, docu-ment the work of the ensemble.

Violins: Amrai Große, Friederike Lehnert Viola da Braccio: Angelika Grünert Trombones: Danilo Koban, Ercole NisiniFlute: Uta Schmidt Violone: Norbert Schuster

ILLUMINART PHILARMONICORCHESTRAUnder the guidance of Artistic Director / Principal Con-ductor Tomomi Nishimoto, the Illuminart PhilharmonicOrchestra consists of talented, award-winning musicians.It is a new style of orchestra that thinks outside of thebox with no national boundaries. Illuminart is a com-posite art with theatrical systems for opera, ballet, or-chestra, and chorus, noted for its creation of entertainingstage performances. It also appears in TV programs andcommercials. The orchestra has been introducingJapanese culture to the world through its musical andtheatrical fusion of local traditional arts from aroundJapan and more. In 2015, it showed the world new fu-sions with Asian cultures through performances suchas one celebrating fifty years of the normalization ofJapan-South Korea relations, a performance in Vietnam,a musical service commemorating 1200 years sincethe founding of Mount K�ya, the “Senny�-ji Otobutai”

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concert, the world premiere of a work entrusted to Thaiand Filipino composers, and more.Concert Master: Yasushi ToyoshimaViolins I: Urara Otake, Takehito Uetaka, Sena OshimaViolins II: Chinami Tokai, Reina Yamana, Israelyan KarenViolins: Leonardo Alessandrini, Giuliano Cavaliere, Gi-ancarlo Ceccacci, Paolo Marchi, Leonardo SpinediViolas: Takehisa Morohashi, Keiko Morohashi, Nao Ya-mada, Andrea Domini, Gaia Orsoni, Alberto Petricca Violoncellos: Yo Kigoshi, Yoriko Miyake, Lee KyungMi, You RinaContrabbasso: Yuki Okada, Gennaro Frezza Oboes: Pietro Picone, Antonio VerdoneClarinet: Yuki Hamasaki, Akihisa KatoBassoon: Akinobu Yoda, Marco Ciamacco Horns: Giuseppe Calabrese, Rino PecorelliTrumpets: Andrea Di Mario, Carlo BenedettiTrombones: Alessio Bartolini, Maurizio Garofalo, Gi-acomo Gamberoni Timpani: Takao OkumuraOrgan: Daniele Rossi

THE SYMPHONY ORCHESTRA OFTHE KAZAN STATE CONSERVATOIREThe history of the Kazan Conservatoire Symphony Or-chestra begins in 1945 with the founding of the Con-servatoire. The first performance took place on March1, 1947. The program consisted of Beethoven’s Over-ture to the The Creatures of Prometheus ballet and

Concerto for Violin and Orchestra. The orchestra wasset up to fulfill the need in providing practical train-ing for professional musicians of the State SymphonyOrchestra of the Republic of Tatarstan, the SymphonyOrchestra of the Musa Jalil Tatar State Opera and Bal-let Theatre, and other professional performancegroups of Tatarstan and the Middle Volga region. Orig-inally consisting solely of young student musiciansand graduate students of the Orchestra Faculty, thetraining orchestra gradually evolved into a remark-able group of players recognized by listeners in manyRussian cities. At various times the conductors withwhom the Orchestra worked were: Isai Sherman,Nathan Rachlin, Fuat Mansurov, and VladimirVasiliev. In recent years, the Principal Guest Conductorof the orchestra is the outstanding German conductorand organist Leo Kremer. The orchestra has also beendirected by Pavel Lando (Moscow), AlimShakhmametiev (Czech Republic), Borja Kintas(Spain), and Gunter Shtegmyuller (Germany). Cur-rently, the Conservatoire Symphony Orchestra pres-ents symphonic concerts, as well as cantatas and or-atorios in cooperation with the Kazan ConservatoireChoir and takes part in productions of the Opera Stu-dio. Among its recent programs there have been St.John Passion and the Christmas Oratorio by Bach,Requiem, Mass in C minor, Coronation Mass, TheAbduction from the Seraglio opera, The Marriage ofFigaro and Don Giovanni by Mozart, symphonies by

IlluminartOrchestra

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Beethoven, Schumann, and Saint-Saens, German Re-quiem by Brahms, F Minor Mass and Te Deum byBruckner, The Love for Three Oranges opera byProkofiev, and the operetta Silva by Kalman. An im-portant part of its repertoire are the works the Republicof Tatarstan composers. The Kazan ConservatoireSymphony Orchestra performs over 15 concerts ayear. The Concerts are held in Kazan as well as inother cities - St. Petersburg, Togliatti, NaberezhnyeChelny, Izhevsk, Yoshkar-Ola and Saransk. Every year,the orchestra tours the cities of Germany at the in-vitation of «Palatina Klassik», the German Choral So-ciety. In 2014, the Kazan Conservatoire SymphonyOrchestra gave two performances in Rome at the XIIIInternational Festival «Di Musica e Arte Sacra».Among the soloists who performed with the SymphonyOrchestra are Dmitri Bashkirov, Nikolai Petrov, Ru-bin Abdullin, Michael Gantvarg, Alexander Bon-duryansky, Sergei Stadler, Evgeny Mikhailov, NikitaBorisoglebsky, Rem Urasin, Mikhail Kazakov, SofiaGulyak, and many other outstanding musicians.Concertmasters: Timur Giliazutdinov, Irina KirichekViolins I: Anastasiia Abdullina, Denis Chichkanov, OlgaKazantceva, Gaisa Monasypov, Natalia Ozhgibeso-va, Oksana Ronzhina, Elina Sadyeva, Aliia TarasovaViolins II: Olga Chichkanova, Irina Dimitrieva, ValeriiaDolmatova, Aleksandra Katkova, Dalida Khalimova,Evgeniia Meteleva, Alina Nagimova, Marina Sidork-ina, Liaisan Shakirova, Elza SmirnovaViolas: Rimma Ermolaeva, Valeriia Liganova, SofiaSergeeva, Elena Shipova, Igor ShlemovVioloncellos: Nail Gilmutdinov, Alina Latypova, Ser-afim Lavrentev, Nina Shurkina, Anastasiia Sviniakova

Double basses: Vladimir Beloborodov, Nikita Smirnov,Vitalii UlederkinFlutes: Daria Fishchenko, Mariia Kurochkina, Oboes: Igor Avdeev, Maksim ElsukovClarinets: Iaroslav Artemev, Anna IakovlevaBassoons: Ilnaz Farrukhshin, Anton RaevskikhHorns: Iuliia Krasnova, Salavat Kinziagulov, ArturZagortsev, Maksim Zhigalov, Trumpets: Marat Gabitov, Artem Kalinin, Airat ValeevTrombones: Anton Antonov, Amir Ibragimov, OlegKhatipovTuba: Denis SmirnovTimpani: Ekaterina Badykshina

ORCHESTRA ROMA SINFONIETTAThe Roma Sinfonietta Orchestra was formed in 1994;it is a dynamic and flexible organization, a variableworkforce – to the small ensemble, to a chamber mu-sic orchestra growing to a complete symphony or-chestra - completely capable to deal with all kindsof music from historical periods as well as differentstyles, from baroque to contemporary music, fromjazz to film music, to a classical repertory and opera.It is made up of an established nucleus of experiencedprofessionals and it is constantly enriched by younginstrumentalists that are selected by frequent audi-tions. Right from the very beginning, the orchestraestablished a partnership with the Rome Universi-ty “Tor Vergata” where it still holds its season of con-certs. The Orchestra is regularly invited to be part ofthe Academia Filarmonica Romana Season, as wellas the Istituzione Universitaria dei Concerti of Romeand also the Reate Festival of Rieti.It has collaborated

The SymphonyOrchestra of the

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with many artists including Nicola Piovani, LuisBacalov, Ennio Morricone, Quincy Jones, Roger Wa-ters, DulcePontes, Mariella Devia, Claudio Baglioni,Amedeo Minghi, Bruce Springsteen, Javier Girotto,Peppe Servillo, Michael Bolton, Michael Nyman, Gi-anni Ferrio, Jeff Mills, Pino Daniele, Mariella Devia,ElizabethNorberg-Schulz, Susanna Rigacci, Sara Min-gardo, Salvatore Accardo, Mariano Rigillo, FrancoMaggio Ormezowsky, Luigi Piovano and with con-ductorslike Karl Martin, Marcello Rota, Marcello Pan-ni and many more.One of the most important parts of the Roma Sin-fonietta Orchestra’s activities is the interpretation offilm soundtracks, in order to bring to the forefront therich patrimony of music written for Italian cinema fromNino Rota, toFiorenzo Carpi, Carlo Crivelli, Nicola Pi-ovani, Luis Bacalov and Paolo Buonvino.WithEnnioMorricone, with whom the Orchestra has collaboratedwith for about 14 years, it has held concerts in someof the largest and most prestigious theatres in theworld: The Barbican Centre and Royal Albert Hall inLondon, The Palais des Congres inParis, InternationalForum in Tokyo, Radio City Hall in New York, TeatroMassimo in Palermo,The Arena in Verona, Teatro Gre-co in Taormina, Festival Hall in Osaka, Olympic Gym-nasium in Seoul and the Kremlinin Moscow.Violini I: Giancarlo Ceccacci, Manfred Croci, Loren-zo Fabiani, Paolo Marchi, Miwa Shiozaki, LeonardoSpinedi

Violini II: Luca Bagagli, Eunice Cangianiello, GiulianoCavaliere, Maurizio Tarsitani, Alessandra XantoViole: Gaia Orsoni, Alberto Petricca, Lorenzo Run-do, Alessio ToroVioloncelli: Kyung Mi Lee, Luca PinciniContrabbasso: Massimo CeccarelliFlauti: Monica Berni, Paolo Fratini, Bruno LombardiOboi: Giovanni Cretoni, Antonio VerdoneClarinetti: Luca Cipriano, Perla CormaniFagotti: Marco Ciamacco, Andrea CorsiControfagotto: Milena SavelloniCorni: Giuseppe Calabrese, Marco VenturiTrombe: Carlo Benedetti, Andrea Di MarioTromboni: Giovanni Dominicis, Giacomo Gamberoni,Luigino LeonardiTimpani: Alessandro Di GiulioClavicembalo: Diego Procoli

WIENER VIRTUOSENFormed in 1995 by section leaders of the illustriousVienna Philharmonic Orchestra, the Wiener Virtuosenhas rapidly gained an international reputation for styleand excellence and as a respected ambassador of theViennese musical tradition to all corners of the globe.The Wiener Virutosen’s formation consists general-ly, in the concept of the founder and artistic leaderErnst Ottensamer, as a string quartet with double bassand wind quintet but in order to span an eclecticrepertoire, flexibility is their aim. They will decrease

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or increase their numbers, performing works from theclassical, romantic and 20th century periods, fromoctets to chamber repertoire and even to symphoniesand concertos for full scale orchestra. A host of in-ternationally acclaimed soloists have performedwith the Wiener Virtuosen including Angelika Kirch-schlager, Thomas Hampson, Mischa Maisky, RudolphBuchbinder, Dmitri Sitkovetsky and Julian Rachlin,to name a few. The Virtuosen plays an important partin the cultural life of Austria and are increasingly indemand on the world’s most important stages, bothin festivals and concert seasons.

Violins: Jose Maria Blumenschein, Clemens Flieder,Daniel Froschauer, Andreas Großbauer, BenjaminMorrison, Erich Schagerl, Alexandr Sorokow, TomasVinklat, Georg WimmerViolas: Tilman Kühn, Elmar Landerer, Peter Sagais-chek Violoncellos: Sebastian Bru, Robert Nagy Double bass: Christoph Wimmer Flutes: Wolfgang Breinschmid, Matthias Schulz Bassoon: Wolfgang Koblitz, Stepan Turnovsky Horns: Jan Jankovic, Wolfgang Vladar Orgel / Cembalo: Christoph Traxler

Wiener Virtuosen Photo © Benjamin Morrison

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CONDUCTORS

ANDREAS BOLLENDORFAndreas Bollendorf (* 1970) was a Limburg cathe-dral choir boy and a student of the musical board-ing school in Hadamar from 1979 until his Abitur. Hesubsequently studied school music in Mainz focus-ing on the main subjects of singing and piano. Hethen continued his studies at the conservatory inFrankfurt taking the subjects of church music andchoral conducting. He also took part in conductingcourses with renowned choir directors and orches-tra conductors. After professional positions as a sec-ondary church musician, as a singer and choir di-rector at the Frankfurt theatre, as a music teacherin Luxembourg and as a deputy choir director withthe Hof symphony orchestra, he directed the girls'choir at Mainz cathedral from 2003 to 2005 and wasalso responsible for the vocal training of the boys ofthe Mainz cathedral choir, amongst other things, asan assistant to the cathedral chapel master. In 2005,he moved to Münster as cathedral chapel master,headed the cathedral choir (adult choir) and found-ed the "Capella Ludgeriana" boys' choir. As of 1st Sep-tember 2015 Andreas Bollendorf has been head ofthe Limburg cathedral boys' choir and cathedral can-tor at Limburg cathedral. In these functions he is re-sponsible both for the management of the choir andthe musical and vocal training of his members at themusical boarding school in Hadamar, as well as - to-gether with the cathedral choir director and the cathe-dral organist - for the diverse and rich spectrum ofchurch music at Limburg cathedral. Bollendorf'srepertoire includes spiritual and secular choral lit-erature from all epochs as well as great oratoricalworks. In addition, during the course of his profes-sional activities, the choral voice training and indi-vidual vocal coaching of children and adolescents tookup increasingly more of his time. Thus, he preparednumerous concert and opera roles written for boys'voices with boys both vocally and musically.

TEMISTOCLE CAPONEFrom 1980 to 1993, he was deputy choirmaster of theChapter Choir of St Peter’s (formerly the Cappella Giu-lia Choir) and from September 1993 conductor of theChoir of the Vicariate of the Vatican City – St Peter’s

Basilica. He studied piano under Ferrara, harmony withSalviucci Parpagliolo, and organ with Germani, all atthe Santa Cecilia Conservatory in Rome, and singingwith Ponz De Leon at the “Isabella Rosati” Music HighSchool in Rome. He took courses in polyphonytaught by Bartolucci and in Gregorian chant led by Fa-ther Baratta at the Pontifical Institute of Sacred Mu-sic, also studying choir conducting under MarinCostantin and orchestra conducting with JosephConta at the Bucharest Conservatory (Romania). Dur-ing his career he has performed concerts in Italy, Amer-ica and Europe, with various musical organizations andassociations. He has participated in festivals and mu-sic events such as Primavera Musicale Romana andthe Incontri Internazionali di Musica di Sorrento, withthe Bucharest National Radio Orchestra. In addition,he has collaborated with RAI, Vatican Radio and oth-er national and international radio and television broad-casters. For five years he represented the Italian As-sociation of Santa Cecilia at musicology conferencesand international polyphony competitions in Italy andabroad. In 1986 he was appointed music assistant forthe performance of Mozart’s Coronation Mass in St.Peter’s Basilica, conducted by Von Karajan andbroadcast in world vision.

STEPHEN CLEOBURYStephen Cleobury has been Director of Music at King’sCollege, Cambridge for over 30 years. His work therehas brought him into fruitful relationships with lead-ing orchestras and soloists, among them the Acad-emy of Ancient Music, the BBC Concert Orchestra,the Britten Sinfonia, the Orchestra of the Age of En-lightenment and the Philharmonia. He comple-ments and refreshes his work in Cambridge throughthe many other musical activities in which he engages.At King’s, he has sought to enhance the reputation ofthe world-famous Choir, broadening its repertoire, com-missioning new music and developing its activities inbroadcasting, recording and touring. He introducedthe annual festival, Easter at King’s, from which theBBC regularly broadcasts, and, in its wake, a seriesof high-profile performances throughout the year, Con-certs at King’s. From 1995 to 2007 he was Chief Con-ductor of the BBC Singers and is now Conductor Lau-reate. He was much praised for creating an integratedchoral sound from this group of first-class professional

Andreas Bollendorf

Temistocle Capone

Stephen Cleobury

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Matthias Grünert

singers and for the many premieres he conducted.Beyond Cambridge he is in demand as a conductor,organist, adjudicator and leader of choral workshops:This season has taken him to Madrid, Paris, Stockholm,Seattle and Cleveland, Ohio; closer to home, recent con-ducting engagements have included concerts at theProms and at the Aldeburgh Festival. Stephen is an ac-tive organ recitalist; this season has seen recitals in ChristChurch, Oxford, the Minster in Bern, and St Gereon,Cologne; he is a past President of the Royal College ofOrganists and of the Incorporated Association of Or-ganists; he is currently President of the Friends of Cathe-dral Music and of the Herbert Howells Society. He wasappointed CBE in 2009.

MATTHIAS GRÜNERTMatthias Grünert was born in 1973 in Nürnberg. Hestudied church music, singing, and organ at the Col-lege for Church Music in Bayreuth and at the Col-lege of Music in Lübeck. He gained further musicalimpetus by taking courses with F. Tagliavini, J.Laukvik, M. Radulescu. He is a prize-winner of var-ious organ competitions, including the Internation-al Competition for Church Musicians of 2000. Dur-ing his studies, he was also an assistant to the LübeckCathedral and church musician at St. Petri inBosau, where he organized the concert seriesBosauer Sommerkonzerte. From 2000 – 2004, he worked as a city and districtcantor in Thuringia Greiz and in 2003 he brought theentire organ works of Bach to the city church of St.Marien. In 2004, he was appointed the first cantorof the Dresden Frauenkirche. Matthias Grünertfounded the choir and the chamber choir of theFrauenkirche, both of which he was able to fix per-manently in the cultural landscape of Central Ger-many. The stylistic range of the choirs encompass-es an extensive repertoire, which includes not onlythe well-known works of oratorio literature, but alsonumerous lesser-known a cappella compositions andscarcely heard choral music. For example, MatthiasGrünert is involved in many first-time performanc-es which seek to rediscover Dresden’s composers oflate baroque and classical music. The FrauenkircheEnsemble, which was established by Grünert and iscomposed of musicians from the SaxonianStaatskapelle and Dresdner Philharmonie, consistently

serves as a musical partner in various on-site per-formances, and moreover, takes part in many tours,especially those focusing on works of the 18th cen-tury. As a conductor, Matthias Grünert regularly col-laborates with many well-known soloists and or-chestras. As an organist and conductor, he has playedon numerous organs and in many music centersthroughout the world, including Japan, Iceland,France, Belgium, Austria, Italy, the Czech Republic,Poland and Switzerland. As an organist, he is a pop-ular duet partner for several high-profile musicians.A comprehensive discography, which includes high-ly acclaimed CD recordings by Sony, Berlin Classicsand Rondeau, reveals the musical diversity ofMatthias Grünert. He is also featured in many TV andradio programs. Since the winter semester of 2008-09, he has been conducting a lecture on the organat the Dresden School of Church Music. He is alsothe author of piano scores and continuos for the pub-lishing house Breitkopf & Härtel. In 2015, theMusikfestival Mitte Europa voted Matthias Grünert theArtist in Residence.

LEO KRAEMERLeo Kraemer was born in Püttlingen/Saar (Germany)in 1944. He has studied church music in Trier andSaarbrücken (Germany) and later advanced his stud-ies with organists Ludwig Doerr, Gaston Litaize, andMichael Schneider; pianists Adrian Aeschbacher andAugust Leopolder; as well as conductors Sergiu Celi-bidache, Günter Wand and Eugen Jochum. He has won awards of several international organcompetitions, such as: - 1966 Mendelssohn-Award of the Stiftung Preußis-

cher Kulturbesitz, Berlin (Germany) 1- 967 Flandern Festival, Bruges (Belgium) - 1969 Pfälzische Musikgesellschaft, Palatinate

(Germany) - 1970 Aosta (Italy)In 1969, he succeeded Professor Robert Leonardyin Schwalbach-Hülzweiler (Saarland, Germany) anddeveloped the “Philharmonischer Chor an der Saar”into a successful oratorio choir. For 38 years (1971-2009), he has led musical ac-tivities at the Speyer cathedral as cathedral organ-ist and since 1990 also as Director of Music, head-ing the “Speyerer Domchor,” the choir of this dis-

Leo Kraemer

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Tomomi Nishimoto

tinguished European cathedral. In 1980, he launchedthe international organ competition “Dom zu Spey-er,” which evolved into the festival “InternationaleMusiktage Dom zu Speyer.” Additionally, Prof. Krae-mer has conducted the independent choirs “Phil-harmonischer Chor an der Saar” and “Chor der Saar-ländischen Bachgesellschaft,” as well as the cham-ber orchestra “Saarland Sinfonietta Saarbrücken.”Under his leadership, more than 120 works for or-chestra and numerous a-capella concerts havebeen performed at home and abroad. Prof. Kraemer’scyclical performances (the complete organ works ofBach, the great Messiaen cycles, as well as all Bruck-ner symphonies) brought him to the international fes-tival stage. In addition to his work in Speyer, he servedas Principal Conductor of the Estonian PhilharmonicTallinn from 1992 to 1994. Since 1995, he has been“Exclusive Principal Conductor” of the Philharmon-ic Minsk and associate conductor of the St. Peters-burg Philharmonic, and also Principal Conductor ofthe St. Petersburg Chamber Orchestra since 1997.For several years now, he has been Director of theChamber Orchestra of the Philharmonic Samara (Rus-sia). Furthermore, he has been working as lecturerand conductor of the Orquesta Sinfónica Nacionalin Mexico-City and staging performances in the Pala-cio des Bellas Artes. Prof. Kraemer is in high demandas church organist for solo performances at inter-national classical music festivals in Chicago, Tokyoand San Sebastian. Many radio, TV and CD record-ings document his work as organist, conductor andmember of juries.Leo Kraemer was promoted to Professor in 1998 andhas taught at the Universities of Saarbrücken andMannheim (Germany). He has instructed a greatmany talented young organists.The following awards honor his artistic achievements:- 2002 - Honorary Membership of the Philharmon-

ic Society of St. Petersburg (Russia)- 2007 - Peter Cornelius Plakette of the state of

Rhineland-Palatinate (Germany) for his outstand-ing artistic work

- 2010 - Cross of the Order of Merit of the Federal Re-public of Germany for his distinguished achievementsin the arts in the state of Rhineland-Palatinate.

