a r s a l’arte salva l’arte - fondazionepro musica … · l’arte salva l’arte xv festival...

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

www.festivalmusicaeartesacra.netwww.fondazionepromusicaeartesacra.net

www.musica-artesacra.org

COPIA OMAGGIO

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

ROMA E VATICANO, DAL 16 AL 21 NOVEMBRE 2016

XV Festival In

ternazionale di Musica e Arte Sac

ra

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.festivalmusicaeartesacra.netwww.fondazionepromusicaeartesacra.net

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, Restauro della cupola della Cappella di Sisto V nella Basilica Papale di Santa Maria Maggiore• 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 2016

Finito di stampare nel mese di novembre 2016presso la Tipografia Digitalialabvia di Cervara- 00155 Roma

Ars Artem Salvat

15TH International Festival of Sacred Music and Art

ROME AND VATICANNOVEMBER 16 TO 21, 2016

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October 24th, 2014Basilica S. Pietro

in Vaticano

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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 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, 1925 – 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 Card. Agostino Vallini

Vicar General of His Holiness for the Diocese of Rome

and Archpriest of the Basilica of St. John Lateran, Rome

Prof. 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

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 2016

Dott.ssa Claudia Autieri

Secratariat

Dott.ssa Elena Regina Brandstetter

Dott.ssa Daniela Wellnitz

Administration

Rag. Andrea Serafini

Press Office

Dott.ssa Sara Ciccarelli

Dott. Luca Pellegrini

Photographers

Flavio Ianniello

Riccardo Musacchio


ORGANIGRAM OF THE 15TH INTERNATIONAL FESTIVALOF SACRED MUSIC

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

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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The 2016 Festival is dedicated to the memory of Mother Teresa of Calcutta, a Saint of modern times.The Festival is a heartfelt thank-you to the woman who sang the love of God and who, with her life, com-

posed a beautiful symphony of wonderful works of charity.Mother Teresa often said that selfishness is a person’s greatest misfortune. And she added, “I challengeanyone: you will never find a selfish person who is happy.” In well-off societies (such as our own) selfish-ness is very widespread and that’s why, unfortunately, discontent, unrest and violence are also widespread.The poor, nearness to the poor and dedication to the poor are the only medicine to overcome selfishnessand find joy. Mother Teresa once said, “the ill are the cure for the healthy, the most effective medicine tokeep them out of selfishness.”An interview clearly explained Mother Teresa’s argument:- Mother Teresa, which day do you think is the most beautiful?- Today! Because I can still fill it with love!- Which person do you think is the most important?- The person with whom I am speaking.- What is the origin of all evil?- Selfishness! I’m sure of it!- What is the most beautiful distraction?- Work, because it fills me with joy, while I am giving a little joy to others.- What is the best defence?- It is a smile, because it disarms.- What is the best medicine?- It is optimism, because it cures all diseases.- What is the most beautiful thing in the world?- Love. Because God is love! However, take care to distinguish true love from false love (and today thereis so much false love!)

In 1995, the UN’s Fourth World Conference on Women was held in Beijing. In addition to the European Unionmember countries, 174 other countries took part. As with the first three, the conference’s objective was to reaf-firm the equality of men and women. The Holy See appealed to Mother Teresa to express her point of view. How-ever, when the conference was celebrated, Mother Teresa was in such poor physical health that she could notmake the journey. She had to send her speech in writing, to be read by Mercedes Wilson, president of the con-federation Family of the Americas, which includes the Pro-Life and Pro-Familymovements. The fear that her viewsmight not coincide with those of the majority did not stop Mother Teresa from expressing her thoughts with hum-ble courage. She was not afraid to tell the truth: the conformism of the “spineless” was totally unknown to her.

Her message was this:“Dear friends, I am praying for God’s blessing on all who are taking part in the Fourth World Conferenceon Women in Beijing. I hope that this conference will help everyone to know, love and respect the specialplace of women in God’s plan so that they may fulfil this plan in their lives. I do not understand why somepeople are saying that women and men are exactly the same, and are denying the beautiful differences be-tween men and women. All God’s gifts are good, but they are not all the same. As I often say to people whotell me that they would like to serve the poor as I do, “what I can do, you cannot. What you can do, I can-not. But together we can do something beautiful for God.” It is just this way with the differences betweenwomen and men. God has created each one of us, every human being, for greater things– to love and to

