Festibus: Departure at 17:15 (Hala Tivoli) Price: 10 €
Nexus Baroque (DE)
NEXUS [lat. Connection], links old and new. Our perpetual aim: never losing the contact between music, ourselves and you (our audience).
Nexus Baroques (DE):
Julia Andres: recorder
Yeuntae Jung: recorder
Amandine Affagard: baroque lute
Hyngun Cho: cello
Camille Ravot : harpsichord
Arias, chorals from J.S.Bach without words
Artists’ message to visitors
You probably have been willing to hum lovely melodies by J.S. Bach. Music, with or without words moves us deeply. Join us and enjoy the beauty of pure melodies.
About the project
Two recorder players Julia Andres and Yeuntae Jung founded in 2012 the Ensemble Nexus Baroque with the aim of making music from baroque era audible in new ways. As it's name Nexus [lat. connection] says, the connection is the special emphasis for five young musicians from different countries: connection between the past and the present by bringing music from the past to years from today, connection between themselves on the stage and the connection between them and their audience.
Every five musicians have had access to a solid education with renowned musicians in the field of historically informed performance practice.
These fundamentals enable them to approach the music of the baroque ear in historically accurate way with a respect and knowledge about them, but with new insight, in order to play it in a creative and unconventional way.
The Ensemble won prizes at diverse international early music competitions such as XVII. Biagio Marini Competition 2016, York Early Music International Young Artist Competition 2015, Alice-Samter Competition 2014 and International Berlin Bach Competition 2013. Furthermore Nexus Baroque has been entitled as „Rheinsberger Hofkapelle“ in year 2014 with honor to represent Musikakademie Rheinsberg. The ensemble is supported by European project „Emerging European Ensembles“ since 2016 and has had concerts in France, Romania and Slovenia.
With their current programme „Humming Bach, Whispering Bach.“ gives the Ensemble Nexus Baroque a special colours to vocal works of the great master Johann Sebastian Bach. Without words. This is not a completely new way of interpretation, since Bach himself transcribed vocal music into instrumental several times during his life.
For example a Choral from his cantata "Wachet auf, ruft uns die Stimme. BWV. 140", composed in 1731, has been transcribed into an Organ solo BWV. 645 in 1748.
"Humming Bach, Whispering Bach" is a concert program with which ensemble nexus baroque is willing to show it's audience that the beauty and musical value of Bach's works are recognizable even without words.
Johann Sebastian Bach (1685-1750)
(from: Actus Tragicus, BWV 106)
Komm, du süße Todesstunde
(from: Kantate BWV 161)
Höchster, was ich habe ist nur deine Gabe
(from: Kantate BWV 39)
Ich folge dir gleichfalls
(from: Johannes Passion, BWV 245)
Doch bildet euch, o Sünder, ja nicht ein
(Recitativo, from: Kantate BWV 46)
Ermuntere dich, dein Heiland klopft
(from: Kantate BWV 180
Bist du bei mir
(from: Notenbüchlein für Anna Magdalena Bach, BWV 508)
Wachet auf, ruft uns die Stimme
(from: Sechs Chorale von verschiedener Art auf einer Orgel mit 2 Clavieren und Pedal, BWV 140)
Doch Jesus will auch bei der Strafe
(from: Kantate BWV 46)
Mein Herz fühlt in sich Furcht und Freude
(from: Kantate BWV 180)
Schafe können sicher weiden
(from: Kantate BWV 208)
Suite pour la Luth par J.S.Bach (BWV 995)
Öffnet euch ihr beiden Ohren
(from: Kantate BWV 175)
Humming Bach, Whispering Bach.
Haven't you ever hummed arias and chorals from Johann Sebastian Bach?
Johann Sebastian Bach (1685 – 1750), a well-known German composer and musician of baroque period, has been generally regarded as one of the greatest composers of all time since the 19th- century Bach Revival. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organization, and his adaption of rhythms, forms, and textures from abroad, particularly from Italy and France. His compositions include hundreds of cantatas, both sacred and secular, Latin church music, Passions, oratorios and motets and they are being performed worldwide.