Since 2012, Leo Kraemer has been Artistic Directorand co-founder of the new concert series „Palati-

naKlassik e.V. Speyer.“ He directs the Baroque,Brass and Vocal Ensembles as well as the PhilharmonicChamber Orchestra. Prof. Leo Kraemer keeps work-ing as organist and conductor around the world andfocuses on collaborations with international ensembles.Concert tours take him to Rome, Tokyo, Seoul, Mex-ico-City, Kazan, Samara, St. Petersburg and Moscow.

TOMOMI NISHIMOTOTomomi Nishimoto is the current Artistic Director andPrincipal Conductor of the IlluminArt PhilharmonicOrchestra. She concurrently serves as the Music Di-rector and Principal Conductor of the Royal Cham-ber Orchestra, and is a Visiting Professor at OsakaCollege of Music. Nishimoto has received an honorarydoctorate degree from Matsumoto Dental Universi-ty, and she also serves as the first Honorary Am-bassador for the city of Hirado in Nagasaki Prefec-ture and as the first International Cultural Ambassadorfor Osaka. After graduating from the Osaka Collegeof Music with a Bachelor of Music in Composition,she went abroad to study Opera and Symphony Con-ducting at the Saint Petersburg State Conservatoryin Russia. She has received many awards, includ-ing Japan’s Agency for Cultural Affairs’s internshipscholarship in the arts. Her career includes work asArtistic Director / Principal Conductor for theTchaikovsky Foundation Russian Symphony Or-chestra (2004-2006), the Principal Guest Conduc-tor for the St. Petersburg Mussorgsky (Mikhailovsky)State Academic Opera and Ballet Theatre (former-ly the Leningrad State Academic Maly Opera The-atre) (2004-2006), and the Principal Guest Conductorfor the the State Symphony Orchestra of Russia(2010-2011). Her career features many accom-plishments unusual for a non-Russian, including aguest appearance at the Moscow City Symphony (theRussian Philharmonic). Nishimoto has also been in-vited to perform at numerous music festivals, in-cluding Split Summer Festival, Dubrovnik SummerFestival, Prague Proms, and Vilnius Music Festival.Her successful concert with the Bruckner Orches-tra Linz at the Brucknerhaus in Linz, Austria repre-sented her initial step into Europe, and her per-formance with the Monte-Carlo Philharmonic Or-chestra in Monaco was also highly praised. She hashad successes with her regular season concert with

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the Budapest Philharmonic Orchestra, as well withthe George Enescu Philharmonic Orchestra in Ro-mania, the Lithuanian Chamber Orchestra, theBritish Royal Philharmonic Orchestra, the Latvian Na-tional Symphony Orchestra, the National Sympho-ny Orchestra of Belarus, and more. In 2010, she con-ducted the American Symphony Orchestra inCarnegie Hall to great success, and from 2011 onshe has been regularly invited to the Westchester Phil-harmonic Orchestra in the United States. Beginningin 2014, her activities expanded into South Ameri-ca. In 2016, she conducted highly successful per-formances in Israel and China. She is also well-re-garded as an opera conductor, and has been invit-ed to conduct in approximately 30 countries aroundthe world, featuring successes at the Hungarian StateOpera House, the Prague State Opera, and theOdessa Opera and Ballet Theater in Ukraine. Nishi-moto has also conducted historical concerts such asthe concert commemorating the 1300-year an-niversary of Nara Heijo-kyo Capital and 1200-yearanniversary of Mount Koyasan, the opening concertfor L’aquila Concert Hall, the concert commemoratingthe 120th Anniversary of Diplomatic Relations be-tween Japan and Brazil, and the 2015 concert com-memorating the 50th anniversary of the normaliza-tion of relations between Japan and South Korea.Nishimoto has made successive appearances at the

Vatican Music Festival beginning in 2013, where sheled a restoration performance of the “orasho,” thechant and prayers of the Japanese Kakure Kirishi-tans (secret Christians), brought to Japan by Fran-cis Xavier, for the first time in nearly 455 years. In2014, she became the youngest individual to receivean honorary award from the Vatican’s foundation formusic. Recently, Nishimoto has also been involvedin stage performances, such as a rendition of theopera Madame Butterfly that incorporates traditionalJapanese arts, in order to “Bring Asia together throughculture and art” and “Combine the sciences with thearts.” Nishimoto was selected in 2004 by NewsweekJAPAN as one of the “100 Most Respected Japan-ese People in the World,” and in both 2015 and 2016,she appeared on the Japanese Government’s TV com-mercials promoting Japan for the G7 summit in El-mau in 2015 and Ise-Shima in 2016 as well as in anofficial Japanese Government English PR magazineas a Japanese national active on a global basis. Asidefrom music, Nishimoto has served in 2007 as anelected member of the Young Global Leader at theWorld Economic Forum’s annual meeting held inDavos. In 2012, she completed the Harvard KennedySchool’s Executive Education Program in public lead-ership as a fully funded fellow. Nishimoto continuesto garner worldwide reputation through her globaltours and activities.

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Mechthild Bach

SOLISTI

MECHTHILD BACH, SOPRANThe Soprano singer Mechthild Bach studied vocalstudies at the conservatoire in Frankfurt am Main withProf. Elsa Cavelti, while further studies led her to Prof.Elishabeth Schwazkopf, Prof. Laura Sarti and Prof.Vera Rosza. From 1986 onwards she held a schol-arship from the Studienstiftung des DeutschenVolkes (funding body of the German Government).Her various Opera engagements led MechthildBach to various German stages (amongst them The-ater Heidelberg, Staatstheater Darmstadt (state the-atre of the city of Darmstadt), Deutsche Oper amRhein Düsseldorf/Duisburg (German Opera on theRhein), Staatsoper Hamburg (Hamburg’s stateopera), Nationaltheater München (the national the-atre of Munich) where she acquired a wide repertoireas lyric Soprano.As concert singer she cultivates a regular collaborationwith renowned artists and ensembles throughout Eu-rope, for example with R. Goebel, M. Schneider, F.Bernius, U. Gronostay, M. Creed, P. Neumann, M.Honeck, S. Kujken, T. Koopman, H. Rilling, K.Junghäne, R. Otto and many others. She per-formed at the ‘Dresdner Musiktagen’ (the Musik Daysof Dresden), at the ‘Herbstlichen Musiktagen in BadUrach (the Autumnal Musik Days in the city of BadUrach), at the Stuttgart Bach Academy, the Mahler-Festival in the city of Toblach, in the philharmonicorchestras in Berlin and Cologne, in the Schaus-pielhaus in Berlin, the Amsterdam Concertgebouw,as well as other important music centres in Europe.Numerous broadcast and CD recordings documentthe singer’s artistic activity. The recording of Zelen-ka’s Missa Dei Patris which Mechthild Bach partic-ipated in as soloist, was honoured the award of theDeutschen Schallplattenkritik (German record reviewprice). In 2006 in the course of the Händel Festivalof the city of Halle, she was involved in the produc-tion of Händel’s „Admeto, re di Tessaglia“ embody-ing the role of „Antigona“.In Lucerne, Mechthild Bach sang the part of „AliceFord“ in Verdi’s „Falstaff“; and during the 2008/2009season she also performed there within the productionof Krenek’s „Kehraus um St. Stephan“-

SUSANNE BERNHARD, SOPRANThe Munich-born soprano Susanne Bernhard beganher singing studies at the Hochschule für Musik undTheater München in 1995, taking part in numerousproductions at the Bayerische Theaterakademie Au-gust Everding. In 1997 she made her debut as Su-sanna in Mozart’s The Marriage of Figaro at thePrinzregententheater München.In 2000, at the age of 23, she joined the ensembleat the Opernhaus Kiel, appearing in numerousroles such as Lisa in Schreker’s Christophorus andVioletta in Verdi’s La Traviata. She was also a guestsinger at several opera houses, making her debut atthe Frankfurt opera house in 2008 as Violetta (LaTraviata). She sang the part of Isotta in RichardStrauss’ Silent Woman at the Semperoper Dresden.In addition to her activities as an opera singer, Su-sanne Bernhard has also participated in Lieder, or-atorio and concert recitals. Her many commitmentsin this field have led her to collaborations with theGeorgian Chamber Orchestra (Markus Poschner), theLudwigsburg Festival, the International Bach Acad-emy Stuttgart (Helmuth Rilling), the St PetersburgPhilharmonic Orchestra, the Russian National Or-chestra, the Herrenchiemsee Festival (Enoch zu Gut-tenberg and Ljubka Biagioni zu Guttenberg), theNeubeuern Choral Society (Enoch zu Guttenberg),the Rheingau Music Festival, the Menuhin FestivalGstaad, the Bonn Beethoven Festival, the BambergSymphony Orchestra, the Tonhalle Orchestra Zürich,the Bremen Philharmonic, the Hamburg and Munichsymphony orchestras, the Camerata Salzburg, theSaarländischen Rundfunk (Saarland BroadcastingCompany), the Polish radio symphony orchestra, theOsaka Philharmonic Orchestra under Eiji Oue, andthe NHK Tokyo Orchestra, the OSESP (Sao PauloState Symphony) as well as the symphony orches-tra and choir of the Bayerischer Rundfunk. She hasbeen guest of the WDR Symphony Orchestra on nu-merous occasions, under the direction of Semyon By-chkov and other conductors.Forthcoming engagements include concerts with theDresden Philharmonic, the Tonhalle OrchestraZürich, the Mainz Bach Choir, the Berlin PhilharmonicChoir, the WDR Symphony Orchestra, as well as con-certs with Enoch zu Guttenberg, concerts within thecontext of the Rheingau Music Festival, the Menuhin

Susanne Bernhard

Festival Gstaad and the Herrenchiemsee Festival.Her career is also documented by countless televi-sion and radio appearances as well as CD recordingsincluding sacred songs and arias (OEHMS),Beethoven’s Missa solemnis under the direction ofEnoch zu Guttenberg (Farao), and the completerecording Il Medonte by J. Myslive�ek (harmonia mun-di/Sony) as well as recordings of Britten Folksongs,(Rondeau, Maria Graf, Regensburger Domspatzen).

OSCAR DE LA TORRE, TENORThe international career of Mexican tenor Oscar dela Torre, has led him to sing in prestigious festivalsand theaters around the world like The Theater ander Wien, Grosser Musikvereinsaal, Grosser Festsaal-Haydn Saal of the Eszterházy Palace, “Klassik amDom” in Linz, Austria; Prinzregententheater, Münch-ner Residenz, Münchner Philharmonie, Herku-lessaal, Gasteig Carl Orff Saal, Theater der Stadt Hei-delberg, Theater Bremen in Germany; King’s The-atre in Edinburgh, Scotland; Reggio Theater, TeatroComunale Pergolesi, Auditorium della Gran Guardia“della Fondazione Arena di Verona, in Italy; TheaterWinterthur in Switzerland; Aarhus Teater, Teater Aal-borg in Denmark; Slowakische Philharmonie inSlovakia; Grosser Konzertsaal Vatroslav Lisinski in Za-greb, Croatia; Teatro del Palacio de Bellas Artes (Na-tional Theatre of Mexico), Mexico Auditorio Nation-al, to name a few. Oscar de la Torre was the winnerof the “Opera De Bellas Artes” prize in the singingcontest Carlo Morelli and with the Monumental pro-duction of Carmina Burana won the “Lunas del Au-ditorio Classic Award 2009-2010” playing the tenorsolo “Schwan “. He is currently nominated for “Lunas del AuditorioClassic Awards 2016” with the production La Cener-entola by G. Rossini as Best Classical Show 2016, play-ing the Prince Ramiro. The Mexican tenor has sungalongside international figures such as Edita Grubero-va, Placido Domingo, Giacomo Aragall, FranciscoAraiza, Kurt Rydl, Paolo Gavanelli, Josep Bross, Mar-co Armiliato, Pietro Rizzo, Alexander Rahbari, AntonyHermus, Lorenz Nasturica, Nayden Todorov, LeoKrämer, Massimiliano Murrali, Alfredo Silipigni, En-rique Ricci, Antoni Ross-Marbá among others; withorchestras such as Münchner Opern Orchester (Or-chestra of the State Opera Munich), Zagreb Phil-

harmonic Orchestra, Slovak Philharmonic Orchestra,Deutsche Staatsphilharmonie Rheinland-Pfalz Or-chester, Staatliche Slowakische Philharmonia Košice,Kammerorchester der Münchner Philharmoniker, Bre-mer Philharmoniker Orchester, Pressburger Sym-phoniker Orchester, Orchester Heidelberg, FrankfurterSinfoniker Orchestra, Orquesta del Teatro del Pala-cio de Bellas Artes, I Sonatori della gioiosa Marca, Ely-ma Ensemble, among others.The international press has expressed of him as “...a Belcanto tenor cultivated”; “... a fantastic tenor withvirtuosity and lightness”; “... that vocally shines byits attractive and beautiful tenor timbre”; ...With ital-ian tone in his voice, going out sovereign before thevocal demands “. “The passion, the strength, the in-tense energy and scenic presence of his interpre-tations have thrilled audiences through a wonderfuland brilliant nuanced performance”...Süddeutsche zeitung, scotsman, opernglas, münch-ner merkur, opera scotland, pro-opera, mein echo,mittelbayerischen zeitung, der neue merker, la miamúsica fa furore, la crónica de hoy - por esto - echoon line, maurmer post, ostseezeitung, opera point,volksstimme, all edinburgh theatre.The musical preparation of Oscar de la Torre has al-lowed him to perform the world premiere of 14 worksand contemporary operas, and cover a wide and cul-tivated repertoire, positioning himself as a recitalistin the world of Baroque music, Lied and oratorio. In2013 his CD recording of the opera “La Muette dePortici” by D. F. Auber was rated the best CD of operain Europe. Oscar de la Torre began his musical stud-ies with Nicolas Rico, Guadalupe Campos and En-rique Jaso. He studied the Opera and Concert Singercareer at the National School of Music of the NationalUniversity of Mexico, UNAM and at the National Con-servatory of Music of the National Institute of Fine Artsof Mexico, INBA. He got the Opera Singer Diplomain SIVAM, and a year later he was selected by SIVAMagain to be part of the “Programa de Especializacionpara Jovenes Talentos de Mexico” (Specialization Pro-gram for Young Talents of Mexico), where he stud-ied with teachers of the Metropolitan Opera Houseas Nico Castell, Joan Dornemann, Denise Massé, Su-san Young, James Demster and Teresa Rodriguez.Concluded a master class with Prof. KS FranciscoAraiza, Erika Kubacseck, Danusa Luknisova, Sharon

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Oscar de la Torre

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Bernarda Fink

Cornel Frey

Spinetti & Arthur M. Gomez, R. Ortiz and S. Suarez,R. Riojas, Agnese Sartori.He completed master courses with Giacomo AragallKS, KS Prof. Thomas Thomaschke, Montserrat Ca-balle, Eva Randova, William Matteuzzi, Zeger Van-dersteene and in the International Hugo WolfAkademie with KS Prof. Peter Schreier.His future engagements for 2016-17: Concert in Cuvil-lies Theater in Munich; Concert within the frameworkof the Bratislava Music Festival in the Great ConcertHall of the Philharmonic in Bratislava with Slovak StatePhilharmonic Košice; Concert with the Kam-merorchester der Münchner Philharmoniker in Mu-nich; “Schwan” Tenor solist in Carmina Burana atTheater Bremen; concerts with the Plovdiv Philhar-monic Orchestra; Sinfoniker Frankfurter Orchester;“Musica Italiana” concert with orchestra in Switzer-land; “Stabat Mater” by G. Rossini, “Requiem” byMozart in Germany; Dichterliebe by R. Schumann,“Sacred Arias Concert”, with the Philharmonic Or-chestra of Sonora, Mexico; Prince Ramiro in “LaCenerentola” of G. Rossini in Teatro del Bicentenario;Conte Almaviva in “Il Barbiere di Siviglia” by G. Rossi-ni in Opera de Nuevo Leon in Monterrey, Mexico;“Mozart Concert Arias” with the Symphonic Orchestraof Aguascalientes in Mexico; Misa Criolla by ArielRamirez, World-premiere and recording in CD of theoratorio “Hallelujah” by Oswaldo Cruz in Germany;“Te Deum” and “D moll Messe” by A. Bruckner with-in the framework of the XIII Festival Internazionaledi Musica e Arte Sacra in Rome and the Vatican.

BERNARDA FINK, MEZZOSOPRANBernarda Fink, daughter of Slovenian parents, wasborn in Buenos Aires and received her musical ed-ucation at the Instituto Superior de Arte del TeatroColón. A sought-after concert and recital singer, sheis acclaimed for her musical versatility. Her repertoireranges from ancient music up to works of the 20thcentury. Among many others, she frequently appearswith the Vienna and Berlin Philharmonic Orchestras,London Philharmonic, Royal Concertgebouw Or-chestra, Cleveland Orchestra and the best knownBaroque orchestras under Barenboim, Blomstedt, By-chkov, Chailly, Fischer, Gardiner, Gergiev, Jacobs, Jan-sons, Muti, Norrington, Pinnock, Prêtre, Rattle andWelser-Möst. On stage, Bernarda Fink has ap-

peared to critical acclaim in Argentina and at the mainopera houses in Europe. Highlights include Mozart�sCecilio/Lucio Silla (Theater an der Wien),Idamante/Idomeneo (Teatro Real, Madrid) and Hän-del�s Irene/THEODORA (Salzburg Festival). 2017 willsee her debut at the Vienna State Opera in Debussy�sPelleas et Melisande. She regularly appears inrecitals and concerts in Vienna, Schwarzenberg, Am-sterdam, London, Berlin, Madrid, Barcelona, Paris,New York and Buenos Aires. Many of her recordingshave been awarded prizes including the Diapasond’Or and Grammy. She was awarded the AustrianHonorary Medal for Art and Science, and togetherwith her brother Marcos Fink, the most prestigiouscultural award of Slovenia sponsored by the PrešerenFoundation. In September 2014 she received the ti-tle of Österreichische Kammersängerin.

CORNEL FREY, TENORBorn in Luzern, Switzerland, Cornel Frey started to singvery early with the “Luzerner Singknaben”. He stud-ied voice with Prof. Jakob Stämpfli at the “Hochschulefür Musik und Theater Bern” and graduated in2003. During season 2002/03 he was a part of the in-ternational Opera studio Zurich, where he made hisdebut with the title role of Britten’s Albert Herring. From2003 to 2009 he was a member of the WuppertalerBühnen. There he performed various character roles,so also Pedrillo – for this part the magazine „TheaterPur“ has chosen him as the best young artist for hisperformance in NRW. In 2005 he took part in theWiener Festwochen as Aufidio (“Lucio Silla”) underthe baton of Nikolaus Harnoncourt and repeated therole in 2006 at the Theater an der Wien. In the sea-son 2009/10 Cornel Frey became a member of theBayerische Staatstheater am Gärtnerplatz in Munich.Further engagements led him to the LudwigsburgerSchlossfestspiele with Wolfgang Gönnenwein, thelucerne festival with Alois Koch, the Wiener Festwochenand the styriarte Festival in Graz, where he appearedin Offenbach’s “La Grande-Duchesse de Gerolstein“with Nikolaus Harnoncourt (direction: Jürgen Flimm).In 2011 he made his debut at the Bayerische Staat-soper Munich singing Remendado in “Carmen” withDan Ettinger. From the beginning of season 12/13 Cor-nel Frey is an ensemble member of the DeutschenOper am Rhein Düsseldorf/Duisburg. Here he is seen

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as: Mime (Wagner “Der Ring des Nibelungen”), Pedrillo(Mozart “The abduction frim the seraglio”), Knus-perhexe (Humperdinck “Haensel and Gretel”) andBrighella (Strauss “Ariadne on Naxos”). Recently hegave his debut at Hamburg State Opera and appearedagain at Styriarte festival Graz with Nikolaus Harnon-court. He sung Evangelist and Tenor arias in Bachs“Matthäus-Passion” at Accademia di Santa Cecilia inRome with Antonio Pappano. In 2014 he took part inworld first performance of RE:IGEN bei Bernhard Langat the Schwetzingen Festival. As a concert singer hehas a great repertory including works by Britten,Schoeck, Szymanowski and especially the great ora-torios and cantatas by J.S. Bach. A CD recording oflieder by Beethoven and Schubert was issued beiSonarte in 2005.