His EminenceAngelo CardinalComastri

MOTHER TERESA: A LIFE LIVED AS A SYMPHONY OF LOVE

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be loved. But why did God make some of us men and others women? Because a woman’s love is one im-age of the love of God, and a man’s love is another image of God’s love. Both are created to love, but eachin a different way.” Her words are crystal clear; they require no comment; they are perfectly relevant today,sending light to help us out of the confusion that surrounds us.In 1979, on her way back from Oslo after receiving the Nobel Peace Prize, Mother Teresa made a stop inRome. Various journalists crowded into the outer courtyard of the poor dwelling of the Missionaries of Char-ity on the Caelian Hill. Mother Teresa did not hide from the reporters, but welcomed them as children, and placed a small medal-lion of the Virgin Mary in each one’s hand. The journalists took many photos and asked many questions. Onequestion was rather impertinent: “Mother, you are seventy years old! When you die, the world will be as it wasbefore. What has changed after all your work? Mother Teresa, take a rest! Working so hard isn’t worth it.”Mother Teresa could have reacted with a little blessed indignation, but instead she smiled brightly, as if shehad been given an affectionate kiss. And she said, “you see, I never thought I could change the world! Ihave only tried be a drop of clean water where God’s love could be reflected. Do you think that is too lit-tle?” The reporter could not answer, and all around Mother Teresa there was the silence of listening andof emotion. Mother Teresa spoke again and asked the “cheeky” reporter,- If you try to be a drop of clean water too, there will be two of us. Are you married?- Yes, mother.- Tell your wife too, and there will be three of us. Do you have children?- Three children, mother.- Tell your children too, and there will be six of us... Mother Teresa clearly said that each of us holds a small but indispensable wealth of love; this is the per-sonal capital that we must think about investing: the rest is useless digression or fruitless debate or the maskof disengagement.

Card. Angelo Comastri Vicar General of His Holiness for Vatican City Archpriest of the Papal Basilica of Saint Peter


On 28th October 2015Papal Basilica

St Peter in the Vatican

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Ladies and Gentlemen, dear friends of Sacred Music, I am pleased to welcome you again this year tothe International Festival of Sacred Music and Art in the Eternal City and in the Vatican.

Art saves Art – for fifteen years this has been our motto, and the meaning behind those words is as im-portant now as it was on the first day.It is always important to remember that the Fondazione Pro Musica e Arte Sacra, as the name suggests,promotes sacred music and art. As a non-profit organization, it therefore arranges concerts to help bringto life, and bring back to life, sacred music and its great composers in some of the most solemn artisticsettings – the basilicas and churches of Rome. Magnificent backdrops created by great and generous andartists whose spirit portrayed Christianity and the life of Christ in these places using art, engineering andarchitecture techniques inherited from ancient Greece and Rome. Sacred music and art are the heritage generated over the centuries by human strength, and the FondazionePro Musica e Arte Sacra calls everyone to do their part to preserve and safeguard it so that future gener-ations of artists and others can continue to study it and use it as an example in their education. Sacredmusic can help bring people nearer to a spiritual dimension, even those who feel distanced from religiouslife or from belonging to the Church. Our appeal is, “become patrons of this heritage of humanity!” The contributions to our institution’s activities make it possible for us to realize projects in support of sa-cred music and sacred art. Thus, over the years, we have been able to finance the recovery of importantworks of sacred art and, since 2002, to organize the International Festival of Sacred Music and Art. Since2011 we have also funded certain ecumenical-musical projects of the Sistine Chapel Choir.Thanks be to God, there are many who understand and support this concept, and we thank them as well– sponsors, benefactors, supporters, artists, even the Vienna Philharmonic, which has been orchestra “inresidence” since the first edition. Once again this year, we are able to offer you a warm welcome to the Festival and offer you a musical pro-gramme that presents the classic masterpieces of sacred music along with contemporary sacred musicfrom American artists, conducted by Maestro Candace Wicke and Maestro Tom Matrone, of the Continu-ous Arts Symphonic Chorus & Chamber Orchestra, the Evangel University Chorale and Roy & Rosemary.As part of our festival you can hear the Vienna Philharmonic and other artistic groups, among the most fa-mous and admired in the world, who have agreed to be part of the project whose motto is “Art saves Art”. For the fourth consecutive time we will also be able to listen to the artists of the IlluminArt Chorus and Or-chestra. Anyone who heard this Japanese ensemble in the three previous editions of the festival could sure-ly appreciate the rigor and composure of these Asian artists with their faith – such great faith! – perform-ing Verdi, Beethoven and Mozart. It is extraordinary to see the commitment and strength of these musi-cians who have known years of sacrifice to bring us this music. The Spiritual Elevation with Coronation MassK. 317 by Wolfgang Amadeus Mozart, performed by the IlluminArt Chorus and Orchestra, conducted byMaestro Nishimoto, will precede the Holy Mass. The Holy Mass will be musically accompanied by the Sistine Chapel Choir, conducted by Maestro Massi-mo Palombella, performing Lorenzo Perosi’s Missa Prima Pontificalis. The celebration will then close withthe Illuminart Chorus performing Orasho songs.