With its concert program „Humming Bach, Whispering Bach“ ensemble Nexus Baroque performs Bach's vocal works of different genres such as aria, choral and recitative in an unconventional way. Without words. This is not a completely new way of interpretation, since Bach himself transcribed vocal music into instrumental several times during his life. For example a Choral from his cantata "Wachet auf, ruft uns die Stimme. BWV. 140", composed in 1731, has been transcribed into an Organ solo BWV. 645 in 1748.
"Humming Bach, Whispering Bach." is a concert programme with which ensemble Nexus Baroque is willing to show its audience that the beauty and musical value of Bach's works are recognizable even without words.
The ensemble was confronted with the challenge of rendering the content of the Bach ́s vocal works with an instrumental sound. It was necessary to find media and ways to reach it without ruining the enchantment of the music.
There ensued various possibilities for the approach to the text, first the work with the instrumentation: Who will assume the role of the solo voice? Who has an accompaniment function? In most works, the ensemble decided to swap the habitual roles. The recorders, which otherwise rather coruscate in the main voices, assume often the accompaniment function in this program. The cello, usually known as continuo instrument, is performing as soloist.
This decision gave the ensemble cellist Hyngun Cho the mission of working directly with the texture and the sound quality of the vocal parts. While singing, the human voice is nót working only with the vowels and the consonants. Between the production of single tones, between vowel and consonant or also between still and consonant sound noises, timbres, which substantiate the statement and illustrate the character of the work. These worlds of sound let operate the setting of the text more pictured. Hyngun Cho worked on imitating this timbre on the cello. He consistently reflected upon the text and his statement, just as a singer would do.
The comprehension of the text was one of the very important points in their research: the meaning of the text, how to pronounce the words, what syllables are accentuated and how to render those informations instrumental. For example, the word “ziehen” [de. pull], has to be pronounced/articulated with the feeling of pulling a heavy door. The soloist plays the part with emphasis on the place of “zie” with a long “i”. The ensemble reflected a long time about the German lyrics. How to express meaning of different German words instrumental: “Frieden” [de. peace] and “Ruhe” [de. silence] with the cello? The cellist worked with the sound of the instrument: the way of using his bow on strings to make the sound “light and quiet”.
The theme, played by flute, of the Aria ”Ich folge dir gleichfalls” from St John Passion BVW. 245 (I follow you likewise), written for Soprano solo, two flutes (unison) and basso Continuo, is being imitated by the solo soprano. The ensemble replaced the solo soprano part with a descant-recorder and the flute part with a voice flute. This new instrumentation makes a well-blended consort-like sound with two flutes and enables the imitation between two voices to come to the fore which gives the whole composition a touch of a trio sonata.
Replacing voices is not the only method of an arrangement. The choral "Wachet auf, ruft uns die Stimme." for Organ solo BWV. 645 is being played by two recorders (unison), cello, lute and organ. This enlargement of the instrumentation brings them a possibility to make the piece richer in colour: the basso Continuo instruments (lute and organ) can play with chords since the melody is being played by two recorders and the whole group get chance to perform the piece with further dynamics. Nexus Baroque won a wide range of colours by using varied instrumentations which makes the concert program versatile. Aria “Bist du bei mir” from “Notebook for Anna Magdalena Bach” BWV. 508 played by cello solo and lute accompaniment and Prelude from the Suite for lute solo in g-minor BWV. 995 bring the concert peaceful moments with decent colours whilst Aria “Öffnet euch ihr beiden Ohren” from cantata BWV. 175 played by full cast leads the concert to the vigorous finale. Furthermore, placing choral, recitative and instrumental movements between arias with different characters gives the program a cantata-like dramaturgy.
Not everyone understands the German language in which Bach wrote his vocal works. But the musical language of Bach can touch everyone.
Šmartno pri Litiji, The parish church of St. Martin
The price of coach provided for all concerts from Ljubljana and Zagreb is 10€. Departure from Hala Tivoli and Lisinski Hall.