HEIKKI KILPELÄINEN, BARITONEFinnish baritone Heikki Kilpeläinen studied singingat the Sibelius Academy in Helsinki. In 1994, afterattending the Zürich Opera Studio, he was invited tobecome a member of the Theater Bremen,where his roles included a.o. Malatesta and Escamilloas well as various modern roles like “I” in Alfred Schnit-tke’s Life with an Idiot and the title role of WolfgangRihm’s Jakob Lenz. In Bremen he participated in theCD-recording of Madama Butterfly in the role of Sharp-less for Naxos. In 1997 Heikki Kilpeläinen becamesoloist of Theater Bonn, where he sang his first Ver-di roles Rodrigo and Ford alongside Mozart roles Con-te and Guglielmo. From 2000 to 2009 he was in theopera ensemble of Deutsche Oper am Rhein in Düs-seldorf, where he performed such roles as Don Gio-vanni, Enrico Ashton, Alfio, Faninal, Zar in Zar und Zim-mermann and Alsemero in the world premiere of Chris-tian Jost’s opera Vipern. In 2010 Heikki Kilpeläinenbecame a member of Staatstheater Mainz with reper-toire including the title roles of Szymanowski’s KingRoger, Eugen Onegin and Macbeth, as well as Ger-mont, Renato, Kurwenal, Beckmesser, Ratefreund inBraunfels’ Die Vögel, Sebastiano in Tiefland, Feld-marschall Dörfling in Henze’s Der Prinz von Homburg,a.o. He was nominated “Singer of the year 2013” inthe German opera magazine Opernwelt for his portrayalof Verdi’s Macbeth. Since 2015 Heikki Kilpeläinen isa freelance artist with a wide repertoire of some 70opera roles. His guest appearances have led him to

many important German opera houses, to Geneva andto his native Finland, where he has sung Mandryka,Ottokar, Sharpless, Shtshelkalow and Fra Melitone.Among recent performances Pascal Dusapin’s Perelàin 2016 and Ubalde in Gluck’s Armide in 2017, bothin Mainz. In the world premiere of Ludger Volmer’sTschick at Theater Hagen he performed the roles ofLehrer, Richter Burgmüller and Vater Heckel in 2017.In summer 2017 he sang Gritzenko in Meyerbeer’sopera L’étoile du Nord with West Coast Opera Kokko-la and Bartolo in Rossini’s Il Barbiere di Siviglia withthe new opera company Opera Box in Helsinki. Heik-ki Kilpeläinen sings regularly in various concert halls.He has given solo recitals in Finland, Germany,Switzerland and France. He has also been a soloistof for example in J.S. Bach�s Christmas Oratorio, Massin B-Minor, St Matthew Passion and St John Passion,in Rossini�s Stabat mater, in Handel�s Messiah, inMendelssohn�s Elijah and in Kullervo-Symphony ofJean Sibelius.

KANA KUMAMOTO, SOPRANGraduating with the best grade and at the top of Classof the Year from Osaka College of Music majoring invocal performance, Ms. Kana Kumamoto has enjoyedextensive concert and recital work with leading con-ductors and stage directors. She sang as a memberof Vocal Ensemble of Biwako Hall, a professional choralensemble supervised by Hiroshi Wakasugi, under thedirection of Ryusuke Numajiri and several conductorsin 1998. She received scholarship from Agency for Cul-tural Affairs Government of Japan in 2001, and stud-ied voice in Paris, France, with Camille Maurane, IrèneAïtof, and Yumi Nara as a trainee of Program of Over-seas Study. Ms. Kumamoto won the 1st prize of theFrench Music Competition organized by Franco-Japan-ese Musical Association in 2002. She was the final-ist of Madama Butterfly International Competition inNagasaki in 2005 as well. Since 2008 she had beenengaged as a member of the choir of Opéra de Paris,and made many public appearances there on stage.In the following year, she started singing regularly atThéâtre du Capitol de Toulouse. During her residencein France, she constantly appeared in Concerts deFêtes de musique and Les Chorégies d’Orange. Afterreturning to Japan in 2015, she gives voice lessonsas a lecturer to promising students majoring in voice

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Heikki Kilpeläinen

Kana Kumamoto

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Yusuke Kobori

at Osaka College of Music. As a gifted soprano, Ms.Kumamoto is an asset to any production. Having sungthe roles of Fiordiligi of Mozart’s Cosi fan tutte and Mi-caëla of Bizet’s Carmen, she shows great interest notonly in operatic work but also in art-songs andpieces for vocal ensemble. It is noteworthy that shegave the Japanese premiere of Cinq Chansons, con-temporary art-songs by French composer Gérard Pes-son. She has also collaborated with many choirs andorchestras as a soloist performing both secular andsacred compositions such as Beethoven’s 9th Sym-phony, Gounod’s Messe Sainte Cécile, Pergolesi’s Sta-bat Mater, J. S. Bach’s Christmas Oratorio, Fauré’s Re-quiem, and Orff’s Carmina Burana.

YUSUKE KOBORI, TENORYusuke Kobori was born in Kanagawa, Japan, on 17thJuly 1986 and grew up in Fukushima. He graduatedfrom the Kunitachi College of music at the top of hisclass, also he did the same thing when he complet-ed the graduated school. In 2014 November, he re-ceived the special prize of “Tamaki Miura” at the 7thInternational Opera Competition in Shizuoka. He re-ceived the scholarship for up-and-coming young artistsfor studying abroad of the Agency of Cultural Affairsin Japan in March, 2015. In the last August he finishedthe Academy of Rossini in Pesaro, and he also inter-preted Il Conte di Libenskof from Il viaggio a Reimsin the Rossini Opera Festival 2016. Moreover he par-ticipated in the Rossini Opera Academy in Lunenburgin October and he interpreted Don Romiro from LaCenerentola. In the same year he worked at the TirollerFestspielenhaus and he debuted as Lindoro from L’i-taliana in Algeri. In 2017 he performed Tonio in La filledu regiment at the Theatre of Iake Biwa, Shiga. Hisrepertoire includes works of Rossini and Mozart andalso works called “Bel canto”.

THOMAS LASKE, BARITONOThomas Laske was born in Stuttgart. In 1997 he wonthe First Prize in the Richard Strauss Competition inMunich. On the concert podium, Thomas Laske hasperformed with many well known conductors, in-cluding Riccardo Chailly, Enoch zu Guttenberg, MarissJansons, Ton Koopman, Wolfgang Sawallisch, Hans-Christoph Rademann, Helmuth Rilling, Georg-Christoph Biller and international ensembles such as

the Symphony Orchestra of the Bavarian Radio, theDeutsche Symphony Orchestra Berlin, the Gewand-haus Orchestra Leipzig, the WDR Symphonyof Cologne, the Orchestra Sinfonica di MilanoGiuseppe Verdi, the St. Petersburg Philharmonic, theAmsterdam Baroque Orchestra & Choir, the Dres-dner Kreuzchor und the St. Thomas Choir of Leipzig.There are many radio and CD recordings which doc-ument his development as an artist. His CD record-ings include Bach’s Passions, Mahler’s „Liedereines fahrenden Gesellen“ and „Kindertotenlieder“and Schubert’s “Winterreise“ among others. Most re-cently released is a CD of the Weihnachtsoratoriumof Bach with the Windsbacher Boys Choir under thedirecton of Karl-Friedrich Beringer and MartinLehmann. He has been a member of the ensembleat the Deutsche Oper am Rhein in Dusseldorf-Duis-burg and the Wuppertal Opera. He has also appearedas a guest with the Bavarian State Opera in Munich,the Deutsche Oper Berlin, Frankfurt Opera, and theCologne Opera. His repertoire includes Figaro in theBarber of Seville, Count Almaviva and Figaro in Mar-riage of Figaro, the title roles in Don Giovanni andEugene Onegin, Escamillo in Carmen, Guglielmo inCosì fan tutte, Sharpless in Madama Butterfly andMarcello in La Bohème. In the last season he was performing Mass in B Mi-nor in Spain, St. John’s Passion of Bach with the St.Thomas Choir and the Gewandhausorchester Leipzig,Requiem of Brahms with Enoch zu Guttenberg at theHerrenchiemseefestival and Count Danilo in „TheMerry Widow“ at the National Centre for the Per-forming Arts Beijing. Thomas Laske teaches alsoSinging since 2010 at the Robert-Schumann-Hochschule Düsseldorf. Further information aboutMr. Laske can be found at www.thomas-laske.com.

TAKAKO NOGAMI, MEZZOSOPRANBorn in Hyogo, Ms. Takako Nogami graduatedfrom Osaka College of Music majoring vocal per-formance. She is gifted with a beautiful voice and sta-ble vocal sounds, and enjoys a good reputation forher musical expression with a good taste. In oper-atic scenes, Ms. Nogami has appeared as La Ciecain Amilcare Ponchielli’s La Gioconda, Prinz Orlofskyin Johann Strauß II’s Die Fledermaus, Gertrud in En-gelbert Humperdinck’s Hänsel und Gretel, and Ot-

Thomas Laske

Takako Nogami

tavia in Claudio Monteverdi’s L’Incoronazione di Pop-pea. In January 2014, she performed Suzuki in Gi-acomo Puccini’s Madama Butterfly receiving a fa-vorable reception at Kyoto Minamiza under the di-rection of a renowned conductor, Ms. TomomiNishimoto. Ms. Nogami reappeared performing thesame role of Madama Butterfly in January and May2015 at Kyoto Minamiza and Tokyo Shinbashi En-bujo respectively. The role of Suzuki was highlight-ed with special and more demanding choreographythan usual for this production, and Ms. Nogami’s won-derful performance as Suzuki received high praise.Her repertoire as a soloist includes Beethoven’s NinthSymphony, Händel’s Messiah, and several choral set-tings of Mass, and she participates in various kindsof choral performances. Recently, Ms. Nogami is amember of The College Opera House of Osaka Col-lege of Music and Kobe City Philharmonic Chorus,a professional vocal ensemble founded by Kobe City,in which she perfectly played an important role asthe section leader of altos for several years and con-tributed to the improvement of the sound of the sec-tion with her great deal of effort. She is also a regis-tered member of IlluminArt, a musical performanceassociation directed by Ms. Tomomi Nishimoto.

DANIEL OTTENSAMER, CLARINETDaniel Ottensamer has been principal clarinetist ofthe Vienna Philharmonic and the Vienna State Operasince 2009. He is a prizewinner of the most presti-gious international competitions, as the “Carl NielsenInternational Clarinet Competition” in Denmark2009. As a soloist he is regularly invited to performwith renowned orchestras, among them the ViennaPhilharmonic Orchestra, the Mozarteum OrchestraSalzburg, the NHK Symphony Orchestra, with con-ductors such as Lorin Maazel, Gustavo Dudamel, An-dris Nelsons, Adam Fischer,etc. As a chamber mu-sician he has worked together with musicians suchas Angelika Kirchschlager, Barbara Bonney, ThomasHampson, Bobby McFerrin, Julian Rachlin, MischaMaisky, etc. He is member of “The Philharmonics”and founding member of “the clarinotts” together withhis brother Andreas and his father Ernst (all three prin-cipal clarinetists of the Berlin or Vienna PhilharmonicOrchestra). Daniel Ottensamer recorded his Debut CDwith SONY-Classical playing the Clarinet-Concerto of

W.A. Mozart. In 2016 the “Deutsche Grammophon”released the Debut-CD of “the clarinotts”. A record-ing of the J.Brahms and CM.v. Weber clarinetsonatas was published at “Classic Concert Records”.

CHEN REISS, SOPRANSoprano Chen Reiss performed leading parts at theVienna State Opera, Bavarian State Opera, Théâtredes Champs-Élysées, Teatro alla Scala, Semperop-er Dresden, Deutsche Oper Berlin, Hamburg StateOpera, De Nederlandse Opera Amsterdam ,WienerFestwochen, Maggio Musicale Fiorentino, OperaCompany of Philadelphia and the Israeli Opera. In2016 She sang Morgana (Alcina) under MarcMinkowski at the Vienna State Opera, as well as Gre-tel and Sophie (Der Rosenkavalier). With the ViennaPhilharmonic under the baton of Zubin Mehta, shesang a gala concert for Suntory Hall 30th Anniversary.In the same year Ms. Reiss also made her debut withthe Royal Concertgebouw Orchestra under DanieleGatti and sang Marzelline (Fidelio) with the Israel Phil-harmonic. In 2017 she will sing Zdenka (Arabella) andMarzelline (Fidelio) at the Vienna State Opera, Liu (Tu-randot) with the Israel Philharmonic, as well as con-certs with the Chicago Symphony, Munich Philhar-monic and Lucerne symphony. She will perform at theLondon Proms, Lucerne Festival, SHMF and manymore. Her debut at the Royal Opera House under An-tonio Pappano is planned for 2018. In December 2014Chen Reiss was invited to sing for Pope Francis dur-ing the Christmas Mass, which was broadcast world-wide. Accompanied by the Berlin Philharmonic andSir Simon Rattle, Ms. Reiss sang the soundtrack tothe film “Perfume”. A frequent soloist at important con-cert venues worldwide, Ms. Reiss sang with distin-guished conductors such as: Daniel Barenboim,Christoph Eschenbach, Daniele Gatti, Daniel Hard-ing, Manfred Honeck, Marek Janowski, Paavo Järvi,James Levine, Zubin Mehta, Mark Minkowski,Jonathan Nott, Donald Runnicles, Jeffrey Tate,Christian Thielemann and Franz Welser-Möst. She per-formed concerts at the Salzburg, Ludwigsburg,Rheingau and Lucerne Festivals, as well as inCarnegie Hall, Vienna’s Musikverein and Palais desBeaux-Arts in Brussels. Other concert appearancesinclude: Vienna Philharmonic, Staatskapelle Berlin,Gewandhausorchester Leipzig, Radio Symphony Or-

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THE ARTISTS

Daniel Ottensamer

Chen Reiss

81

chestra Berlin, Tonhalle Düsseldorf, LaeiszhalleHamburg, Philharmonie Berlin, Concerto Köln,Schleswig-Holstein Musik Festival, Mozarteum Or-chestra Salzburg, Orchestre de Paris, OrchestreNational de France, Pittsburgh Symphony and Dal-las Symphony, among others. Her operatic repertoireincludes: Gilda (Rigoletto), Adina (L’elisir d’amore),Amina (LA Sonnambula), Nannetta (Falstaff), Oscar(Un ballo in maschera), Marie (La fille du régiment),Sophie (Der Rosenkavalier), Zdenka (Arabella), Rosi-na (Il barbiere di Siviglia), Pamina (Die Zauberflöte),Ilia (Idomeneo), Servilia (La clemenza di Tito), Susanna(Le nozze di Figaro), Konstanze (Die Entfuehrung ausdem Serail), Zerlina (Don Giovanni), Euridice (Orfeoed Euridice), Adele (Die Fledermaus), and the title rolein Das Schlaue Füchslein. Her solo album, LI-AISONS, won the Diapason D’or in 2011. On her lat-est album “Le Rossignol et la Rose” Chen Reiss pres-ents a romantic compilation of songs with distinguishedpianist Charles Spencer.

SUSANNE SCHAEFFER, CONTRALTOThe mezzosoprano Susanne Schaeffer often workswith many of the famous concert-orchestras all overthe world. For the third time, she is participating inthe Festival Internazionale di Musica e Arte Sacra andis also a well-liked guest at other grand Festivals suchas the Musikfestspiele Saar, the Rheingau-Musik-Fes-tival, Klangbogen Wien, the Ruhrtriennale and theBeethovenfest Bonn.Conductors she has worked with are, among others,Roman Kofman, Roberto Paternostro, Karl-FriedrichBeringer, Roderich Kreile, Christopher Moulds, Syl-vain Cambreling, Steven Sloane and Eiji Oue, withwhich she has worked quite several times in Japan,among other in cooperation with Tokyo PhilharmonicOrchestra. She often sings in such famous concerthalls as the Philharmonies in Cologne, Essen, Mu-nich and St.Petersburg, the Hamburger Musikhalle,the Festspielhaus Baden Baden, the Alte OperFrankfurt, the Konzerthaus Berlin, the Megaron ofAthens, the Festival Hall of Osaka and the Suntoryand NHK-Hall of Tokyo. Beside other recent per-formances, she has been singing Beethovens Mis-sa Solemnis under the conducting of Christoph Pop-pen as a live radioproduction in Saarbrücken and

Wiesbaden, Mahlers 8th Sinfonie under the conducingof Charles Dutoit in the NHK-Hall in Tokyo and Bach’sSt.Mattew’s passion during the White Nights in St.Pe-tersburg with Leo Krämer. Together with her husband,the well-known pianist Burkhard Schaeffer, she prac-tised an extensive Lied-repertory of all epochs andperforms with him many Lied-recitals. She also hadseveral operaengagements at the operahouses ofDortmund, Cologne and Kassel. Susanne Schaefferstudied with Elisabeth Fellner-Köberle and MariaTuczek-Graf at the university of music Mainz and alsoparticipated in master classes of Leonard Hokansonand Sergiu Celibidache. She obtained a scholarshipof the Villa Musica in Mainz and has won prizes atdifferent competitions. Susanne Schaeffer alsoworks as a singing instructor at the Hochschule fürMusik und Darstellende Kunst in Frankfurt/Main. Ra-dio and TV productions document her artistic life.

TSUTOMU TANAKA, BARITONODebuted with “Le nozze di Figaro,” and subsequentlyappeared in “Così fan tutte,” “Pagliacci,” and “Fal-staff,” and etc. From 1990 to 1991, Tsutomu Tana-ka was sent Vienna as overseas trainee by the Agencyfor Cultural Affairs and studied at University of Mu-sic and Performing Arts, Vienna. After returning home,he appeared in “La Traviata,” La Bohéme,” Rigoletto,”“Yuzuru (Twilight Crane),” “Evgenij Onegin,”“Madama Butterfly,” Pagliacci,” and “Turandot”, andso forth. He won the Encouraging Prize for New singerof the 22nd Naniwa Performing Arts Festival, and Au-dience Special Award of the 1st International LiedCompetition of the Japan Schubert Society (J.S.G). In 1999, he awarded for cultural merit from Izumi city,and for the 20th Critics society prize in 2000. In 2004,he received Osaka Performing Arts Award. In 2011,he won the Agency for cultural affairs art award forhis singing “Rigoletto.” In 2014,he participated in In-ternational Festival of Sacred Music and Art in Vati-can City. He completed a course in Operatic Studiesof Osaka College of Music Graduate School. Currently,he is professor of Osaka College of Music, head teacherin charge of Operatic Studies of Osaka College of Mu-sic Graduate School, executive board member of Kan-sai Opera Company, and associate of JapanischeSchubert Gesellschaft.