This year will see the participation of the recently founded World Peace Philarmonic, conducted by its founderJustus Frantz, a pianist of international success, a conductor of excellent orchestras, and a moderator andtireless promoter of music. We have decided to dedicate Wolfgang Amadeus Mozart’s Requiem Mass in D minor K. 626 to the mem-ory of the victims of the recent earthquake in central Italy and of the L’Aquila earthquake of 2009, and to

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

GREETING FROM THE PRESIDENT GENERAL

8

all those killed by earthquakes around the world. The piece will be performed by the PalatinaKlassik Vo-cal Ensemble (Germany) of the Philharmonischer Chor an der Saar (Germany) and the Chorus and Orchestraof the Kazan State Conservatory (Russian Federation), conducted by Maestro Leo Kraemer, a great friendof the Foundation for years. Another group returning to the Festival for the fourth time is the Vienna Boys’ Choir, a choir founded in 1498by Maximilian I of Habsburg, composed of mainly Austrian boys, who perform music by Mozart, Monteverdi,Schubert, Gallus, Haydn, Wirth, Caldara and Fux.

On 20 November, on the closing of the Jubilee of Mercy, in the Basilica of St Paul Outside the Walls,the young talents of the Orchestra and Chorus of the Academy of Teatro alla Scala will appear for the firsttime in Rome, conducted by Christoph Eschenbach. They will perform Giacomo Puccini’s Mass for soloists,chorus and orchestra, along with Misericordias Domini KV. 222 and Ave Verum Corpus KV. 618 by Wolf-gang Amadeus Mozart.

This edition of the Festival features 800 musicians, 21 soloists, and 7 conductors of orchestra and choir,who have come from Japan, the Vatican City State, Germany, Russia, Austria, Israel, Italy, Canada and theUnited States of America.


The concert on October 29th, 2015

in honour and in the presence

of Their SereneHighnesses

Prince Hans-Adam IIand Princess Marie

von und zuLiechtenstein

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We also welcome 1,400 friends of sacred music from Germany, Austria, Switzerland, France, Japan, Spain,the Netherlands, Sweden and the USA.Sacred music, the creation of which is closely tied to our centuries-old culture and to our Christian roots,is ancient by definition. It is ancient because it was written by great composers of past ages, because itaccompanied the liturgy of the past, because it played a part in the history of our ancestors. Yet, while an-cient, it is still very current. The sacred music of the past is made current each time it is performed by theartists of our time for today’s listeners, and each time it is studied and reflected on by modern artists, be-coming an inspiration for new compositions. Living composers draw on their experience of the sacred mu-sic of centuries past to create new musical expressions and forms, sacred and otherwise, showing us howtheir spirit grows and transforms. We believe in the importance of new generations of artists and composers. Since 2011, the Fondazione Pro Musica e Arte Sacra has supported the Sistine Chapel Choir, directed byMsgr Maestro Massimo Palombella, in an ecumenical-musical project that he has led, first at the behestof Pope Benedict XVI and continued by His Holiness Pope Francis. It is a musical exchange project withrenowned choirs of the church and other denominations. The exchange generally involves two or more jointconcerts each year in Rome or the Vatican and in the institutional headquarters of the Christian choir par-ticipating in the project, occasions that offer the unique possibility of enjoying the polyphony of the groupfrom Rome together with other Christian choral traditions.This year the Fondazione Pro Musica e Arte Sacra supported the Sistine Chapel Choir’s ecumenical jour-ney to Germany from 17 to 20 May 2016, to the cities of Berlin, Wittenberg and Dresden.As part of this same important project of the Fondazione Pro Musica e Arte Sacra, supporters and bene-factors provided the financial means for the Choir of New College, Oxford, an Anglican choir conductedby Maestro Robert Quinney, and the Windsbacher Knabenchor, a Lutheran choir conducted by MaestroMartin Lehmann, to make a musical-ecumenical journey to Rome on the occasion of the holy day of SaintsPeter and Paul.In addition to the concerts, we have financed the recovery of important works of sacred art over the years.The Fondazione Pro Musica e Arte Sacra, with the help of generous sponsors, is continuing its contribu-tion to the largest project it has ever supported, the restoration of the exterior of the Vatican Basilica, de-signed by Michelangelo. The restoration is important precisely because of the work of this architect, painter,sculptor and great artist, who between 1546 and 1564 designed the Greek cross plan of the central partof the Basilica. Our commitment began in 2010, when we contributed to financing the restoration of thethird lot of the south side of the Vatican Basilica (the left side of the Basilica when viewed from the front).The work continued with the west elevation, the apse, and will be completed in 2016 including the restora-tion of the north elevation, also designed by Michelangelo. Between 2017 and 2019 the Fondazione Pro Musica e Arte Sacra is committed to supporting the restora-tion of the drum of the great dome of St Peter’s Basilica and the minor domes of the Clementine Chapeland the Gregorian Chapel.We are also working to restore the statues of Saints Peter and Paul in St Peter’s Square. However, on ac-count of the extraordinary Jubilee proclaimed by the Holy Father Pope Francis, consideration of this restora-tion has been deferred to later and less busy times. The extraordinary Jubilee of mercy has filled the heartsof the entire Church with immense joy, and our thoughts turn to the papal basilicas and churches of Rome,where pilgrims from around the world come to renew the spirituality that has always come alive and beenrenewed in every Jubilee, arousing cultural interest even from other cultures.

By preserving and safeguarding the good things we have inherited from the past for the benefit of futuregenerations, we are confident in our contribution to the dissemination of a message of high spiritual val-ues, a message our world needs now more than ever.

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I wish to thank our benefactors, supporters and sponsors whose generous contributions make this workpossible. These projects are part of a long list of previous achievements by the Fondazione Pro Musica eArte Sacra.Finally, a dedication. The Fondazione Pro Musica e Arte Sacra has decided to dedicate the 2016 Festivalto Mother Teresa of Calcutta, the Saint of the Holy Year of Mercy.I would also like to take this opportunity to share with you the next great cultural and musical project thatthe Vienna Philharmonic and the Fondazione Pro Musica e Arte Sacra plan for the coming years. For sev-en years beginning in 2018, the International Festival of Sacred Music and Art will also take place in sev-en European cities. This is a major cultural and musical project planned by the Vienna Philharmonic, to-gether with the Fondazione Pro Musica e Arte Sacra. In fact, 2024 marks the two-hundredth anniversaryof the birth of the great Austrian composer Joseph Anton Bruckner (Ansfelden, 4 September 1824 - Vi-enna, 11 October 1896). In view of this important and historical event, the Vienna Philharmonic, conductedby Christoph Eschenbach, will perform, the entire cycle of Bruckner’s symphonies, one each year from 2018to 2024, in the most important cathedrals of Europe. The Foundation will also organize a Festival of Sa-cred Music and Art around this event, inspired by the festival that has now run for fifteen years in Rome.The first concert will be held in St Florian in Austria, and the second in St Petersburg. The other concertswill take place in Madrid, Paris, London, Stockholm and Cologne. The 2017 XVI International Festival of Sacred Music and Art 2017 will be held in Rome and in the Vaticanfrom 13 to 17 September 2017, with the Vienna Philharmonic as orchestra in residence once again.

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

of the Fondazione Pro Musica e Arte Sacra


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

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It is enough to glance, even quickly, at the list of what has been put into action during the fifteen 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 TOURISMFOR 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 President General 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 conferenceon October 13th, 2015

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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-

Dr. Claudia Autieri

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.

Dr. Claudia AutieriChartered accountant and auditor

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


Press conferenceon October 13th, 2015

15

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 October 29th, 2015Basilica St Pauloutside the Walls

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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 Outside theWalls, 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 Outside theWalls, 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 outside

the WallsMosaic

of Pope Francis

17

• 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 St Peter's with contributions ofthe German Association "Förderverein Freunde derFondazione Pro Musica e Arte Sacra e.V.", by theirsupporters and in particular by Mr. Friedrich-Wil-helm 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 Uni-versity;

• 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.

Rooms of St AloysiusGonzagain detail view of ceiling

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THE CURRENT PROJECTSOF THE FONDAZIONE PROMUSICA E ARTE SACRA

During the 2017-2019 period, the FondazionePro Musica e Arte Sacra will be supporting the

following restoration and musical projects:• the International Festival of Sacred Music and Art;• the restoration of the statues of Sts Peter and Paulin St Peter’s Square;

• the restoration of the tambours of the cupola of St.Peter’s Basilica and of the smaller cupolas of theChapels Gregoriana and Clementina.