Susanne Schaeffer

Tsutomu Tanaka

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ORCHESTRASWiener Philharmoniker 2002 2003 2004 2005 2006

2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017

Orchestra Filarmonica di San Pietroburgo 2002Le Poème Harmonique 2002 2007The Hilliard Ensemble 2003Orchestra da Camera della Filarmonica di S. Pietroburgo 2003The Orchestra of the Age of Enlightenment 2004Orchestra Sinfonica Praga 2004Concert Royal 2004London Philharmonic Orchestra 2005Camerata Salzburg 2006Symphonisches Orchester der Humboldt-Universität zu Berlin 2007Humboldts Studentische Philharmonie 2007The Amsterdam Baroque Orchestra 2007Le Poème Harmonique 2007Ensemble Arte della Fuga 2008Continuo Arts Symphonic Chorus and Orchestra 2008The City of Prague Philharmonic Orchestra 2008Orchestre de la Suisse Romande 2008Ensemble di fiati „Dom zu Speyer“(Duomo di Spira) 2008I Solisti del Thema Regium 2008Palatina Classic Brass Ensemble 2009Orchestra Sinfonica “Fausto Torrefranca” dell’omonimoConservatorio Statale di Musica di Vibo Valentia(Antonella Barbarossa) 2009Membri dell’Orchestra Sinfonica del BayerischerRundfunk Monaco 2009Fiati del Duomo di Magonza „Mainzer Dombläser“ 2010Grande organico dei Fiati del Duomo di Magonza„Mainzer Dombläser“ 2010Philharmonie Südwestfalen – Landesorchester Nordrhein-Westfalen 2010Orchestre Philharmonique de Monte-Carlo 2011Orchestra della Cappella Ludovicea 2011Orchestra del Teatro dell’Opera di Roma 2011 2012 2013Orchestra Roma Sinfonietta 2012 2014 2015 2016 2017Johann-Rosenmüller-Ensemble (su strumenti storici) 2012Gürzenich-Orchester Köln 2013

Orchestra del Teatro San Carlo di Napoli 2013IlluminArt Philharmonic Orchestra, Giappone 2013

2014 2015 2016 2017Orchestra del Conservatorio Statale di Kazan

2014 2016 2017Ensemble Hans Berger 2015Orchestra della Filarmonica delle Nazioni 2015The Continuo Arts Chamber Orchestra (U.S.A) 2016Orchestra dell’Accademia Teatro alla Scala 2016World Peace Philarmonic 2016Ensemble Instrumenta Musica 2017

CHOIRSWiener Singverein 2002 2005 2013 2014Cappella Musicale della Basilica di San Pietro (“Cappella Giulia”) 2002 2003 2004 2005Coro del Duomo di Colonia 2003 2006 2013Master Chorale of the USA 2003Coro del Duomo di Speyer 2003 2006 2008Herrenchor der Wiener Staatsoper 2004Wiener Sängerknaben 2004 2006 2009 2016The Choir of New College Oxford 2004 2015 2016Coro Filarmonico Praga 2004Vokalensemble Kölner Dom 2004London Philharmonic Choir 2005 La Venexiana 2005Coro dell’Accademia Filarmonica Romana 2006Coro del Conservatorio Statale di Kazan 2006Coro del Duomo di Salisburgo 2006Humboldts Philharmonischer Chor 2007Coro dell’Accademia Nazionale di Santa Cecilia 2007The Amsterdam Baroque Choir 2007Choir of the Basilica of the National Shrine of theImmaculate Conception 2008Youth Orchestra of the Americas 2008Gächinger Kantorei 2008Rundfunkchor Berlin 2008Philharmonischer Chor an der Saar 2008 2014

2016 2017Chor der Saarländischen Bachgesellschaft (Coro dell’Associazione Bachiana del Saarland) 2008Speyerer Domchor (Coro del Duomo di Spira) 2008

THE ARTISTS

THE ARTISTS OF THE FONDAZIONE PRO MUSICA

E ARTE SACRA FROM 2002 TO 2017

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Philharmonischer Chor an der Saar (Coro Filarmonico sulla Saar) 2008Chor der Saarländischen Bachgesellschaft (Coro dell’Associazione Bachiana del Saarland) 2008Coro Polifonico della Fondazione Domenico Bartolucci 2009The Musicians of Saint Clare, Denver 2009 Palatina Classic Vocal Ensemble 2009 2014 2016 2017Coro Polifonico del Pontificio Istituto di Musica Sacra(Walter Marzilli) 2009Coro Interuniversitario (Massimo Palombella) 2009Cappella Musicale Liberiana (Valentino Miserachs) 2009Cor Universitar “Rovira i Virgili” (Montserrat Rios) 2009Coro dei Fanciulli (Josep Solé / Franco Mazzitelli –Michele Loda / Anna Giardili) 2009Coro da Camera Belcanto 2010Coro della Cattedrale di Saint Patrick, New York 2010Bach-Chor, Siegen 2010 2012Oratorio Society New York 2011Chorvereinigung St. Augustin 2011Coro di voci bianche Tölzer Knabenchor 2011Coro del Teatro dell’Opera di Roma 2011 2013Cori da concerto dell’Associazione corale StuttgarterLiederkranz 2012Coro della Cappella Musicale Pontificia “Sistina” 2012

2013 2014 2015 2016Westminster Cathedral Choir 2012Choir of Westminster Abbey 2012 2016Thomanerchor 2013Coro Sinodale del Patriarcato di Mosca 2013 2014Coro del Teatro San Carlo di Napoli 2013Echology Chamber Choir, Australia 2013 IlluminArt Philharmonic Chorus 2013 2014 2015

2016 2017Kantorei Schlosskirche Weilburg 2014Capella Weilburgensis 2014Philharmonischer Chor an der Saar 2014 2016Coro del Conservatorio Statale di Kazan 2014 2016The Continuo Arts Festival Chorus 2014Mädchenchor am Kölner Dom 2014Coro di Roma Sinfonietta 2015Montini-Chor 2015St. Jacob’s Chamber Choir 2015Coro della Filarmonica delle Nazioni 2015Windsbacher Knabenchor 2016Kammerchor der Frauenkirche Dresden 2016 2017Coro del Conservatorio Statale di Kazan 2016

The Evangel University Chorale 2016Coro dell’Accademia Teatro alla Scala 2016The Continuo Arts Symphonic Chorus 2016Choir of King’s College, Cambridge 2017Coro del Vicariato Vaticano – Basilica di San Pietro 2017Limburger Domsingknaben 2017

CONDUCTORSFranz Welser-Möst 2002Vincent Dumestre 2002Leo Krämer 2002 2003 2006 2008

2009 2014 2016 2017Pablo Colino 2002 2003 2004 2005 2006Eberhard Metternich 2003 2004 2006 2013Nikolaus Harnoncourt 2003Paul Salamunovich 2003Riccardo Muti 2004 Edward Higginbottom 2004Ondrej Lenárd 2004Paolo Olmi 2005Claudio Cavina 2005Seiji Ozawa 2005Janos Czifra 2006Leopold Hager 2006Constantin Alex 2007Daniele Gatti 2007Vincent Dumestre 2007Ton Koopman 2007Christoph Eschenbach 2008 2016Candace Wicke 2008 2016Helmuth Rilling 2008Peter Latona 2008Marcello Nardis 2008Marek Janowski 2008Hans-Eberhard Dentler 2008Domenico Bartolucci 2009Carma Romano 2009Valentino Miserachs 2009Johannes Skudlik 2009Gerald Wirth 2009 2016Jennifer Pascual 2010Mathias Breitschaft 2010Andris Nelsons 2010Simon Gaudenz 2010Kent Tritle 2011 Juanjo Mena 2011Georges Prêtre 2011

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Ildebrando Mura 2011Andreas Pixner 2011Gerhard Schmidt-Gaden 2011Roberto Gabbiani 2011 2013Jaap van Zweden 2011Ulrich Walddörfer 2012Markus Stenz 2012Massimo Palombella 2012 2013 2014 2015 2016Ulrich Stötzel 2012Martin Baker 2012Georg Christoph Biller 2013Giuseppe Grazioli 2013Salvatore Caputo 2013Stefania Rinaldi 2013Leopold Hager 2013Philip Matthias 2013Aleksej Puzakov 2013 2014Tomomi Nishimoto 2013 2014 2015 2016 2017 Doris Hagel 2014Ingo Metzmacher 2014Mark Hayes 2014Oliver Sperling 2014Manfred Honeck 2014Hans Berger 2015 Herbert Blomstedt 2015Gary Graden 2015Robert Quinney 2015 2016Justus Frantz 2015 2016Martin Lehmann 2016Tom Matrone 2016Alberto Malazzi 2016Matthias Grünert 2016 2017James O’Donnell 2017Temistocle Capone 2017Stephen Cleobury 2017Andreas Bollendorf 2017

SOLISTIAngela Blasi, soprano 2002Bernarda Fink, contralto 2002 2013 2017Herbert Lippert, tenore 2002Franz Josef Selig, basso 2002Andrea Reuter, soprano 2002Michael Volle, baritono 2002Alex Potter, contralto 2003Marcus Ullmann, tenore 2003 Phillip Langshaw, basso 2003

Klaus Mertens, basso 2003Luba Orgonasova, soprano 2003Herbert Lippert, tenore 2003Gerald Finley, basso 2003Meredith Kogan, soprano 2003Linda St. George, mezzosoprano 2003Agostino Castagnola, tenore 2003Timothy Jones, basso 2003Ruth Ziesak, soprano 2004 2013Anna Larsson, contralto 2004Herbert Lippert, tenore 2004Adrian Eröd, basso baritono 2004 Claire Booth, soprano 2004Iestyn Davies, controtenore 2004Benjamin Hulett, tenore 2004Adrian Powter, baritono 2004Simona Houda-Šaturová, soprano 2004Jana Sýkorová, mezzosoprano 2004Jaroslav B�ezina, tenore 2004Ji�ì Sulženko, basso 2004Andrea Reuter, soprano 2004Theresa Nelles, soprano 2004Markus Francke, tenore 2004Rolf Schmitz-Malburg, basso 2004Lucia Aliberti, soprano 2005Francesca Provvisionato, mezzosoprano 2005David Alegret, tenore 2005Manrico Signorini, baritono 2005Genia Kühmeier, soprano 2005Monica Groop, mezzosoprano 2005Herbert Lippert, tenore 2005Günther Groissböck, baritono 2005Laura Aikin, soprano 2006Alexandra Thomas, contralto 2006Daniel Sans, tenore 2006Thomas Laske, basso 2006Susanne Bernhard, soprano I 2006 2014 2017Ekaterina Leyder, soprano II 2006Bernhard Berchthold, tenore 2006Radu Cojocariu, basso 2006Monika Waeckerle, contralto 2006Bernhard Berchthold, tenore 2006Radu Cojocariu, basso 2006Ildiko Raimondi, soprano 2006Michaela Selinger, mezzosoprano 2006 2013Johannes Chum, tenore 2006Paul Armin Edelmann, baritono 2006

THE ARTISTS

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Fiorenza Cedolins, soprano 2007Dolora Zajick, mezzosoprano 2007Fabio Sartori, tenore 2007Ferruccio Furlanetto, basso 2007Marieke Steenhoek, soprano 2007Iestyn Davies, alto 2007Jörg Dürmüller, tenore 2007Klaus Mertens, basso 2007Carlo Parazzoli, violino 2008Raffaele Mallozzi, viola 2008Hans-Eberhard Dentler, violoncello 2008Francesco Bossone, fagotto 2008Antonio Sciancalepore, contrabbasso 2008Jean Guillou (pianoforte e organo) 2008Johannes Skudlik (organo) 2008Simon Preston (organo) 2008Reinhold Friedrich (tromba) 2008Alexandra Coku, soprano 2008Detlef Roth, baritono 2008Giandomenico Piermarini, organo 2009Juan Paradell Solé, organo 2009James Edward Goettsche, organo 2009Laura Vukobratovic, tromba 2009Ingrid Paul, flauto dolce 2009Leo Krämer 2009Francesca Rinaldi, soprano 2009Albert Deprius, tenore 2009Francesc Garrigosa, tenore 2009Mercè Obiol, mezzosoprano 2009Josep Pieres, basso 2009Michel Galeotti, baritono 2009Anselmo Fabiani, tenore 2009Albert Deprius, tenore 2009Albert Deprius, tenore 2009Josep Pieres, basso 2009Ramón Ortega, oboe 2009Akiko Szulc-Tanaka, violino 2009Laura Vukobratovic, tromba 2009Lukasz Gothszalk, tromba 2009Johannes Skudlik, 2009Laura Vukobratovic, tromba 2009Ingrid Paul, flauto dolce 2009Albert Schönberger, organo 2010Regina Klepper, soprano 2010Michael Suttner, tenore 2010Michael Dries, basso 2010Ulrich Stötzel, organo 2010

Lisa Larsson, soprano 2011Wiebke Lehmkuhl, contralto 2011Kenneth Tarver, tenore 2011Tareq Nazmi, basso 2011Kent Tritle, organo 2011Julia Fischer, violino 2011Keiko Morikawa, soprano 2011Rachel Rosales, soprano 2011Malena Dayen, mezzosoprano 2011John Tiranno, tenore 2011Joshua South, basso 2011Claudia Farneti soprano 2011Cornelia Horak, soprano 2011Katia Castelli, Gabriele Sima, contralto 2011Alexander Kaimbacher, tenore 2011Günter Haumer, basso 2011Clemens Haudum, organo 2011Bettina Leitner, organo 2011Dominik Bernhard, organo 2011Frank Stanzl, organo 2011Maria Grazia Schiavo, soprano 2011Yetsabel Arias Fernandez, soprano 2011Joel Prieto, tenore 2011Nahuel Di Pierro, basso 2011 Clemens Haudum, organo 2011Werner Mayer, violone 2011Ulf Bästlein, baritono 2012Stefano Minore, violino 2012Monika Mauch, soprano I 2012Constanze Backes, soprano II 2012Beat Duddeck, controtenore 2012Hermann Oswald, tenore I 2012Nils Giebelhausen, tenore II 2012Dominik Wörner, basso I 2012Markus Flaig, basso II 2012Chen Reiss 2012 2016 2017Francesco Filidei, organo 2013Lina Uinskyte, violino 2013Mika Kares, Basso 2013Steve Davislim, Tenore 2013 2014Rocìo Ignacio, Soprano 2013Marianna Pizzolato, Mezzosoprano 2013Alessandro Liberatore, Tenore 2013Gianluca Buratto, Basso 2013Sumi Jo, Soprano 2013Setsuko Takemoto, Contralto 2013Hiroaki Fueda, Tenore 2013

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Hiroyuki Narita, Basso 2013Klaus Mertens, Basso 2014Anna Haase von Brincken, Alto 2014Mechthild Bach, Soprano 2014 Monika Mauch, Soprano 2014Sebstian Kohlhepp, Tenore 2014Hans Jörg Mammel, Tenore 2014Carsten Siedentop, Basso 2014Bernard Weese, Basso 2014 Steve Davislim 2014Werner Güra 2014Rachel Harnisch 2014Christiane Libor 2014Sophie Karthäuser 2014Daniel Schmutzhard 2014Susanne Schaeffer, Contralto 2014 2016 2017Oscar de la Torre, Tenore 2014 2016 2017Vinzenz Haab, Basso 2014Vinzenz Haab, Bass 2014Victor Chan, Baritono 2014Charisma Miller, Soprano 2014Linda Scott, Mezzo Soprano 2014Mark Spencer, Baritono 2014Takako Nogami, Mezzo-Soprano 2014 2016 2017

Gianluca Sciarpelletti, Tenore 2014Bunya Sayuri, Soprano 2014Tsutomu Tanaka, Baritono 2014 2016 2017Ksenia Dubrovskaya, Violino 2015 2016Maria Arija, Soprano 2015Angelina Shvachka, Mezzosoprano 2015Kana Kumamoto, soprano 2016 2017Naoki Nizuka, tenore 2016Liudmila Slepneva, soprano 2016 Karsten Mewes, basso 2016Luiz de Godoy, pianista 2016 Roy & Rosemary 2016Jennifer Forni, soprano 2016Keith Spencer, basso 2016Albena Danailova, violino 2016Raimund Lissy, violino 2016Oreste Cosimo, tenore 2016Dongho Kim, basso 2016Yusuke Kobori, tenore 2017 Heikki Kilpeläinen, baritono 2017Daniel Ottensamer, clarinetto 2017Mechthild Bach, soprano 2017Cornel Frey, tenore 2017Thomas Laske, baritono 2017

THE ARTISTS

Ars Artem Salvat

16. Festival Internazionale di Musica e Arte Sacra

Rom Und Vatikan15. September 2017 und vom 4. bis 10. November 2017

88

Medaille desStaatspräsidenten

Italiens

MIT AUSZEICHNUNG DES STAATSPRÄSIDENTEN

DER REPUBLIK ITALIEN DURCH SEINE IHN

STELLVERTRETENDE MEDAILLE

89

DIE FONDAZIONE PRO MUSICA E ARTE SACRA

GRÜNDER UND GENERALPRÄSIDENTSen. Dr. h.c. mult. Hans-Albert Courtial

Großkreuzritter des Verdienstordens der italienischen

Republik und Botschafter Roms in der Welt

STIFTUNGSRATSen. Dr. h.c. mult. Hans-Albert Courtial

Msgr. Pablo Colino

Msgr. Valentino Miserachs Grau

Nicole Anneliese Courtial M. A.

EHRENPRÄSIDENTS. Hochw. Eminenz Angelo Kardinal Comastri

Erzpriester der päpstlichen Basilika von St. Peter im

Vatikan, Generalvikar des Papstes für die Vatikanstadt,

Präsident der Dombauhütte von St. Peter

EHRENKOMITEES. Hochw. Eminenz Santos Kardinal Abril y Castelló

Erzpriester Emeritus der Basilika Santa Maria

Maggiore, Rom

S. Hochw. Eminenz Domenico Kardinal Bartolucci

(Borgo San Lorenzo, 7. Mai 1917 – Rom, 11.

November 2013) Kapellmeister Emeritus der

Päpstlichen Musikkapelle “Sistina” und Preisträger

“Fondazione Pro Musica e Arte Sacra” 2010

S. Hochw. Eminenz Andrea Kardinal Cordero Lanza di

Montezemolo

Erzpriester Emeritus der Basilika San Paolo fuori le

Mura, Rom

S. Hochw. Eminenz Timothy Kardinal Dolan

Erzbischof von New York

S. Hochw. Eminenz James Michael Kardinal Harvey

Erzpriester der Basilika San Paolo fuori le Mura, Rom

S. Hochw. Eminenz Bernard Francis Kardinal Law

Erzpriester Emeritus der Basilika Santa Maria

Maggiore, Rom

S. Hochw. Eminenz William Joseph Kardinal Levada

Präfekt Emeritus der Glaubenskongregation

S. Hochw. Eminenz Francesco Kardinal Marchisano

(Racconigi, 25. Juni 1929 – Rom, 27. Juli 2014)

Präsident Emeritus der Permanenten Kommission für

den Schutz der Historischen und Künstlerischen

Denkmäler des Heiligen Stuhles und Preisträger


S. Hochw. Eminenz Francesco Kardinal Monterisi

Erzpriester Emeritus der Basilika San Paolo fuori le

Mura, Rom

S. Hochw. Eminenz Paul Kardinal Poupard

Präsident Emeritus des Päpstlichen Kulturrates

Msgr. Prof. Dr. Georg Ratzinger,

Apostolischer Protonotar, Kapellmeister

Emeritus und Preisträger “Fondazione Pro Musica

e Arte Sacra” 2010

S. Hochw. Eminenz Gianfranco Kardinal Ravasi

Präsident des Päpstlichen Kulturrates

S. Hochw. Eminenz Camillo Kardinal Ruini

Generalvikar Emeritus Seiner Heiligkeit für die Diözese

Rom

S. Hochw. Exzellenz Erzbischof Giovanni Tonucci

Erzbischofprälat des Heiligen Hauses von Loreto

S. Hochw. Eminenz Agostino Kardinal Vallini

Generalvikar Emeritus Seiner Heiligkeit für die Diözese

Rom und Erzpriester der Basilika San Giovanni in

Laterano, Rom

Prof. Dr. Dr. Sen. h.c. Herbert Batliner

Großkreuzritter mit Diamanten des Fürstentums

Liechtenstein Preisträger “Fondazione Pro Musica e

Arte Sacra” 2014

Ralph Dommermuth

Sen. Dr. Mariapia Garavaglia

Preisträgerin “Fondazione Pro Musica

e Arte Sacra” 2008

Prof. Nikolaus Harnoncourt

(Berlin, 6. Dezember 1929 - Sankt Georgen im

Attergau, 5. März 2016)

Dirigent, Preisträger “Fondazione Pro Musica e Arte

Sacra” 2014


Preisträger “Fondazione Pro Musica e Arte Sacra” 2010

Dr. Gianni Letta


ORGANIGRAMM

90

Comm. Ing. Dr. h.c. Wolfgang D. Schrempp

Commendatore des Verdienstordens der Italienischen

Republik

Commendatore des Verdienstordens des Malteserordens

Managing Director-CCS-Consulting



Dr. h.c. Hans Urrigshardt

(1945-2016)


Franz Welser-Möst

Dirigent

KÜNSTLERISCHES KOMITEEMsgr. Pablo Colino

Domkapellmeister Emeritus und Präfekt für die Musik

der Basilika St. Peter im Vatikan, Preisträger


Prof. Janos Czifra

Domkapellmeister am Dom zu Salzburg


Präsident Emeritus der Wiener Philharmoniker

Prof. Eberhard Metternich

Domkapellmeister am Kölner Dom

Msgr. Valentino Miserachs Grau

Rektor Emeritus des Päpstlichen Institutes

für Kirchenmusik

Maestro James O’Donnell

Organist und Domkapellmeister der Westminster Abbey

Maestro Massimo Palombella, SDB

Leiter des Päpstlichen Chores Cappella Musicale

Pontificia “Sistina”

FÖRDERKOMITEEDott.ssa Claudia Autieri Präsidentin

Ihre Durchlaucht Fürstin Marie von und zu Liechtenstein

Wiener Philharmoniker, Wien

Päpstliches Institut für Kirchenmusik, Vatikanstadt

Internationale Vereinigung Freunde der Fondazione Pro

Musica e Arte Sacra, Rom

Förderverein der Freunde der Fondazione Pro Musica e

Arte Sacra e.V., Deutschland

Courtial International s.r.l., Rom

RECHNUNGSPRÜFERDr. Demetrio Minuto, Präsident

Dr. Carlo Bardanzellu, Rechnungsprüfer

Dr. Valter Sebastianelli, Rechnungsprüfer

Dr. Giorgio Peraldo Matton, stellvertretender

Rechnungsprüfer

Dr. Silvio Paolo Magnanego, stellvertretender

Rechnungsprüfer

Gründer, Generalpräsident und gesetzlicher Vertreter

Sen. Dr. h.c. mult. Hans-Albert Courtial

Präsidentin des Festival 2017


Sekretariat

Dott.ssa Elena Regina Brandstetter

Dr. Claudia Mayu Gerken

Verwaltung

Rag. Andrea Serafini

Pressebüro

Dott.ssa Sara Ciccarelli

Dott. Luca Pellegrini

Fotografen

Flavio Ianniello

Riccardo Musacchio


ORGANIGRAMM DES 16. FESTIVAL INTERNAZIONALE

DI MUSICA E ARTE SACRA

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Jedes Jahr suche ich eine Verbindung des Festival Internazionale di Musica e Arte Sacra mit einem Er-eignis, das das Leben der Kirche betrifft. 2017 jähren sich die Erscheinungen Unserer Lieben Frau vonFatima zum hundertsten Mal – Erscheinungen, die den turbulenten Verlauf der Geschichte dieser Jahregezeichnet und erleuchtet haben. Und so biete ich dem Publikum, das die päpstlichen Basiliken bei denKonzerten füllt, meine Gedanken dazu an, um während des Hörens von wunderbarer Musik auch Raumzu lassen für einen tiefer gehenden Gedanken, der sich an die Seele richtet und zu einem stärkeren En-gagement im Leben aufruft.Was genau geschah in Fatima vor einhundert Jahren?Am 13. Mai 1917 zogen drei einfache und bettelarme Hirtenkinder aus Aljustrel, einem kleinen Ort in derNähe von Fatima, mit den Herden ihrer Familien auf die Felder, um die Tiere zu weiden. Sie waren Anal-phabeten, denn den Luxus eines Schulbesuchs konnten sie sich nicht leisten – ihre Familien brauchtenihre Arbeitskraft!Wer waren diese Kinder? Lucia, die älteste, kam am 22. März 1907 als letztes von sieben Kindern zur Weltund war zehn Jahre alt. Francisco und Jacinta waren Cousins Lucias und neun bzw. sieben Jahre alt. Der 13. Mai 1917 war ein Sonntag, und die Kinder waren schon ganz früh zur Heiligen Messe gegangen,denn ihre Familien hätten es trotz der harten Arbeit auf den Feldern nie zugelassen, dass man die Hei-lige Sonntagsmesse verpasste. Für die Kinder begann ein denkwürdiger Tag. Als sie aus der Ferne das Mit-tagsläuten hörten, verzehrten sie das mitgebrachte Essen und beteten dann gemeinsam den Rosenkranz.Dann spielten sie wieder, und plötzlich sahen sie einen Blitz. Sie hatten Angst, dass ein Unwetter nahe,und begannen die Schafe zu rufen, um sie zusammenzutreiben. Ein zweiter, noch viel stärkerer Blitz ließsie innehalten. Sie wandten sich nach rechts und sahen auf der Spitze einer niedrigen Steineiche eineDame in Weiß: »Es war eine weiß gekleidete Frau, so beschrieb es Lucia, die heller leuchtete als dieSonne. Sie strahlte ein Licht aus, das klarer und stärker war als das eines Kristalls«.Von der Erscheinung vollkommen überrascht, starren sie Kleinen auf die Dame, die sie mit zarter undmütterlicher Stimme beruhigt: »Habt keine Angst, ich will euch nichts tun«.Lucia nimmt all ihren Mut zusammen und fragt: »Woher kommt Ihr?«.Die Dame lächelt und antwortet: »Ich komme vom Himmel!«.»Und was wollt Ihr von uns?«, fragt Lucia.»Ich bin gekommen, um euch zu bitten, sechs Monate lang an jedem 13. des Monats zur gleichen Uhr-zeit hier zu sein. Danach werde ich euch mitteilen, wer ich bin und was ich will. Ich werde noch ein sieb-tes Mal herkommen«.Lucia ist ermutigt und fragt: »Und dann komme ich in den Himmel?«.»Ja, das wirst du!«.»Und Jacinta?«.»Sie auch!«.»Und Francisco?«.»Auch er wird in den Himmel kommen, aber vorher muss er noch viele Rosenkränze beten!«.Die Dame in Weiß antwortet: »Ihr werdet viel leiden müssen, doch Gottes Gnade wird euch trösten!«.Was ist der Sinn dieser mütterlichen Ermahnungen Marias?In den Botschaften, die sie den Hirtenkindern von Fatima im Jahr 1917 mitteilte und die im Jahr 2000 voll-ständig öffentlich gemacht wurden, kann man ohne weiteres mütterliche Sorge und die betrübte Ermah-nung erkennen, das Evangelium Jesu Christi ernst zu nehmen. Jedes Mal, wenn die Muttergotteseinschreitet, gehen ihre Worte in diese Richtung. In Fatima erinnert uns die Muttergottes vor allem an dieWahrheit eines Lebens jenseits von diesem Leben: das Jenseits existiert! Diese insistente Ermahnung der

VORWORT DES EHRENPRÄSIDENTEN

S. Em. AngeloCardinal Comastri

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Muttergottes erreicht uns zu Beginn des 20. Jahrhunderts, eines blutigen Jahrhunderts, eines Jahrhun-derts der Utopien. Martin Heidegger hatte Recht, als er meinte: »Keine Epoche verstand weniger als dieunsere, was der Mensch ist!«.Die Muttergottes brachte uns in diesem Kontext wieder auf die schlichte und klare Wahrheit des Evange-liums zurück, das da sagt: »Sammelt euch nicht Schätze hier auf der Erde, wo Motte und Wurm sie zer-stören und wo Diebe einbrechen und sie stehlen, sondern sammelt euch Schätze im Himmel.« (Mt6,19-20). Wenn man die herrliche Wahrheit des Paradises vergisst, verliert das Menschenleben jede Be-deutung.Im Gegenteil, man entdeckt das Böse, den Schmerz, das Leiden. Man entdeckt die Hölle, an die uns Un-sere Liebe Frau von Fatima erinnert hat. Es ist möglich, Gott zu verneinen (die Dämonen taten dies be-reits und sind daher schon in der Hölle), und die Ablehnung Gottes bleibt nicht ohne Folgen. Wenn derMensch Gott verneint, schließt er sich automatisch selbst in einen Kerker des Leidens und der Zerrissen-heit, der brennt wie ein alles verschlingendes Feuer. Die Hölle, das sei klar gestellt, ist nicht von Gott ge-wünscht, aber der Mensch kann sie wollen. Gott möchte alle mit seiner Umarmung voller Güte undGlückseligkeit beschenken, doch er kann und will niemanden dazu zwingen. Wenn der Mensch sich selbstfreiwillig und definitiv von Gottes Umarmung ausschließt, verschafft er sich im selben Moment durch seinehochmütige Verneinung Einlass in die Hölle.Neben der Wahrheit der Existenz der Hölle hat Unsere Liebe Frau von Fatima auch an die tragischen undschwerwiegende Konsequenzen in der Menschheitsgeschichte erinnert. Kriege, Hunger, Gewalt jeder Art,Verfolgungen – all dies sind Folgen einer vom Menschen durch die Sünde ausgeführten Aggression gegendie wunderbare und verletzliche Ordnung der Kreation, die Gottes Hände so wunderbar schuf. Unsere Liebe Frau von Fatima – die süße Gottesmutter, die Pergolesi zu Füßen des Kreuzes ihres ster-benden Sohnes mit seiner wunderbaren Musik zu Texten des Jacopone da Todi begleitet, wie es nochkeinem Komponisten vor ihm gelang – hat uns an all das erinnert, was schon in der Heiligen Schrift ge-schrieben stand, doch war es von der Vorsehung bestimmt, dass es noch einmal betont werde.

Im Jahr 2000 lieferte der damalige Kardinal Ratzinger diesen wunderbaren Kommentar: »Die Muttergot-tes hat uns daran erinnert, dass ein für Gott offenes Herz stärker ist als Gewehre und Waffen jeder Art«.Und in der Tat sprach Jesus zu uns: »Habt keine Angst. Ich habe die Welt besiegt«.Die Muttergottes hat uns in Fatima mit dem Feingefühl und der Ehrlichkeit einer Mutter an diese grund-legenden Wahrheiten erinnert. Wir danken ihr dafür. Und gemeinsam mit ihr stimmen wir fröhlich unddankbar unser Te Deum an, das Lieblingswerk Anton Bruckners, das wir im Festival hören. Er war einMann und Künstler mit einem klaren und festen Glauben und begleitet uns, zusammen mit vielen ande-ren Genies der sakralen Musik, in diesem Festival. Möge die wunderbare Musik nicht nur schön zu hören sein, sondern auch eine Einladung, unsere Seeleschön zu machen, indem wir sie der unendlichen Schönheit und unbegrenzten Güte Gottes öffnen.Der Hauptzweck des Festivals ist genau das: uns zu besseren Menschen zu machen, uns bereit zu ma-chen, eine bessere Welt zu schaffen.

Angelo Kardinal Comastri Generalvikar Seiner Heiligkeit für die Vatikanstadt Erzpriester der Päpstlichen Basilika von St. Peter


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Sehr geehrte Damen und Herren, liebe Freunde der Musica Sacra, wir sind bei der sechzehnten Editionunseres Festival Internazionale di Musica e Arte Sacra in der Ewigen Stadt und im Vatikan angelangt.

Fünfzehn Jahre, die wir gemeinsam und in Gesellschaft von Meisterwerken verbracht haben, die Musik-geschichte schrieben. Gemeinsam machten wir eine Reise durch Stile und Epochen, lernten wir verschie-dene Arten kennen, den Glauben in Noten auszudrücken; wir erlebten und erleben dies alles immer nochan Orten unvergleichlicher Schönheit. Dieses Festival ist für mich ein Geschenk, und ich möchte dieses Ge-schenk an Sie alle weitergeben. So heiße ich Sie auch dieses Jahr wieder ganz herzlich willkommen. Sie kennen sicher schon das Motto, unter dem wir angefangen haben und unter dem das Festival geborenwurde: L’Arte salva l’Arte - durch Kunst die Kunst retten. Es ist weiterhin wichtig, daran zu erinnern, dassdie Fondazione Pro Musica e Arte Sacra ein Ziel verfolgt, welches sie bereits in ihrem Namen trägt, näm-lich die Förderung der sakralen Musik und Kunst. So organisiert die Stiftung ohne Gewinnstreben jährlichihre Konzerte, um dazu beizutragen, die sakrale Musik mit ihren großartigen Komponisten wieder auflebenzu lassen und weiter erfahrbar zu machen, in einem feierlichen Ambiente, welches an künstlerischem Wertkaum zu übertreffen ist: den Basiliken und Kirchen Roms. Wenn wir wollen, dass dieses künstlerische undarchitektonische Erbe mit seinem universellen Wert über die Jahrhunderte seine Strahlkraft beibehält,braucht es liebevolle Pflege, Achtsamkeit und guten Willen. Und nur dies ist der Grund, warum die Fon-dazione Pro Musica e Arte Sacra alle dazu aufruft, das Andenken und die Erhaltung dieses Erbes zu un-terstützen, damit die Kunstwerke auch in Zukunft als Forschungsobjekte und Beispiele für die Ausbildungkommender Künstlergenerationen und Kunstliebhaber zur Verfügung stehen. Wieder wende ich mich mitmeinem Appell an Sie, der da heißt: „Werden Sie Mäzene dieses Kulturgutes der Menschheit!“. Dank der Unterstützung, die unseren institutionellen Aktivitäten zuteil wird, lassen sich die diversen Pro-jekte zur Förderung der sakralen Musik und Kunst verwirklichen. So konnten wir im Laufe der Jahre dieErhaltung von wichtigen sakralen Kunstwerken finanzieren und seit 2002 jedes Jahr das Festival Inter-nazionale di Musica e Arte Sacra organisieren. Seit 2010 engagiert sich die Fondazione Pro Musica e ArteSacra im grandiosen Projekt der Restaurierung der Fassaden des Petersdomes im von Michelangelo ent-worfenen Teil. Zunächst unterstützten wir Restaurierungsarbeiten im dritten Abschnitt der Südfassade derBasilika, dann verliefen die Arbeiten weiter in Richtung Westfassade, was der Apsis der Basilika entspricht,und wurden mit der Restaurierung der Nordseite, ebenfalls Teil von Michelangelos Entwurf, vollendet.Nun sind die Kuppeln an der Reihe. Bis 2019 wird die Fondazione Pro Musica e Arte Sacra die Restau-rierungsarbeiten am Tambour der großen Kuppel des Petersdomes und an den beiden kleineren Neben-kuppeln über den Kapellen Cappella Clementina und Cappella Gregoriana fördern, die ebenfalls Teil desPetersdomes sind.Was die Musik betrifft, haben wir 2011 begonnen, einige ökumenisch-musikalische Projekte des Papst-chores Cappella Musicale Pontificia „Sistina“ finanziell zu unterstützen, die zu einem intensiven und pro-duktiven Dialog mit der evangelisch-lutherischen, der anglikanischen und der orthodoxen Kirche führten.Dieses Jahr ist das Programm des Festivals, nach der Eröffnung, die bereits im September mit einem Kon-zert des berühmten King’s College Choir aus Cambridge in der Basilika Santa Maria Maggiore stattfand,von einigen erfreulichen Rückkehrern und verschiedenen Neuheiten geprägt.Natürlich sind da vor allem die Wiener Philharmoniker, orchestra in residence seit der ersten Edition, diejedes Jahr in der Basilika San Paolo fuori le Mura Tausende Zuhörer begeistern. Sie wurden beim Festi-val stets von den renommiertesten Dirigenten geleitet und schenkten uns herrliche und ergreifende Auf-führungen von seltenen Stücken und berühmten Werken der sakralen und sinfonischen Musik. Meinepersönliche Bindung an diese wunderbare und weltweit einzigartige Vereinigung von hervorragenden Mu-sikern wurde dieses Jahr noch enger, denn zu meiner großen Freude wurde ich zum Botschafter der Wie-

GRUSSWORT DES GENERALPRÄSIDENTEN

Sen. Dr. h.c. mult.Hans-AlbertCourtial

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ner Philharmoniker ernannt. Ich nehme diese Position mit einem Gefühl großer Verantwortung an, dennes handelt sich darum, auf der Welt Gutes zu tun, mit Hilfe der Musik und der Kultur. Drei Aufgaben hatder Botschafter: Flüchtlingsprojekte, bei denen die Musik zu Gemeinschaft und Dialog gegen jede Art derAusgrenzung verhilft; die Pflege einer Orchesterakademie, in der die großen Orchestermusiker von mor-gen ausgebildet werden; die Unterstützung von Aufnahmen auch weniger bekannter Werke, welche beiden großen Labels nicht genug Beachtung finden. Mit den Wiener Philharmonikern beginnen wir näch-stes Jahr auch ein großes Bruckner-Projekt, denn im Jahr 2024 wird der zweihundertjährige Geburtstag


Päpstliche BasilikaSan Paolo

fuori le MuraPapstaltar

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von Anton Bruckner gefeiert, da dieser am 4. September 1824 in Ansfelden zur Welt kam. Mit Blick aufdieses bedeutende Jubiläum werden die Wiener Philharmoniker unter der Leitung von Christoph Eschen-bach ab 2018 und bis 2024 den gesamten Zyklus der Brucknersinfonien aufführen. Jedes Jahr wird dazueine der bedeutenden Basiliken und Kathedralen Europas aufgesucht, und so werden an diesen Orten insieben Jahren alle Sinfonien des großen österreichischen Komponisten zur Aufführung kommen. Folgen-den Terminentwurf kann ich Ihnen mitteilen: 3. Juni 2018 in der Stiftskirche St. Florian mit der Ersten Sin-fonie; Mai 2019 in der Kathedrale St. Isaak in St. Petersburg; 14. September 2019 in London; 2020 inBarcelona in der Basilika Sagrada Familia; Prag, Stockholm, Pisa und Mailand werden folgen.Doch kehren wir nach Rom zurück, für eine weitere wichtige Ankündigung, welche die Wiener Philhar-moniker und unsere Stiftung betrifft: Am 29. Juni 2018 wird anlässlich des Hochfestes der SchutzpatroneRoms St. Peter und Paul ein Open-Air-Benefizkonzert mit dem Titel „Vienna Philharmonic playing for Re-fugees“ stattfinden. Die Wiener Philharmoniker werden gemeinsam mit dem Staatlichen Chor Lettlandsunter der Leitung von Valery Gergiev Mozarts Krönungsmesse aufführen, und der berühmte Tenor JonasKaufmann einige Arien aus Wagner-Opern singen. Zum fünften Mal in Folge wird es beim diesjährigen Festival möglich sein, die Musiker des japanischen Il-luminart Philharmonic Orchestra and Illuminart Chorus unter der Leitung von Tomomi Nishimoto zu erle-ben, als Brücke in den Orient. Ex oriente lux: Ich würde mich freuen, wenn wir in Zukunft weitereEnsembles aus diesen fernen und wunderbaren Ländern bei uns haben könnten. Auch ein lieber Freunddes Festivals kehrt zurück, Leo Kramer, mit dem Palatina Klassik Vocal Ensemble zusammen mit dem Phil-harmonischen Chor an der Saar und dem Orchester des Staatlichen Konservatoriums Kazan. Und eben-falls Roma Sinfonietta, das römische Orchester, das uns bereits bei vergangenen Editionen erfreute. Ichfreue mich, dass zu diesen alten Bekannten neue Ensembles hinzu kommen: die Limburger Domsing-knaben, und der Kammerchor der Frauenkirche Dresden mit dem Ensemble Instrumenta Musica. Diebeiden letzteren spielen in dem Konzert, das wir dem 500. Jahrestag der Reformation widmen, an einemsymbolischen Ort: der Basilika Santa Maria del Popolo, an der der Augustinermönch Luther bei seinerRomreise im Jahr 1510 unterkam. Das Konzert wird, so hoffe ich, auch zu einem Moment des Gebets undder Versöhnung, bei dem Katholiken und Protestanten gemeinsam den Lobgesang Ein‘ feste Burg istunser Gott anstimmen und ihren christlichen Glauben teilen. Ich möchte mich bei unseren Förderern, Wohltätern und Sponsoren von ganzem Herzen bedanken, diedurch ihren großzügigen Beitrag all diese Aktivitäten der Fondazione Pro Musica e Arte Sacra ebenso wiealle zukünftigen erst möglich machen. Es freut mich besonders, dass dieses Jahr das „Weiße Gold“ vonMeißen sich mit unserem Festival verbunden hat, mit dem Gold, das für uns im Glanz der Musik und derdie Konzerte beherbergenden Kirchen liegt, das Gold der Kunst, der Kultur und des Glaubens. Das Por-zellan der altehrwürdigen deutschen Manufaktur, gegründet von August dem Starken, Herzog von Sach-sen, einem großen Mäzen, beschäftigte sich in der Vergangenheit viel mit sakraler Kunst, denn man stelltewertvolle Bibelszenen, Heiligenfiguren und liturgische Gegenstände her. Das Festival und das MeissenerPorzellan hatten und haben ein gemeinsames Ziel: Schönes herzustellen, das das Gute reflektiert. Diese unsere Aufgabe möchte ich unter den Schutz der Erzengel stellen. Sie sind es, die in Haydns herr-lichem Oratorium, das im Festival zu hören sein wird, die Schönheit der Schöpfung Gottes bewundern. Sieermahnen uns mit diesen Worten: „Stimmt an die Saiten, ergreift die Leier, lasst euren Lobgesang er-schallen! Frohlocket dem Herrn, dem mächtigen Gott, denn er hat Himmel und Erde bekleidet in herrli-cher Pracht!“. Ich wünsche mir, dass sich für unsere Gäste mit dem Festival ein Blick auf diese Pracht undHerrlichkeit auftut.