• the presence of the Choir of Westminster Abbey inRome on the occasion of the vespers for the con-version of St Paul the Apostle presided by PopeFrancis.

THE SISTINE CHAPELCHOIR'S MUSICAL ANDECUMENICAL PROJECTS

Since 2011, the Fondazione Pro Musica e ArteSacra has supported the Sistine Chapel Choir,

directed 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 jointconcerts each year in Rome or the Vatican and inthe institutional headquarters of the Christian choirparticipating in the project, occasions that offer theunique possibility of enjoying the polyphony of thegroup from Rome together with other Christianchoral traditions.Thus, since 2011, the Vatican's highest choir hasbeen able to meet with the great choirs of otherChristian denominations, such as Anglican with theChoir of Westminster Abbey in 2012, Lutheran withthe Thomanerchor in Leipzig in 2013, Orthodoxwith the Moscow Synodal Choir in 2014 and theChoir of New College Oxford in 2015.This year the Fondazione Pro Musica e Arte Sacra

supported the Sistine Chapel Choir's ecumenicaljourney (from 17 to 20 May 2016) to Germany, tothe cities of Berlin, Wittenberg and Dresden.On Tuesday, 17 May 2016, at St Hedwig's Cathe-dral in Berlin, the Sistine Chapel Choir, directed byMaestro Massimo Palombella, performed a concertof religious music, sponsored by H.Em. Dr HeinerKoch, Archbishop of Berlin.On Wednesday, 18 May 2016, the Sistine ChapelChoir was in Wittenberg, in the German state of Sax-ony-Anhalt, to perform an ecumenical concert of re-ligious music at the Stadtkirche St. Marien zu Wit-tenberg, sponsored by the Minister President of thestate of Saxony-Anhalt, Dr Reiner Haseloff, who at-tended the concert together with Dr FriedrichSchorlemmer, Direktor der Evangelischen AkademieWittenberg. Many attended the concert, partlythanks to Regierungssprecher Dr Matthias Schuppe'swork to promote the event, at the press conferenceheld at the headquarters of the Leucorea Founda-tion in Wittenberg. The television and the press gavethe event much attention, at both the national andstate 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 the Frauenkirche, Ecumenical Vespers werecelebrated by Frauenkirchenpfarrer Reverend Sebas-tian Feydt, with music by the Sistine Chapel Choir, di-rected 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-


19

porters and benefactors from the Fondazione Pro Mu-sica e Arte Sacra present.Last January, the Fondazione Pro Musica e ArteSacra provided financial support for the Kammerchorder Frauenkirche from Dresden, conducted byMaestro Matthias Grünert, to come to Rome. TheLutheran Choir performed with the Sistine ChapelChoir directed by Maestro Massimo Palombella in anecumenical concert in the Papal Basilica of St. Johnin Lateran and on the occasion of the Celebration ofSecond Vespers on the Solemnity of the Conversionof Saint Paul the Apostle, presided over by PopeFrancis in the Basilica of St. Paul outside the Walls.

THE RESTORATIONOF THE STATUES OF

SAINTS PETER AND PAULIN ST. PETER’S SQUARE

The two statues depicting the Apostles, St Peter andSt Paul, standing in the square before the majes-

tic façade of the Vatican Basilica were commissionedby Pope Gregory XVI to replace the two existing 15th-century statues, which now appeared rather small inproportion to the massive bulk of the façade com-

bined with Bernini's portico. The replacements,sculpted from marble by two pupils of Canova –Giuseppe De Fabris (1790-1822) made the St Peterand Adamo Tadolini (1788-1868) the St Paul - wouldhave to wait until 1847-1849, under the papacy ofPius IX, before being set up on their high pedestalsbearing the heraldic emblems of the Pope and theFabbrica di San Pietro. The works are currently in apoor state of preservation with their surfaces coveredinmicrobial colonies and both loose and solid de-posits. The gilding is almost completely worn awayand the internal pins are showing signs of rust.