Sen. Dr. h.c. mult. Hans-Albert CourtialGründer und Generalpräsident der

Fondazione Pro Musica e Arte Sacra

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18. November 2017Basilika Sant'Ignazio

di Loyola in Campo Marzio

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Schon ein kurzer Blick auf die Aktivitäten der „Fondazione pro Musica e Arte Sacra“ in den sechzehnJahren ihres Bestehens zeigt, dass es möglich ist, Dinge zu tun, die in der Welt der sakralen Kunst und

deren Restaurierung und Erhaltung zunächst für unmöglich oder unwahrscheinlich gehalten wurden.Es gibt dafür ein einfaches Geheimnis: man braucht Männer und Frauen, die sich der großen Bedeutung dersakralen Kunst bewusst sind und denen es gelingt, andere Männer und Frauen zur Mitarbeit und zur konkretenUnterstützung dieser Tradition durch ihr Mäzenatentum zu bewegen. Und genau das ist auch hier geschehen.Um die Bedeutung der bereits realisierten Arbeiten zu verstehen, mag es genügen, an die über zwanzig gro-ßen Restaurierungsprojekte zu denken, die von der Vatikanischen Nekropole über die Restaurierungsar-beiten an den seitlichen Bauabschnitten des Petersdoms bis hin zur Deutschen Kapelle im PäpstlichenHeiligtum des Heiligen Hauses von Loreto reichen, von der „Cappella di Sisto V“ zur Statue Papst Pauls V.Borghese, von der Tamburini-Orgel in Sant’Ignazio di Loyola zum Appartement Papst Julius‘ II. Hinzu kommtdas so bedeutende Festival Internazionale di Musica e Arte Sacra, dem wir es verdanken, dass es in Romendlich wieder einen Ort zur unentbehrlichen und tiefgründigen Reflexion über diese Themen gibt, der seitlanger Zeit im kulturellen Panorama Italiens gefehlt hatte. Die Konzerte der Stiftung sind Ereignisse, diesich durch ihre außergewöhnliche Qualität auszeichnen. Und dies ist nicht die persönliche Meinung des Ver-fassers, sondern eine objektive Bewertung, die diese Veranstaltungen jedes Jahr von verschiedener Seitebekommen. Unvergesslich ist etwa die weltweite Erstaufführung der Messe Speravi in te, Domine des zeit-genössischen österreichischen Komponisten Hubert Steppan, die Papst Johannes Paul II. zu seinem 85.Geburtstag gewidmet war und dann kurz nach seinem Hinscheiden aufgeführt wurde.In anderen geschichtlichen Epochen war das Mäzenatentum mit einer wichtigen Eigenschaft verbunden,nämlich dem Großmut: dies bezog sich auf die Großherzigkeit und Großzügigkeit der Mäzene ebenso wieauf die Großartigkeit, den Wert und die Schönheit der geschaffenen Kunstwerke. Ich glaube, dass im Fallder Fondazione pro Musica e Arte Sacra diese Übereinstimmung zwischen Mäzenatentum und Großmutwieder an Aktualität gewonnen hat. Man könnte sagen, dass die Stiftung durch ihre Arbeit im Bereich dersakralen Musik und Kunst in das Herz des Abendlandes vordringt. Denn die ästhetische Dimension ist einzentraler Aspekt unserer Tradition. Musik und Kunst sind wesentliche Bestandteile dieser historisch-kul-turellen Tradition. Unser Abendland ist ja das christliche Abendland, und somit ist die sakrale Musik undKunst das eigentliche Herz, ja gleichsam die Herzmitte dieser Tradition: obwohl sie allen gehört, geht sieaus Überzeugungen und Kulturen hervor, die weitgehend christlich geprägt sind. Die Sorge um die Re-staurierung und den Erhalt dieser künstlerischen und kulturellen Zeugnisse, der Einsatz für die Wieder-belebung und Förderung der Verehrung des Sakralen in seinen verschiedenen Formen und Traditionenund die Pflege einer Pädagogik der Schönheit sind die vorrangigen Ziele der Stiftung.Wie ich bereits angemerkt habe, ist es kein Zufall, dass sich die Stiftung um die Restaurierungsarbeiten inden vier Päpstlichen Basiliken Roms kümmert. Diese Monumente stehen in tiefer Verbindung zur Geschichteder Kirche, die in Rom ihre Quelle hat und die Rom zu einer unvergleichlichen Stadt werden lässt. Das En-gagement auf diesem Gebiet ist nicht nur eine Frage der materiellen Wiederherstellung von Relikten der Ver-gangenheit, sondern es geht vielmehr darum, nicht den Sinn verlorengehen zu lassen, der uns von diesenDingen übermittelt wird. Man kann durchaus behaupten, dass die Arbeit der Stiftung den Erhalt und dieWeitergabe des wahren spirituellen Erbes fördert: das Erbe Roms, das Erbe des christlichen Abendlandes.Die Aktivitäten der Stiftung sind im Hinblick auf den Kulturtourismus von großer Bedeutung für die StadtRom und somit für ganz Italien. Die Organisation von Konzerten zieht Menschen aus Frankreich, Öster-reich, Japan, den USA, Russland, Spanien und Deutschland nach Rom und gleiches gilt auch für die Be-sichtigung der restaurierten Stätten und Monumente. Wir haben es hier mit Qualitätstourismus zu tun.

KUNST, MÄZENATENTUM UND KULTURELLER

TOURISMUS FÜR DIE EWIGE STADT

Dott. Gianni Letta

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15. September 2017 Päpstliche Basilika

Santa Maria Maggiore

Qualität im Hinblick auf die Touristen und folglich auch Qualität bezüglich der Orte, an denen sie zu Gastsind. Ein Tourismus, von dem seit geraumer Zeit gesagt wird, dass er dringend notwendig sei für die EwigeStadt. Die Stiftung fördert ihn durch ihre Aktivitäten nicht nur mit Worten, sondern mit konkreten Taten.Es ist wahr, dass aus einem guten Werk eine Reihe von positiven Folgen hervorgehen kann, die oft überdie Ziele derer hinausgehen, die diese Werke geschaffen haben. Dies trifft auch auf die Stiftung zu, diebei der Ausführung ihrer Aufgaben einen virtuosen Zirkel in Gang setzt, zu dessen wesentlichen Aspek-ten der Kulturtourismus gehört.Der Gründer und Generalpräsident der Stiftung, Dr. Hans-Albert Courtial, ist nicht nur ein bedeutender mo-derner Mäzen, sondern auch ein Botschafter Roms in der Welt: ein Botschafter des christlichen Roms. DieZiele von Hans-Albert Courtial, die er als wahre „Mission“ plant und in die Tat umsetzt, beseelen Rom seitder Gründung der Stiftung im Jahr 2002, und sie verbreiten in der Welt bisher verborgene Werke undWerte. Die begeisterte Zustimmung, Wertschätzung und Dankbarkeit, die der Stiftung für die geleistete Ar-beit zu Teil werden, zeigen, wie außergewöhnlich ihre Aktivitäten sind. Ich möchte meinen aufrichtigenDank aussprechen, verbunden mit dem Wunsch, dass die Stiftung noch viele Jahre auf diesem Weg vor-angehen und dabei die Quantität ihrer Aktivitäten erhöhen möge, wobei deren Qualität auf einem kaumüberbietbaren Niveau ist: Besser geht es nicht! Danke.

Dr. Gianni LettaMitglied des Ehrenkomitees

der Fondazione Pro Musica e Arte Sacra

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Die Fondazione Pro Musica e Arte Sacra ist eine gemeinnützige Körperschaft ohne Erwerbszweck, dieam 21. Juni 2002 auf Initiative von Dr. Hans-Albert Courtial gegründet wurde mit dem Ziel, in der Ewi-

gen Stadt eine private Institution zu schaffen, die sich auf höchstem Niveau für die Förderung der Kir-chenmusik und für die Restaurierung der kirchlichen Kulturgüter einsetzt. Die Stiftung hat zum Ziel, einenBeitrag zur Erhaltung des kirchlichen Kulturerbes zu leisten, wobei Privatpersonen, Unternehmen undPilger für die jeweiligen Projekte sensibilisiert und in deren Realisierung miteinbezogen werden. Grundle-gend ist hierfür das tiefe Bewusstsein, dass die Erhaltung der Kultur als Allgemeingut den Dialog zwischenden Völkern, die seit jeher in großer Zahl nach Rom „pilgern“, fördert.Im November 2002 nahm die Stiftung, die zuvor bei der Präfektur von Rom in das Register der Rechts-personen eingetragen worden war, durch die Organisation des ersten Festival Internazionale di Musica eArte Sacra ihre Aktivitäten zur Förderung der sakralen Musik auf.Das Hauptanliegen der Initiative ist seither, in den päpstlichen Basiliken Roms Konzerte für geistlicheMusik unter Mitwirkung weltweit renommierter Musiker aufzuführen. Die Wiener Philharmoniker nahmensofort bereitwillig das Angebot an, als Stammorchester des Festivals in den Basiliken des Papstes aufzu-treten. Aus Anlass des ersten Festivals kamen zahlreiche Liebhaber der sakralen Musik aus Deutschland,der Schweiz, Österreich, Großbritannien und den Vereinigten Staaten nach Rom, um die musikalischenDarbietungen an den Orten zu hören, für die die geistliche Musik ursprünglich komponiert worden war.Für die Konzertbesucher ist es ein besonders bewegender, zeitloser und unvergesslicher Moment, dieVollkommenheit der Melodien vereint mit der Vollkommenheit der Darbietung an Orten zu erleben, andenen die sakrale Kunst in ihrer ganzen Herrlichkeit erstrahlt.Durch das Festival wird es dem Publikum ermöglicht, die Stiftung näher kennen zu lernen, die sich fürdie Erhaltung, Förderung und Erschließung der kirchlichen Kulturgüter in der Ewigen Stadt einsetzt. So be-gannen die ersten Schritte der Fondazione Pro Musica e Arte Sacra auf ihrem Weg der Förderung der Kir-chenmusik und der Erhaltung der sakralen Kulturgüter. Die Stiftungsaktivitäten haben seitdem konkrete

KULTUR ALS INDIVIDUELLER UND UNTERNEHMERISCHER

WERT - DIE BEDEUTUNG DER MÄZENE

Dott.ssa ClaudiaAutieri

18. November 2016Päpstliche BasilikaSanta Maria Maggiore

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Gestalt angenommen in der Organisation von weiteren dreizehn Festivals und durch die finanzielle Un-terstützung bedeutender Restaurierungsarbeiten. Die Sponsor-Unternehmen und die privaten Mäzene, die großzügig finanzielle Mittel zur Verfügung stell-ten, machten es möglich, dass dieses außergewöhnliche kulturelle Erbe auch an die künftigen Genera-tionen weitergegeben werden kann, damit die uns von unseren Vorfahren anvertraute Kultur nichtverlorengeht. Das Festival Internazionale di Musica e Arte Sacra zu unterstützen bedeutete für unsereSponsoren, an der Verwirklichung bedeutender musikalischer Ereignisse mit international anerkanntenKünstlern mitzuwirken; einen Vertrag kultureller Partnerschaft mit der Fondazione Pro Musica e Arte Sacraabzuschließen; an den Stiftungszielen durch eine Vereinbarung teilzuhaben, die den Unternehmen er-möglicht, bei Ereignissen von höchster kultureller Bedeutung mit ihrem Firmennamen und -logo präsentzu sein, wobei der Bekanntheitsgrad des Unternehmenslogos zusammen mit der Kraft und Faszination derKultur auf das Publikum einwirkt.Die Sponsoren und all jene, die als wahre Mäzene seit 2002 die Aktivitäten der Stiftung durch ihre Spen-den unterstützt haben, haben es möglich gemacht, dass Ereignisse wie das Festival Internazionale di Mu-sica e Arte Sacra, der Ehrenpreis der Fondazione Pro Musica e Arte Sacra und die Fertigstellung vonRestaurierungsarbeiten an wichtigen Kulturgütern Roms durchgeführt werden konnten. Den Sponsor-Un-ternehmen und allen Privatpersonen, die uns in den vergangenen Jahren unterstützt haben, gilt unser auf-richtiger Dank, in der Hoffnung, dass viele andere ihrem guten Beispiel folgen mögen. Wir danken allen Mitgliedern des Förderkomitees, des Wohltäterkreises und des Kreises der Freundeder Fondazione Pro Musica e Arte Sacra ganz herzlich.

Dott.ssa Claudia AutieriSteuerberaterin und Wirtschaftsprüferin

Präsidentin des Förderkomitees der Fondazione Pro Musica e Arte Sacra


Basilika San Giovanni in Laterano,

Altar "SantissimoSacramento"

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Es war eine einfache Labornotiz, die im Jahr 1708 die Erfindung des ersten europäischen Hartporzel-lans dokumentierte. 1710 begann auf der Meißner Albrechtsburg, der Produktionsstätte von Europas

erster Porzellan-Manufaktur, eine große Geschichte, in der mit einem einzigartigen Material Kunstwerkevon strahlendem Glanz und lebensechter Anmut entstanden. Auch für die sakarale Kunst brach mit derErfindung des Meissener Porzellans eine neue Epoche an. Schon in den Anfangsjahren spielten sakralePorzellane eine wichtige Rolle. Das erste Kruzifix, eine kleine Figur des Permoserschen Gekreuzigten, gehtauf 1719 zurück. 1736 ließ König August III. dem befreundeten Kardinal Annibale Albani in Rom, einemeinflussreichen Neffen von Papst Clemens XI., eine Altargarnitur aus Meissener Porzellan als Geschenkschicken. Der damalige Modellmeister der Manufaktur, Johann Joachim Kaendler, fertigte dafür unter an-derem die Apostel Petrus und Paulus. Die Gips-Modellform des Apostel Petrus, bestehend aus 25 Ein-zelformen, gehört heute zu den ältesten erhaltenen Formen der Manufaktur. 1743 schuf Kaendler mit derKreuzigung aus 17 Einzelstücken die größte religiöse Figurengruppe der Manufaktur.

Seit jeher wird dieses große Können eines einzigartigen Kunsthandwerks von Generation zu Gene-ration weitergegeben, das Erbe liebevoll gepflegt und aus der Tradition ständig Neues geschaffen.

Es ist diese Verantwortung gegenüber einem besonders wertzuschät-zenden Kulturgut und Erbe, die Meissen mit der Fondazione Pro Mu-sica e Arte Sacra verbindet. Insbesondere der Einsatz dafür, dersakralen Kunst eine angemessene Pflege und würdige Präsentationangedeihen zu lassen, macht beide Organisationen zu natürlichen

Partnern. Ebenso wie der Fondazione ist auch Meissen ein le-bendiges Erbe wichtig. Diese Werte und das kunstvolleSchaffen aus mehreren Jahrhunderten nicht nur zu schüt-zen, sondern in der Öffentlichkeit nahbar und erlebbar zu

gestalten, ist eine wichtige Voraussetzung für dasWeitertragen der Leidenschaft für das Besonderean kommende Generationen. Meissener Porzel-lan ist wie die sakrale Musik und Kunst ein Er-

lebnis für alle Sinne. In die Details einzutauchen undGeschichte zu atmen, ist in der schnelllebigen Gegen-wart ein besonderes Gut, dem wir Raum geben möch-ten. Es sind Kunst und Musik, die unser Leben bereichernund zugleich ein großes Erbe darstellen. Meissen wird mitder Pflege seiner sakralen Kunst einen kleinen Beitrag lei-sten. Unsere Anerkennung und Unterstützung gilt dem groß-artigen Wirken der Fondazione Pro Musica e Arte Sacra.

Wir sind dankbar, mitwirken zu dürfen.

Dr. Tillmann BlaschkeGeschäftsführer Staatliche


Georg NussdorferGeschäftsführer Staatliche


GELEBTE VERANTWORTUNG FÜR EIN GROSSES ERBE

Dr. Tillmann BlaschkeGeschäftsführerMEISSEN®

Georg NussdorferGeschäftsführerMEISSEN®

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DIE STIFTUNG

FONDAZIONE PROMUSICA E ARTE SACRA

D ie Fondazione Pro Musica e Arte Sacra, eingetragenins Register der Rechtspersonen bei der Präfek-

tur von Rom, Nr. 162/2002 laut DPR 361/2000, isteine gemeinnützige Körperschaft ohne Erwerbs-zweck, deren Ziel die Förderung der Kirchenmusik aufhöchstem Niveau und die Restaurierung kirchlicherKunstschätze ist. Zu diesem Zweck kann die Stiftungfolgende Aktivitäten ausüben:• Veranstaltung von Konzerten zur Verbreitung undFörderung der Kirchenmusik;

• Organisation von Ausstellungen sakraler Kunst;• Veranstaltung von Festivals, Wettbewerben, Ta-gungen, Runden Tischen, Radio- und Fernseh-sendungen und jeder weiteren Form der Verbrei-tung von Kultur, Musik und sakraler Kunst;

• Durchführung von Ausbildungs- und Fortbildungs-kursen für sakrale Musik und Kunst, Verleihung vonPreisen und Stipendien auf diesem Gebiet;

• Förderung der diesbezüglichen Studien und For-schungsarbeiten auch durch die Unterstützung undFinanzierung von religiösen Einrichtungen, Körper-schaften und Organisationen des Heiligen Stuhls;

• Erstellung und Verbreitung von Schriften undTonträgern, die zur Erreichung der gesetzten Zie-le geeignet sind;

• Gewährung von Fernseh-, Bild und Hörfunkrech-ten in Italien und im Ausland für die von der Stif-tung durchgeführten Veranstaltungen.

Das Stiftungsvermögen kann in seinem Umfang er-höht werden durch Schenkungen, Erblassenschaf-ten, Vermächtnisse, Spenden, die der Stiftung eigenszugedacht werden und ihr im Laufe ihres Bestehenszukommen können. Die Stiftung führt ihre Tätigkeitzur Erreichung des oben genannten Zieles ausdurch Beiträge und eigens der Stiftung zugewandteSpenden, die von juristischen Personen öffentlichenoder privaten Rechts, aus Italien oder dem Ausland,oder von natürlichen Personen stammen sowiedurch Erlöse aus Aktivitäten und Veranstaltungen derStiftung wie auch durch die ihr von der “Associazio-ne Amici della Fondazione Pro Musica e Arte Sacra”,der Internationalen Vereinigung Freunde der Fon-

dazione Pro Musica e Arte Sacra, zugewandten Mit-teln, einer Vereinigung ohne Erwerbszweck, zu de-ren institutionellen Zielen ausdrücklich die Unter-stützung der Stiftung gehört. Jedes Jahr organisiertdie Stiftung das „Festival Internazionale di Musica eArte Sacra“ in den wundervollen päpstlichen Basili-ken Roms.

DIE ZIELE DER

FONDAZIONE PROMUSICA E ARTE SACRA

D as Festival verfolgt wie alle Aktivitäten der Fon-dazione Pro Musica e Arte Sacra das Ziel, die Öf-

fentlichkeit für ihre institutionellen Zielsetzungen zusensibilisieren: den Schutz, der Erhaltung, Förderungund Weiterentwicklung des in Italien vorhandenenKulturgutes sowie der finanziellen Unterstützung vonRestaurierungsprojekten.Mit der Unterstützung ihrer Förderer und Sponsorenkonnte die Fondazione Pro Musica e Arte Sacra seitihrer Gründung im Jahre 2002 zu folgenden bedeu-tenden Restaurierungsprojekten ihren Beitrag leisten:• Restaurierung der "Cappella di Santo Stefano" im Quer-schiff der Basilika St. Paul vor den Mauern mit Un-terstützung durch den Partner DaimlerChrysler Italia;

• Generalüberholung der zwei wertvollen Morettini-Orgeln aus dem Jahr 1886 in der Apsis der Basi-lika St. Johannes im Lateran;

• Restaurierung der "Cappella Tedesca" (DeutschenKapelle) im Päpstlichen Heiligtum des HeiligenHauses in Loreto bei Ancona, die mit einem herrlichenFreskenzyklus mit Szenen aus dem Leben Mariensausgeschmückt ist, der in den Jahren 1892 bis 1902von Ludwig Seitz ausgeführt wurde, mit Unterstützungdurch den Partner DaimlerChrysler Italia;

• Restaurierung der Kuppel der "Cappella di Sisto V"(auch "Cappella Sistina" genannt) in der BasilikaSanta Maria Maggiore;

·• Komplette Restaurierung der Bibliothek des Päpst-lichen Instituts für Kirchenmusik in Rom mit Unter-stützung durch den Partner DaimlerChrysler Italia;

• Restaurierung der "Cappella di San Benedetto" im Quer-schiff der Basilika St. Paul vor den Mauern mit Un-terstützung durch den Partner DaimlerChrysler Italia;


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• Dringende Maßnahmen zur Konservierung undKonsolidierung in vier Mausoleen der unter demPetersdom gelegenen Vatikanischen Nekropole;

• Vollständige Restaurierung des Mausoleums H(der "Valerii") in der Vatikanischen Nekropole mitder Unterstützung des Mäzens Dr. h.c. Hans Ur-rigshardt und der Firmen LGT Bank in LiechtensteinAG, Mercedes-Benz Italia S.p.A., Pedrollo S.p.A. undCourtial Viaggi srl;

• Restaurierung der Statue von Papst Paul V. Bor-ghese, Werk des Paolo Sanquirico aus dem Jahr1620, in der Basilika Santa Maria Maggiore;

• Restaurierung der Tamburini-Orgel in der BasilikaSant'Ignazio di Loyola in Campo Marzio in Rom mitUnterstützung durch den Partner Mercedes- BenzItalia S.p.A;

• Restaurierung des monumentalen Baldachinsüber dem Papstaltar der Basilika St. Paul vor denMauern, ein Werk von Arnolfo di Cambio aus demJahr 1285;

• Restaurierung des Chorgestühls von 1620 der "Cap-pella del Coro", auch "Cappella Colonna" genannt,im Querschiff der Basilika St. Johannes im Lateran;

• Restaurierung des Appartements der Päpste Alex-ander VI. (Rodrigo Borgia, 1492-1503) und Juli-us II. (Giuliano della Rovere, 1503-13) im antikenPapstpalast im Vatikan, mit der Unterstützung desMäzens Dr. h.c. Hans Urrigshardt und der StiftungFundación Endesa, Spanien (letztere für die Be-leuchtung des Appartements), sowie mit einem di-rekten Beitrag von Dr. Hans-Albert Courtial;

• Restaurierung des Mausoleums PHI (der "Marci")in der Vatikanischen Nekropole unter dem Pe-tersdom;

• Restaurierung der südlichen Außenwand des Pe-tersdomes im dritten Bauabschnitt, der die Bau-substanz des von Michelangelo entworfenen Teilsder Basilika aus dem 16. Jahrhundert betrifft;

• Restaurierung der "Fontana della Burbera", einesantiken Brunnens auf der nördlichen Terrasse desPetersdomes, mit Unterstützung durch den deut-schen "Förderverein der Freunde der FondazionePro Musica e Arte Sacra e.V." über dessen Förderer,allen voran Friedrich-Wilhelm Hempel;

• Restaurierung der Kapelle im Mutterhaus der Or-densgemeinschaft der Salvatorianer im Palazzo Car-dinal Cesi in Rom;

• Restaurierung der Kapelle im römischen Haus derGeweihten Frauen der Familia Spiritualis Opus;

• Restaurierung der Orgel der Jesuitenkirche SanFrancesco Saverio in Rom, besser bekannt unterdem Namen Oratorio del Caravita, im Besitz derZentralen Direktion für die Verwaltung des Sa-kralbauten-Bestandes (Fondo Edifici di Culto)des italienischen Innenministeriums;

• Teilrestaurierung der Cappella Sistina (Cappella diSisto V) in der Päpstlichen Basilika Santa MariaMaggiore in Rom;

• Restaurierung der Werke sakraler Kunst der AulaMagna/des Auditoriums der Päpstlichen Salesia-ner-Universität in Rom;

• Herstellung eines Mosaikpaneels mit der Darstellungder Muttergottes Salus Populi Romani für das Hei-ligtum des hl. Johannes Paul II. in Krakau (Polen);

• Herstellung des Mosaikpaneels mit dem Portrait vonPapst Franziskus für die Reihe der Päpste in derPäpstlichen Basilika St. Paul vor den Mauern in Rom;

• Restaurierung der westlichen Außenwand desPetersdomes;

• die Restaurierung der "Räume des hl. Aloisius vonGonzaga" im Collegio Romano in Rom;

• Instandsetzung der Nordseite des Petersdomes.

VatikanischeNekropoleMausoleum der Valeri

DIE AKTUELLEN PROJEKTE

DER FONDAZIONE PROMUSICA E ARTE SACRA

I n den Jahren 2017-2019 unterstützt die Fonda-zione Pro Musica e Arte Sacra die Restaurierungdes Tambours der Peterskuppel sowie der kleine-ren Kuppeln der Cappella Clementina und der Cap-pella Gregoriana. Darüber hinaus fördert die Fon-dazione Pro Musica e Arte Sacra folgende musika-lische Projekte:• das Festival Internazionale di Musica e Arte Sacra;• das Open-Air-Konzert am 29. Juni 2018 mit denWiener Philharmonikern. Dieses Projekt steht un-ter dem Motto „Vienna Philharmonic playing for Re-fugees“ und möchte für die globale Flüchtlingskrisesensibilisieren.

Das Orchester der Wiener Philharmoniker wird die Krö-nungsmesse von Wolfgang Amadeus Mozart aufführenund Jonas Kaufmann wird einige Arien singen.

Musikalische undökumenischeProjekte des Choresder PäpstlichenMusikkapelle „Sistina“

D ie Fondazione Pro Musica e Arte Sacra unterstütztseit 2011 den Chor der Päpstlichen Musikkapelle

„Sistina“, geleitet von Maestro Massimo Palombel-la, in einem ökumenischen Musikprojekt, das die-ser auf Wunsch von Papst Benedikt XVI und nun vonPapst Franziskus organisiert. Es handelt sich um ei-nen musikalischen Austausch mit bekannten Chö-ren anderer christlicher Konfessionen. Der Austausch sieht jedes Jahr meist ein oder zweigemeinsame Konzerte in Rom oder im Vatikan undam Heimatort des christlichen Chores vor, der amProjekt teilnimmt. Bei diesen Konzerten wird dieChormusik der römischen Schule neben den je-weiligen Chortraditionen der anderen Konfessionenpräsentiert. So wurden seit 2011 Treffen des päpstlichen Cho-

res mit bedeutenden Chören anderer christlicherKonfessionen möglich, wie dem anglikanischen Choirof Westminster Abbey im Jahr 2012, dem evange-lisch-lutherischen Thomanerchor Leipzig 2013,dem russisch-orthodoxen Synodalchor des Patri-archats von Moskau 2014 und dem anglikanischenChoir of New College Oxford 2015. Im vergangenen Jahr unterstützte die FondazionePro Musica e Arte Sacra die ökumenische Deutsch-landreise des Chores der Päpstlichen Musikkapelle„Sistina“ vom 17. bis zum 20. Mai 2016 mit Ge-sangsaufführungen in Berlin, Wittenberg undDresden.Am 17. Mai 2016 führte der von Massimo Palom-bella geleitete Chor der Päpstlichen Musikkapelle „Si-stina“ in der St. Hedwigs-Kathedrale in Berlin ein Kir-chenmusikkonzert unter der Schirmherrschaft vonS. E. Erzbischof Dr. Heiner Koch, Metropolitanbischofvon Berlin auf.Am 18. Mai 2016 war der Papstchor in Wittenbergin Sachsen-Anhalt, wo er in der Stadtkirche St. Ma-rien ein ökumenisches Kirchenmusikkonzert prä-sentierte, unter der Schirmherrschaft des Minister-präsidenten von Sachsen-Anhalt, Dr. Reiner Hase-loff, der am Konzert auch zusammen mit Dr. Fried-rich Schorlemmer, Direktor der Evangelischen Aka-demie Wittenberg, teilnahm. Auch Dank der vom Re-gierungssprecher Dr. Matthias Schuppe in denRäumen der Stiftung Leucorea in Wittenberg orga-nisierten Pressekonferenz war das Publikum äußerstzahlreich, und sowohl in den regionalen als auch na-tionalen Medien schenkten Presse und Funk demKonzert große Aufmerksamkeit.Der Chor der Päpstlichen Musikkapelle „Sistina“ trafim Zuge dieses Projektes in Dresden den DresdnerKreuzchor zu Proben für ein geplantes gemeinsamesKonzert in Rom und im Vatikan.Am 19. Mai fand dann in der Frauenkirche Dresdeneine von Pfarrer Sebastian Feydt geleitete ökume-nische Feier statt, deren musikalische Gestaltung vomChor der Päpstlichen Musikkapelle „Sistina“ unterder Leitung von Massimo Palombella und vomKammerchor der Frauenkirche unter der Leitung vonMatthias Grünert übernommen wurde. Im Jahr 2016 finanzierte die Fondazione Pro Mu-sica e Arte Sacra außerdem zum Hochfest derSchutzpatrone Roms, der hl. Peter und Paul, am

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29. Juni 2016, den Romaufenthalt des anglikani-schen Chors The Choir of New College Oxford, ge-leitet von Robert Quinney, und des evangelisch-lu-therischen Windsbacher Knabenchores, geleitet vonMartin Lehmann. Beide Chöre hatten die Gele-genheit, in Rom und im Vatikan zusammen mit demChor der Päpstlichen Musikkapelle „Sistina“ unterder Leitung von Massimo Palombella zu singen, ineinem ökumenischen Konzert am 28. Juni in derCappella Sistina im Apostolischen Palast und zurHeiligen Messe zum Hochfest der hl. Peter undPaul, die Seine Heiligkeit Papst Franziskus zele-brierte und an der auch die Förderer und Wohltä-ter der Fondazione Pro Musica e Arte Sacra teil-nahmen.Im Januar 2016 leistete die Fondazione auch fi-nanzielle Hilfe für die Romreise des Kammerchorsder Frauenkirche Dresden und seines Leiters Mat-thias Grünert. Gemeinsam mit dem von Massimo Pa-lombella geleiteten Papstchor gab der Kammerchorin der Päpstlichen Lateranbasilika ein Konzert undübernahm in der Päpstlichen Basilika San Paolo fuo-ri le Mura die musikalische Gestaltung der von PapstFranziskus geleiteten Vesper zum Hochfest derBekehrung des hl. Paulus.In diesem Jahr unterstützte die Fondazione Pro Mu-sica e Arte Sacra, dank der Beiträge Ihrer Fördererund Wohltäter, finanziell die ökumenische Reise undden Aufenthalt des Chores von Westminster Abbeyin Rom (23. bis 26. Januar 2017). Der Chor von Westminster Abbey war somit anläss-lich des Festes zur Bekehrung des hl. Apostel Pau-lus in Rom und hat bei den feierlichen Vespern inder Päpstlichen Basilika St. Paul vor den Mauern ge-sungen, die vom Heiligen Vater Franziskus zelebriertwurden. Außerdem nahm der Chor von WestminsterAbbey am 24. Januar 2017 am Konzert in der Ba-silika St. Johann am Lateran teil.Zu diesem bedeutenden Anlass schlossen sich derChor von Westminster Abbey unter der Leitung vonMaestro James O’Donnell und der Chor der Päpst-lichen Musikkapelle “Sistina” unter der Leitungvon Maestro Massimo Palombella zusammen, um ge-meinsam traditionelle anglikanische Gesänge sowierömisch-katholische Loblieder vorzutragen.

RESTAURIERUNG DER

AUSSENSEITE DER BASILIKA

VON ST. PETER IM

VATIKAN

Im Rahmen eines umfangreichen Programms zurErhaltung und Erneuerung der Außenwände desgesamten Petersdomes schreiten die Restaurie-rungsarbeiten langsam aber sicher voran, welche dieDombauhütte von St. Peter schon vor dem HeiligenJahr 2000 begonnen hat. Das Projekt wurde Dankder Unterstützung der Fondazione Pro Musica e ArteSacra mit neuem Elan vorangebracht.Nachdem 1999 die Fassade restauriert war, planteman die notwendige Instandsetzung der Süd-,West- und Nordseite des Petersdomes. Diese Mau-ern sind 46 Meter hoch und haben, ohne dieHauptfassade mitzurechnen, eine Gesamtoberflächevon über 35.000 qm (= dreieinhalb Hektar).Die Restaurierung der Südseite wurde in nur fünf Jah-ren abgeschlossen (April 2007-Mai 2012), wobei dieArbeiten in drei Bauabschnitte eingeteilt wurden. DieRestaurierung des dritten Bauabschnitts, also in demTeil der Basilika, welchen Michelangelo im 16. Jahr-hundert entworfen hat, wurde mit Unterstützung derFondazione Pro Musica e Arte Sacra durchgeführt,wie auch die der Westseite, also der Außenseite derApsis des Peterdomes (2012-2014).Die nicht einfache Arbeit wurde von qualifizierten Re-stauratoren unter der technischen und wissen-schaftlichen Leitung der Dombauhütte von St. Pe-ter durchgeführt, mit Unterstützung des Personalsder Dombauhütte, den sogenannten Sanpietrini. Die-se übernahmen die Maurerarbeiten, entfernten diealte Abdeckung aus Dachpfannen und Biber-schwanzziegeln des Gesimses und des Gebälks undbrachten dann Travertinplatten an, welche die ge-samte Struktur schützen.Außerdem wurden die notwendigen diagnostischenErhebungen durchgeführt, nämlich Fotografien (vor,während und nach den Arbeiten) und Laserscans.Diese Dokumentation ist sehr wichtig, denn eine guteKartierung der beim Bau verwendeten Materialienund vor allem des Erhaltungszustandes ist zurFestlegung eines guten Instandhaltungsplanes un-erlässlich. Nachdem dieser feststand, wurde die Tra-

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vertinoberfläche mit leichten Sprühwasserdruckgereinigt. Um die hartnäckigsten schwarzen Ver-krustungen zu entfernen, wurden Mikrosandstrah-ler mit geringem Druck und weichen Sandpartikelnverwendet, um noch eine gewisse Patina zu erhal-ten. Dieses JOS genannte System wurde auch beider Restaurierung der Hauptfassade angewendet.Die Restaurierung bot eine einzigartige und unwie-derbringliche Gelegenheit, architektonische Details in

großer Höhe eingehend zu betrachten. Es überraschtalso nicht, dass es nur Dank dieser Restaurierungs-arbeiten möglich war, einige von Michelangelo ent-worfene architektonische Elemente zu erfassen undzu studieren, vor allem figürliche Skulpturen, derenraffinierte Eleganz sich von unten nicht erkennen lässt.Nachdem die Restaurierungsarbeiten an der West-seite, also an der Rückseite des Petersdomes, beendetwaren, nahm die Dombauhütte von St. Peter, wie-derum mit Unterstützung der Fondazione Pro Musicae Arte Sacra, die Fortführung der Arbeiten auch ander Nordseite in Angriff, im aus dem 16. Jahrhundertstammenden Teil, an dem die Via delle Fondamen-ta n der Nähe der Basilika entlangläuft. Diese Re-staurierungsarbeiten werden eine Fläche von circa6.800 qm betreffen. Im Jahre 2014 begonnen,wurden die Restaurierungsarbeiten im Laufe des Hei-ligen Jahres der Barmherzigkeit 2016 abgeschlossen.Anzumerken ist, dass diese letzte bedeutende Kam-pagne 2014 angelaufen ist, also im Jahr des 450. To-destages von Michelangelo Buonarroti (6. März 1475- 18. Februar 1464). Es war nämlich wie gesagt Mi-chelangelo, der zwischen 1546 und 1564 diesen Teilder Außenseite des Petersdomes entwarf und bauenließ (ausgenommen den kleineren Bogen ganz links).


Päpstliche BasilikaSan PietroDetail der

Westfassade

Päpstliche BasilikaSan Pietro

Südfassade nachder Restaurierung

107

DER EHRENPREIS

„FONDAZIONE PROMUSICA E ARTE SACRA“

Der Preis wurde im Jahr 2004 geschaffen und wirdPersonen verliehen, die sich als Künstler, För-

derer, Wohltäter oder Sponsoren um die Kultur dersakralen Musik und/oder Kunst verdient gemacht ha-ben. Der Preis besteht aus einem Diplom und einemKunstwerk, die dem Preisträger überreicht werden.Die Preisverleihung erfolgt im Rahmen des FestivalInternazionale di Musica e Arte Sacra unter Teilnahmeder Medien und von Persönlichkeiten aus Kirche, Po-litik und Kultur.Folgenden Personen wurde der Ehrenpreis derFondazione Pro Musicae Arte Sacra bisher verliehen:Dott. Gianni Letta, damals Staatssekretär im Präsidiumdes Italienischen Ministerrates, für seine moralischeUnterstützung der Stiftung und ihrer Ziele (2004);S. Hochw. Eminenz Kardinal Francesco Marchisano,damals Erzpriester der Basilika St. Peter im Vatikan,für seinen Einsatz für die Erhaltung und Restau-rierung sakraler Kunst in seiner Funktion als Prä-

sident der Päpstlichen Kommission für die Kunst-schätze der Kirche (März 1993 - Oktober 2003) undPräsident der Permanenten Kommission für denSchutz historischer und künstlerischer Monumen-te des Heiligen Stuhls (2006);Sen. Dr. Mariapia Garavaglia für ihre moralische Un-terstützung in der Verbreitung und Förderung der sa-kralen Musik und Kunst (2008);Richard de Tscharner für seinen Einsatz in der Pfle-ge und Bewahrung der sakralen Musik und Kunstals Mäzen der Stiftung (2008);Prälat Prof. Dr. Georg Ratzinger, Apostolischer Protonotarund Domkapellmeister im Ruhestand, in Anerkennungseiner besonderen Verdienste umdie Musica Sacra undin Würdigung seines Lebenswerkes, da er sich in her-ausragender Weise über 30 Jahre hinweg mit großerHingabe um die Kirchenmusik am RegensburgerDom und in der Welt verdient gemacht hat (2010);Prälat Prof. Domenico Bartolucci, Maestro Perpetuodes Päpstlichen Chores „Cappella Sistina”, in An-erkennung seiner besonderen Verdienste um die Mu-sica Sacra und in Würdigung seines Lebenswerkesals Kapellmeister, Dozent und Komponist (2010);Prof. Dr. Clemens Hellsberg, damals Vorstand der Wie-ner Philharmoniker, stellvertretend für das gesam-

Bei der Preisverleihung2010

108

te Orchester der Wiener Philharmoniker, in Aner-kennung ihrer langjährigen höchsten Verdienste, daes ihnen mit ihrer weltweit geachteten Professiona-lität und ihrem immensen künstlerischen Talent im-mer wieder gelingt, die Herzen ihrer Zuhörer anzu-rühren (2010);

Dr. h.c. Hans Urrigshardt, Mäzen, in Anerkennung sei-ner selbstlosen Fördertätigkeit des Festival Interna-zionale di Musica e Arte Sacra und da er sich lang-jährig um die Förderung der Ziele der FondazionePro Musica e Arte Sacra verdient gemacht hat (2010);Maestro Msgr. Pablo Colino, Präfekt für Musik derPäpstlichen Basilika von St. Peter, da er sich als Dom-kapellmeister, Dozent und künstlerischer Leiter imVatikan und weltweit seit mehr als 50 Jahren uner-müdlich für die Musica Sacra einsetzt (2014);Prof. Dr. Dr. Herbert Batliner, Großkreuzritter mit Dia-manten des Fürstentums Liechtenstein, für seine Ver-dienste als Mäzen und Förderer der sakralen Musikund Kunst (2014);Maestro Prof. Dr. Nikolaus Harnoncourt, Dirigent, fürseine großen Verdienste um die Musica Sacra (2014);Maestro Tomomi Nishimoto, japanische Dirigentin, fürihren Einsatz in der Wiederentdeckung der musi-kalischen Tradition des Orasho, eines vom grego-rianischen Gesang abgeleiteten japanischen Litur-giegesangs (2014).