RESTORATIONOF THE EXTERIOR

OF ST PETER’S BASILICA

The painstaking restoration of the exterior of StPeter’s, commenced by the Fabric of Saint Peter

on the eve of the Holy Year of 2000 within the frame-work of a complex plan of protection and refurbish-ment, has been resumed and carried forward withrenewed commitment and meticulous care with thesupport of the Fondazione Pro Musica e Arte Sacra. After the restoration of the main façade in 1999, planswere developed for the necessary work on the

20

south, west and north sides, which are about 46 me-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 overjust five years (April 2007 - May 2012). The thirdphase, regarding the element of the basilica de-signed on a Greek cross plan in the 16th centuryby Michelangelo, was carried out with support fromthe Fondazione Pro Musica e Arte Sacra, which isalso funding the restoration of the west façade in-cluding the external 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 sci-entific supervision of the Fabric of Saint Peter. Theirpatient, silent and untiring efforts are flanked bythose of the “Sanpietrini” responsible for all the ma-sonry work, including removal of the old tiled roofsof the attic cornice and entablature, and the sub-sequent installation of slabs of travertine to protectthe structure as a whole. The necessary diagnos-tic investigations have also been carried out withphotographs taken (before, during and after therestoration) and surveying with a laser scanner. Thisgraphic and photographic documentation wascompleted with all the information regarding preser-vation of the materials and identification of the var-ious kinds of deterioration present on the stone andattributable to chemical, physical and mechanical

causes, thus serving as a basis for the analysis andmapping of decay and subsequent representationof the various operations of restoration. Jets of wa-ter were used to clean the travertine surface andthe more stubborn black incrustations were removedby means of micro-sandblasting at moderate pres-sure with inert materials of reduced hardness in or-der to preserve the patina built up over time (theJOS system already tested and used in the restora-tion of the main façade).The restoration also constituted a unique and un-repeatable opportunity for knowledge, not least


The interventionsundertakenduring the

restoration of the lateral

prospects of the Basilica St Peter in

the Vatican withthe support of

the FondazionePro Musica

e Arte Sacra.

Via delle Fondamenta

Piazza di Santa Marta

Northern prospect,2014/16

Western prospect,2013/14

Southern prospectthird tract,2011/12

21

through 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, is nearing completion, theFabric of Saint Peter, once again with the supportand collaboration of the Fondazione Pro Musica eArte Sacra, has developed plans for the continua-tion of operations also on the 16th-century north sidefacing the area known as the Via delle Fondamen-ta close to the Basilica. This restoration will involvea surface area of approximately 6,800 square me-

tres. Started in 2014 the restoration will be completedduring the current Jubilee of Mercy 2016.It is interesting to note that the latter highly de-manding restoration project was launched in 2014,the year marking the 450th anniversary of the deathof Michelangelo Buonarroti (6 March 1475 – 18February 1564). It was in fact Michelangelo that de-signed and built this part of the basilica’s exterior(apart from the minor stretch at the left end) between1546 and 1564. It was during the pontificate ofJulius III (1550–55), Paul IV (1555–59) and PiusIV (1559–65) that Michelangelo completed the apseand the oblique sides and began the constructionof the attic and the foundations of the linear sidesof the exterior, which were completed in 1590 byhis successor, the architect Giacomo Della Porta(1533–1602).

Basilica St Peterin the Vatican -Southernprospect (thirdtract) after therestoration.

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THE "FONDAZIONEPRO MUSICA E ARTESACRA" AWARD

The Foundation Award, instituted in 2004, isgranted to the artist, supporter, benefactor or pa-

tron who has made an outstanding contribution tomusic and/or religious art. The recipient is pre-sented with a certificate and a work of art. Theaward ceremony takes place at a venue chosen bythe International Festival of Sacred Music and Art toan invited audience of media delegates and mem-bers 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, in recognition ofhis moral 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);Dr. Senator 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° Mgr. Pablo Colino, Prefect of the Music Depart-ment of St Peter in the Vatican, for dedicating him-self to sacred music in the Vatican and throughoutthe world for more than 50 years (2014);


Dr. Gianni Letta

His EminenceCardinal

Marchisano

Sen. Dr. MariapiaGaravaglia

Richard de Tscharner

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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 sacred

music (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

24

GREETING FROM THE

GERMAN SUPPORTASSOCIATION

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 (Germany) GmbHBodewig, KurtFederal Minister (retired), Chairman of the BoardBaltic Sea Forum e.V., President Deutsche Verkehr-swacht e.V.