Bei der Preisverleihung

2014

Bei derPreisverleihung

2010

109

GRUSSWORT DES

FÖRDERVEREINS DER

FREUNDE DER FONDAZIONE

PRO MUSICA E ARTE SACRA

D as Festival Internazionale di Musica e Arte Sa-cra hat sich seit seinem Beginn in beeindruk-

kender Weise zu einem herausragenden Kulturer-eignis in der Ewigen Stadt und darüber hinaus in Ita-lien entwickelt. Dies wurde möglich, weil die Fon-dazione Pro Musica e Arte Sacra ihr kulturelles Schaf-fen nicht als gefälligen Selbstzweck begreift. Sie ver-bindet vielmehr mit der Förderung des überaus kost-baren Erbes der Kirchenmusik das Ziel, Schätze sa-kraler Kunst im Vatikan und in der Stadt Rom zu re-staurieren und damit als Erbe der Menschheit zu er-halten. Gerade heute erscheint es uns als überausangebracht, auf die europäische Dimension diesesAuftrages hinzuweisen, denn die europäische Kul-tur und Kunst sind in Geschichte und Gegenwart voninnen her zutiefst vom Christentum geformt. Die beeindruckende und langjährig überaus erfolg-reiche Arbeit der Fondazione Pro Musica e ArteSacra an ihren so sehr unterstützungswürdigen Zie-len, nämlich der Förderung der Kirchenmusik aufhöchstem Niveau und der Restaurierung kirchlicherKunstschätze in Rom und im Vatikan, verdient undbedarf gleichermaßen unserer Unterstützung undfinanziellen Förderung.Das nachhaltige Interesse an der Arbeit der Fonda-zione im deutschsprachigen Raum hat seinen Nie-derschlag in der Gründung des als gemeinnütziganerkannten „Fördervereins der Freunde der Fon-dazione Pro Musica e Arte Sacra“ gefunden. Dazu haben sich am 16. Mai 2008 die nachfolgen-den Persönlichkeiten aus Deutschland, dem Für-stentum Liechtenstein sowie Österreich zusam-mengefunden, welche aufgrund ihrer christlichenGesinnung sowie ihrer beruflichen und gesell-schaftlichen Reputation in ihrem jeweiligen Wir-kungskreis Vorbilder sind:Dieter Althaus Ministerpräsident a.D., VizepräsidentGovernmental Affairs Magna Europe, MAGNAInternational GmbH

Kurt Bodewig Bundesminister a. D., Präsident des VorstandesBaltic Sea Forum e.V., Präsident Deutsche Verkehrswacht e.V.Dr. Hans-Albert Courtial (Präsident)Generalpräsident der Fondazione Pro Musica e Arte SacraDr. Erhard Busek Vizekanzler a. D. der Republik Österreich, Vorstanddes Instituts für den Donauraum und MitteleuropaGerhard Glogowski Ministerpräsident a.D.Prof. Dr. Jürgen Gramke (Vizepräsident)Staatsminister a. D., VorstandsvorsitzenderInstitute for European AffairsStefan Prinz von und zu Liechtenstein Botschafter des Fürstentums Liechtenstein in der Bundesrepublik DeutschlandDr. Peter Marx Geschäftsführer der HVM - HamburgerVersicherungsmakler GmbH / ARTUS GRUPPE,Verbindungsrepräsentant des Institute forEuropean Affairs zur Katholischen KircheMsgr. Dr. Mieczysław Mokrzycki Erzbischof von Lemberg (Lviv) / UkraineDr. Daniel NeugebauerAnwaltMsgr. Dr. Franz-Josef Overbeck Bischof von EssenDr. Eero Rantala Handelsminister a. D. der Republik FinnlandProf. Dr. Klaus Ring Präsident der Goethe-Universität Frankfurt amMain a.D., Präsident Polytechnische VereinigungProf. Dr. Bernd Schünemann Ordinarius für Strafrecht/StrafprozessrechtLudwig-Maximilians-Universität MünchenCaspar SeemannGeschäftsführer Hartz, Regehr & Partner GmbHDieter Soika Chefredakteur a.D.Max Stich Ehemaliger Vizepräsident Tourismus des ADACDr. Franziska Freifrau von Ungern-SternbergAmbassador Credit Suisse (Deutschland) AGDr. Bernhard Worms Vorsitzender der Europäischen Senioren Union

110

Susanne Zeidler Vorstand Deutsche Beteiligungs AG, Frankfurt a.M.Der Zweck des Vereins ist die Förderung von Kunstund Kultur sowie der Forschung auf diesen Gebie-ten. Entsprechend dem Ziel der italienischen Fon-dazione Pro Musica e Arte Sacra, Projekte derKirchenmusik zu fördern und Kunstschätze der sa-kralen Kunst zu erhalten und zu restaurieren, wirdder Förderverein der Fondazione dafür Unterstüt-zung leisten.

Am 11. Juni 2015 wurden nach dem Rücktritt derbeiden seit 2008 amtierenden Vorstandsmitglieder Vi-zepräsident Prof. Dr. Jürgen Gramke und Geschäfts-führer Dr. Peter Marx folgende Personen berufen:

Dr. Hans-Albert Courtial, Vorsitzender desFördervereins; Caspar Seemann; Dr. FranziskaFreifrau v. Ungern-Sternberg.Der Förderverein der Freunde der Fondazione Pro

Musica e Arte Sacra e.V. dankt allen Freunden undFörderern des 15. Festival Internazionale di Musicae Arte Sacra für das Engagement, mit dem sie auchdieses Jahr die Veranstaltung erst möglich machen.

Förderverein der Freunde der FondazionePro Musica e Arte Sacra e.V.Oranienstrasse 11, D - 65604 Elz (Germania)KontaktTel. +49 (0) 6431 95 61-0Fax +49 (0) 6431 95 [email protected] im Bistum Essen eGIBAN: DE 36360602950030379012BIC: GENODED1BBEKontonummer: 30379012BLZ: 36060295


21. November 2016Basilika di Santa Maria

in Aracoeli

The Fondazione Pro Musica e Arte Sacra thanksthe Mecenate Supporters and the partners:

SUPPORTERS AND SPONSORS

Galleria Fotografica

GALLERIA FOTOGRAFICA

Festival 2002Wiener Philharmoniker, Wiener Singverein, F. Welser-Möst

Festival 2002Al concerto del 21 novembre

Festival 2002Le Poème Harmonique

Festival 2002Cappella Giulia, P. Colino

Festival 2004New College Choir Oxford, Orchestra Age of Enlightenment, E. Higginbottom

Festival 2003 - Orchestra Filarmonica S. Pietroburgo, Coro del Duomo di Speyer, L. Kraemer

Festival 2003Wiener Philharmoniker, Arnold Schoenberg Chor, N. Harnoncourt

Festival 2003N. Harnoncourt

Premio 200422 ott. 2004, Palazzo Lateranense

Festival 2004Al concerto del 21 ottobre

Festival 2005S. Ozawa

Festival 2004Wiener Philharmoniker, Wiener Sängerknaben, R. Muti

Festival 2005Presentazione del Mosaico del Papa

Festival 2005London Philharmonic Orchestra and Choir, P. Olmi

Festival 2006Camerata Salzburg, Coro del Duomo di Colonia, E. Metternich

Festival 2006, Santa Messa di AperturaWiener Philharmoniker, Wiener Sängerknaben, L. Hager


Premio 200621 feb. 2006, S. Michele a Ripa Grande

Festival 2007Ton Koopman


Festival 2007D. Gatti

Festival 2008Youth Orchestra of the Americas, Gächinger Kantorei, H. Rilling


Premio 2008Museo Nazionale Romano Palazzo Altemps

Festival 2008C. Eschenbach

Festival 2009V. Miserachs

Festival 2009Wiener Sängerknaben, G. Wirth

Festival 2009D. Bartolucci


Festival 2010R. Klepper, S. Gaudenz

Festival 2010 Cathedral of Saint Patrick Choir New York, J. Pascual

Festival 2008 - Orchestre Suisse Romande, Rundfunkchor Berlin, M. Janowski

Festival 2010Wiener Philharmoniker, A. Nelsons


Premio 2010 Sala Accademica Pontificio Istituto di Musica Sacra







Festival 2011 S. Messa del 5 novembre

Festival 2011Tölzer Knabenchor, G. Schmidt-Gaden

Festival 2011J. Mena



Festival 2011Wiener Philharmoniker

Festival 2011 G. Pretre

Festival 2011 Al concerto del 27 ottobre


Festival 2011Oratorio Society New York, Orchestre Philharmonique Monte-Carlo, J. Mena

Festival 2011 S. Messa del 26 ottobre

Festival 2011Orchestra e Coro del Teatro dell’Opera di Roma, J. van Zweden

Festival 2011 J. v an Zweden

Festival 2009Conferenza stampa alla CCIAA Roma

Festival 2012Westminster Cathedral Choir, M. Baker


Festival 2012Wiener Philharmoniker, Chen Reiss


Festival 2012Orchestra Teatro dell’Opera di Roma, M. Stenz


Festival 2012Al concerto dell’11 novembre


Festival 2012Westminster Cathedral Choir, Cappella Musicale Pontificia Sistina



Festival 2012U. Walddörfer

Festival 2012Bach-Chor Siegen, Rosenmüller-Ensemble, U. Stötzel

Festival 2012N. Giebelhausen

Festival 2012Stuttgarter Liederkranz, Roma Sinfonietta, U. Walddörfer

Festival 2012Conferenza stampa a Palazzo Cardinal Cesi


Festival 2013 Orchestra e Coro del Teatro dell’Opera di Roma, R. Gabbiani

Festival 2013 Coro Sinodale Mosca, A. Puzakov Coro Cappella Pontificia “Sistina”, M. Palombella


Festival 2013Santa Messa del 4 novembre


Festival 2013 Orchestra e Coro del Teatro San Carlo di Napoli

Festival 2013 G. Grazioli


Festival 2013 Wiener Philharmoniker, Wiener Singverein

Festival 2013 L. Hager

Festival 2013Echology Chamber Choir, P. Matthias

Festival 2013 Al concerto del 7 novembre L. Uinskyte, F. Filidei

T. NishimotoPresente al Festival 2013, 2014, 2015 e 2016

Festival 2013 IlluminArt Philharmonic Choir and Orchestra

Festival 2013 Al concerto del 10 novembre

Festival 2013 Alla Santa Messa del 9 novembre

Festival 2014Wiener Philharmoniker, Wiener Singverein, I. Metzmacher

Festival 2014I. Metzmacher

Festival 2014 L. Kraemer

Festival 2014 PalatinaKlassik-Vokalensemble, Philharmonischer Chor ander Saar, Coro e orchestra del Conservatorio Statale di Kazan, L. Kraemer


Festival 2014 S. Messa del 24 ottobre




Festival 2014Alla conferenza stampa: Andrea Morricone e Ennio Morricone

Festival 2015 Alla conferenza stampa: Giovanni Allevi

Festival 2014Illuminart Philharmonic Chorus and Orchestra, T. Nishimoto


Festival 2014 Kantorei Schlosskirche Weilburg, CappellaWeilburgensis, D. Hagel

Festival 2014 The Continuo Arts Festival Chorus, Roma Sinfonietta, T. Russell, M. Hayes



Festival 2015Holy Mass on October 28th

Festival 2015Press conference

Festival 2015 At the concert on October 29th - His Eminence James Michael Cardinal Harvey, His Eminence Angelo Cardinal Comastri and TheirSerene Highnesses Prince Hans-Adam II and Princess Marie von und zu Liechtenstein

Festival 2015At the concert on October 29th

Festival 2015At the concert on October 29th


Festival 2015Chor und Orchester der Philharmonie der Nationen

Festival 2015St. Jacobs Kammerkör, G. Graden

Festival 2015Montini-Chor und Ensemble Hans Berger, H.Berger

Festival 2015 Coro della Cappella Musicale Pontificia “Sistina”, M. PalombellaSt. Jacobs Kammerkör, G. Graden

Festival 2015Holy Mass on October 28th

Festival 2015Giovanni Allevi and Carlo Maria Barile

Festival 2015At the concert on November 4th

Festival 2015 J. Frantz



Festival 2016Holy Mass on November 16th

Festival 2016Coro della Cappella Musicale Pontificia "Sistina"



Festival 2016Leo Kraemer

Festival 2016Wiener Sängerknaben, G. Wirth


Festival 2016Wiener Philharmoniker, Chen Reiss



Festival 2016Coro e Orchestra dell'Accademia Teatro alla Scala, C. Eschenbach

Festival 2016At the concert on November 21st

Festival 2016J. Frantz

Festival 2017Choir of King's College, Cambridge, S. Cleobury,

Festival 2017At the concert on September 15th

Le Pubblicazioni

LE PUBBLICAZIONI

Copertina catalogo 2002 Copertina catalogo 2003



LE PUBBLICAZIONI

Copertina catalogo 2014



�TO THE FOUNDATION FONDAZIONE PRO MUSICA E ARTE SACRA

listed in the Register of Corporations of the Prefecture of Rome, registration no. 162/2002, in accordance to Dpr 361/2000Via Paolo VI, 29 - 00193 Rome, Italy

Phone number: 0039-06-6869187 - Fax: 0039-06-6873300 - E-mail adress: [email protected] - www.fondazionepromusicaeartesacra.net - www.musica-artesacra.org

DONATION FORM 2017

I'm proud to support the Fondazione Pro Musica e Arte Sacra with a donation in the amount of__________________EURO

Name:_________________________________________________________________________________________________

Adress (city, state, zip code):______________________________________________________________________________

Phone, Fax, E-mail adress:________________________________________________________________________________

I choose the following form of payment:

Non-transferable bank cheque, credited to: Fondazione Pro Musica e Arte Sacra

Money transfer to the Fondazione Pro Musica e Arte Sacra:

Account holder: Fondazione Pro Musica e Arte SacraBank: Banca Credito Cooperativo di Roma, Agenzia 21, RomaInternational Bank Account Number IBAN: IT 74 R 0832 7032 2100 0000 0027 02BIC bank routing code: ROMA ITRR

Other Cash Credit Card

Date Signature

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INFORMATION ACCORDING TO ART. 13 D.LGS. 196/2003 –ON THE TREATMENT OF PERSONAL DATAWe infom you that your personal data will be processed, subject to your agreement:

with or without the use of electronic or automatic systems.in order to send, free of charge, information on the institutional activities of the foundation Fondazione Pro Musica e Arte Sacra including promotion of the institutional activities of the foundation.for the fulfilment of the accomplishments provided by law.

The comunication of your personal data is not compulsory; however, if you do not agree to confer your data it will be impossible to sendyou information on the institutional activities of the foundation.Holder of the treatment is the foundation Fondazione Pro Musica e Arte Sacra – via Paolo VI n. 29 – 00193 Roma, which you can contact for any request regarding the treatment of your data.The chief executive of the foundation Fondazione Pro Musica e Arte Sacra is the person in charge of the treatment.You can obtain at any moment the cancellation, transformation into anonymous form, update or correction of your data, and exercise allother rights which article 7 of the D.Lgs. 196/2003 foresees, by writing to [email protected].

CONSENT TO THE TREATMENT OF PERSONAL DATA

The undersigned _______________________________, having taken good note of the information received from the foundation Fondazione Pro Musica e Arte Sacra, as holder of the data treatment

declares that he consents to the treatment of his data in order to receive information on the activities of the foundation FondazionePro Musica e Arte Sacra also via SMS or e-mail.

Signature _______________________________ Date ______________________

The undersigned ______________________, having taken good note of the information received from the foundation Fondazione Pro Musica e Arte Sacra, as holder of the data treatment

declares that he does not consent to the treatment of his data in order to receive information on the activities of the foundation Fon-dazione Pro Musica e Arte Sacra.

Signature _______________________________ Date ______________________

�AN DIE STIFTUNG FONDAZIONE PRO MUSICA E ARTE SACRA

mit Nr. 162/2002 eingetragen ins Register der Rechtspersonen der Präfektur Rom laut Präsidialdekret 361/2000Via Paolo VI n. 29 - 00193 Rom

Telefon: 06-6869187 - Fax: 06-6873300 - E-mail: [email protected] - www.fondazionepromusicaeartesacra.net - www.musica-artesacra.org

BEITRAGSFORMULAR 2017

Ich Unterzeichnender ___________________________________________________________________________________

wohnhaft in ____________________________________________________________________________________________

Telefon, Fax, E-mail _____________________________________________________________________________________

möchte die institutionelle Aktivitäten der Stiftung Fondazione Pro Musica e Arte Sacra

mit einem Beitrag von _____________________ Euro unterstützen.

Ich wähle dazu folgende Zahlungsmodalität:

Verrechnungsscheck, ausgestellt auf Fondazione Pro Musica e Arte Sacra

Banküberweisung zugunsten der Fondazione Pro Musica e Arte Sacra

Kontoinhaber Fondazione Pro Musica e Arte SacraBankinstitut Credito Cooperativo di Roma, Agenzia 21, RomaInternationale Kontonummer (IBAN) IT 74 R 0832 7032 2100 0000 0027 02Internationale Bankleitzahl (BIC) ROMA ITRR

Anderes Bargeld Kreditkarte

Datum Unterschrift

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INFORMATION LAUT ART. 13 D.LGS. 196/2003 – Reglement zum DatenschutzWir informieren Sie hiermit, dass Ihre Daten, Ihre Zustimmung vorausgesetzt, wie folgt behandelt werden:

sowie mit als auch ohne elektronische und automatische Systemeum kostenfreie Informationen über die institutionellen Aktivitäten der Stiftung Fondazione Pro Musica e Arte Sacra zu schicken,wobei es sich auch um Werbung für die Unterstützung der institutionellen Aktivitäten der Stiftung handeln kann.um alle vom Gesetz vorgesehenen Handlungen durchführen zu können.

Die Angabe der persönlichen Daten ist fakultativ; bei Ablehnung der Angabe der Daten ist es jedoch nicht möglich, Ihnen Informationenüber die institutionellen Aktivitäten der Stiftung Fondazione Pro Musica e Arte Sacra zu schicken. Berechtigt zur Behandlung der Daten ist die Fondazione Pro Musica e Arte Sacra – via Paolo VI n. 29 – 00193 Roma, an die Sie sichjderzeit wegen der Behandlung Ihrer Daten wenden können.Verantwortlich für die Behandlung der Daten ist der Rechtsvertreter der Fondazione Pro Musica e Arte Sacra.Sie können Ihre Daten jederzeit ganz oder teilweise löschen, in anonyme Form ändern, auf den neuseten Stand bringen oder korrigierenlassen, sowie alle anderen Rechte ausüben, die Art. 7 des D.Lgs. 196/2003 vorsieht, indem Sie eine E-Mail an [email protected].

ZUSTIMMUNG ZUR BEHANDLUNG DER PERSÖNLICHEN DATEN

Der Unterzeichnende _______________________________ hat die von der Fondazione Pro Musica e Arte Sacra als Berechtigtem fürdie Behandlung der Daten gelieferten Informationen zur Kenntnis genommen und

erklärt sich hiermit einverstanden mit der Behandlung seiner Personaldaten, um Informationen über die institutionellen Aktivitätender Stiftung Fondazione Pro Musica e Arte Sacra zu erhalten, auch per SMS oder E-Mail.

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Der Unterzeichnende ______________________ hat die von der Fondazione Pro Musica e Arte Sacra als Berechtigtem für die Be-handlung der Daten gelieferten Informationen zur Kenntnis genommen und

erklärt sich hiermit nicht einverstanden mit der Behandlung seiner Personaldaten, um Informationen über die institutionellen Aktivitäten der Stiftung Fondazione Pro Musica e Arte Sacra zu erhalten.

Unterschrift _______________________________ Datum ______________________

Iscrizione al Registro delle Persone Giuridichedella Prefettura di Roma ai sensi del DPR 361/2000

al n. 162/2002Iscrizione R.E.A. C.C.I.A.A. di Roma: n. 1011654

Legale Rappresentante e Presidente Generale, FondatoreSen. Dr. h.c. mult. Hans-Albert Courtial

Via Paolo VI, 29 (piazza San Pietro) - 00193 Roma

Telefono +39-06-68 69 187Fax +39-06-68 73 300

[email protected]


www.amicimusicasacra.comwww.musica-artesacra.org

Codice fiscale / P.IVA: 07121591007

Conto corrente bancarioBanca Credito Cooperativo di Roma Agenzia 21

Piazza Nicosia 31, RomaIBAN IT74 R08327 03221 000000002702

BIC ROMAITRR

In copertina: • in alto, Basilica di Sant’Ignazio di Loyola in Campo Marzio - Appartenente al Fondo Edifici di Culto, Ministero dell'Interno• in basso, i Wiener Philharmoniker in concerto nella Papale Basilica di San Paolo fuori le Mura(le due foto sono di Riccardo Musacchio/ Flavio Ianniello/ Cristian Gennari)

RedazioneFondazione Pro Musica e Arte Sacra

FotografieRiccardo Musacchio, Flavio Ianniello, Cristian Gennari

Grafica e stampaDigitalialab, Roma

I contenuti letterari e le fotografie sono di proprietà della Fondazione Pro Musica e Arte Sacra.Tutti i diritti sono riservati. © Fondazione Pro Musica e Arte Sacra 2017

Finito di stampare nel mese di novembre 2017presso la Tipografia Digitalialabvia di Cervara- 00155 Roma

Via Paolo VI, 29 (Piazza San Pietro)00193 Roma


www.musica-artesacra.org

COPIA OMAGGIO

L’Arte salva L’ArteXVI Festival Internazionale di Musica e Arte Sacra

ROMA E VATICANO, 15 SETTEMBRE 2017 E DAL 4 AL 10 NOVEMBRE 2017

XVI Festival Internazionale di Musica e Arte Sacra

M L’Arte salva L’Arte - festivalmusicaeartesacra.net Salva Arte... · Rag. Andrea Serafini...

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Transcript of M L’Arte salva L’Arte - festivalmusicaeartesacra.net Salva Arte... · Rag. Andrea Serafini...