On October 31st, 2015Basilica Sant'Ignazio

25

Courtial, Dr. Hans-Albert (President)President General 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 V, 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 Coadjutor, Archbishopric Lviv (Latiner)UkraineOverbeck, 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 15th 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

Wednesday 16th November 2016 PAPAL BASILICA ST PETER IN THE VATICAN 4pm Spiritual ElevationWolfgang Amadeus Mozart, Coronation Mass, KV 317

Illuminart Philharmonic Orchestra and Illuminart Chorus (Japan)

In collaboration with "Amici dell'Orchestra di Roma Sinfonietta”

Tomomi Nishimoto, Conductor

5pm Holy Mass celebrated by His Eminence Cardinal Angelo ComastriLorenzo Perosi, Missa Prima Pontificalis

Coro della Cappella Musicale Pontificia "Sistina" (Vatican City)

Massimo Palombella, Conductor

Orasholluminart Philharmonic Chorus (Japan)


Thursday 17th November 2016, 9pmPAPAL BASILICA ST PAUL OUTSIDE THE WALLS Ludwig van Beethoven, Symphony No. 9 in D minor, Op. 125

Illuminart Philharmonic Orchestra and Illuminart Chorus (Japan)

In collaboration with "Amici dell'Orchestra di Roma Sinfonietta”


Friday 18th November 2016, 12.30pm BASILICA DI SANT’IGNAZIO DI LOYOLA IN CAMPO MARZIO Wolfgang Amadeus Mozart, Requiem Mass in D minor (K. 626)

Palatina Klassik Vocal Ensemble (Germany)

Philharmonischer Chor an der Saar (Germany)

Orchestra and Chorus of Kazan State Conservatory (Russian Federation)

Leo Kraemer, ConductorThe Fondazione Pro Musica e Arte Sacra dedicates the concert to thecommemoration of the victims of the earthquake in Central Italy, of the victims killed in the earthquake of L’Aquila 2009 and of all victimskilled in earthquakes world-wide.

Friday 18th November 2016, 8.00pmPAPAL BASILICA ST. MARY MAJORWorks by Mozart, Monteverdi, Schubert, Gallus, Haydn, Wirth, Caldara, Fux

Wiener Sängerknaben (Austria)

Luiz de Godoy, piano

Gerald Wirth, Conductor

The concert is exclusively reserved for the benefactors of the

Fondazione Pro Musica e Arte Sacra.

Saturday 19th November 2016, 12.30pmBASILICA DI SANT'IGNAZIO DI LOYOLA IN CAMPO MARZIO Gioachino Rossini, Stabat Mater

Richard Wagner, Extracts from the opera Tannhäuser

Palatina Klassik Vocal Ensemble (Germany)

Philharmonischer Chor an der Saar (Germany)

Orchestra and Chorus of Kazan State Conservatory (Russian Federation)

Leo Kraemer, Conductor

Saturday 19th November 2016, 12 noonBASILICA DI SANTA MARIA SOPRA MINERVAWorks by Staheli, Palestrina, Esenvalds, Gjeilo, Caldwell, Ivory

Roy & Rosemary, The Courtial Concerto for Violin & Piano

(World Premiere)

John Rutter,Mass of the Children

The Continuo Arts Symphonic Chorus & Chamber Orchestra (U.S.A)

In collaboration with Orchestra di Roma Sinfonietta

The Evangel University Chorale (U.S.A)

Roy & Rosemary (Canada)

Candace Wicke, Conductor - Tom Matrone, Conductor

Saturday 19th November 2016, 9pmPAPAL BASILICA ST PAUL OUTSIDE THE WALLS Wiener Philharmoniker (Austria)

Johann Sebastian Bach, Konzert für 2 Violinen, d-Moll, BWV 1043

Albena Danailova and Raimund Lissy, violins

Luigi Boccherini, Stabat Mater

Chen Reiss, soprano

Albena Danailova, Concertmaster

Sunday 20th November 2016, 8.30pmPAPAL BASILICA ST PAUL OUTSIDE THE WALLS Giacomo Puccini, Messa di Gloria per soli, coro a 4 voci e orchestra

(op. postuma)

Wolfgang Amadeus Mozart, Misericordias Domini KV 222

Wolfgang Amadeus Mozart, Ave Verum Corpus KV 618

Coro e Orchestra dell'Accademia Teatro alla Scala (Italy)

Alberto Malazzi, Chorus Master of the Accademia Teatro alla Scala

Christoph Eschenbach, Conductor

Monday, 21st November 2016, 9pmBASILICA DI SANTA MARIA IN ARACOELI Wolfgang Amadeus Mozart, Violin Concerto No.4 in D major, K 218

Anton Bruckner, Symphony No.3 in D minor

World Peace Philarmonic - Justus Frantz, Conductor

THE FESTIVAL

THE FONDAZIONE PRO MUSICA E ARTE SACRA DEDICATESTHE FESTIVAL 2016 TO MOTHER TERESA OF CALCUTTA, THE SAINT OF THE HOLY YEAR OF MERCY.

The Festival Program

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.

Wolfgang Amadeus Mozart (1756-1791)Krönung Messe C-Dur K.317

WEDNESDAY 16TH NOVEMBER 2016, 4.00 PM

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PAPAL BASILICA ST PETER IN THE VATICAN

Spiritual Elevation

ILLUMINART PHILHARMONIC ORCHESTRA AND ILLUMINART CHORUSIN COLLABORATIONWITH "AMICI DELL'ORCHESTRA DI ROMA SINFONIETTA"TOMOMI NISHIMOTO, CONDUCTOR

Kana Kumamoto, sopranoTakako Nogami, mezzo-sopranoNaoki Nizuka, tenorTsutomu Tanaka, baritone

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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 October 28th, 2015Basilica St. Peter in the Vatican

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PRELUDELaudate 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.

INTROITStatuit et Dominus testamentum pacis(Gregorian chant)

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

GLORIALorenzo Perosifrom the Missa Prima Pontificalis

PSALMGiuseppe GaiLauda Anima mea

HALLELUJAHEaster Hallelujah (Gregorian chant)and versicle “Filus hominis venit ut ministrare”(Massimo Palombella)

OFFERTORYLorenzo PerosiBenedictus

SANCTUSLorenzo Perosifrom the Missa Prima Pontificalis

AGNUS DEILorenzo Perosifrom the Missa Prima Pontificalis


PAPAL BASILICA ST PETER IN THE VATICAN

Holy Mass to open the 15th International Festival of Sacred Music and Art celebrated by His Eminence Cardinal Angelo Comastri.

LORENZO PEROSI, MISSA PRIMA PONTIFICALISCORO DELLA CAPPELLA MUSICALE PONTIFICIA "SISTINA"MASSIMO PALOMBELLA, CONDUCTOR

ORASHOILLUMINART PHILARMONIC CHORUSTOMOMI NISHIMOTO, CONDUCTOR

Josep Solé Coll, organ

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COMMUNIONLorenzo PerosiQui operatus estO salutaris Hostia

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.

PROCESSIONSalve Regina(Gregorian chant)

HOMILYBy His Eminence Cardinal Angelo Comastri, Vicar General of His Holiness for Vatican City and Archpriest of St. Peter’s Basilica1) The first time I met Mother Teresa, in Rome in1968, I was struck by her gaze; she looked at me withclear, penetrating eyes. Then she asked me, “howmany hours do you pray every day?” I was surprisedby such a question and I tried to defend myself bysaying, “Mother, from you I expected a call to char-ity, an invitation to love the poor better. Why do youask me how many hours I pray?”Mother Teresa tookmy hands and held them tightly as if she wanted totransmit to me what was in her heart; then she toldme, “my child, without God we are too poor to be ableto help the poor! Remember, I am only a poor womanwho prays. When I pray, God puts His love in my heartso that I can love the poor. By praying!”I have never forgotten that meeting and those words:the secret of Mother Teresa is nothing more than that.We met many other times (the last was 22 May 1997,three months before her death), but I found all of Moth-er Teresa’s actions and decisions wonderfully con-sistent with this conviction in faith: “When I pray, Godputs His love in my heart so that I can love the poor.”

2) In 1988, Mother Teresa came to the Parish of San-to Stefano in Monte Argentario, where I was parishpriest. It was a tremendous, wonderful and unex-pected gift. It was 18 May and, following a rare storm,the sky was once again clear and blue, almost blend-ing into the colour of the sparkling sea. Mother Tere-sa stared like a child at the exceptional scenery ofMonte Argentario, and said, “how beautiful this placeis! In such a beautiful place, you must also work tohave beautiful souls.”These words were all it took to command the atten-tion of more than twenty thousand people and to lightup their hearts. Then, Mother Teresa, with the con-stancy of her faith, added, “Life is God’s greatest gift.This is why it is painful to see what is happening to-day: life is deliberately destroyed by war, by violence,by abortion. And we are created by God to love andto be loved! The greatest destroyer of peace in theworld today is abortion. If a mother can kill her ownchild in the cradle of her womb, who will be able tostop you and me from killing each other? If a moth-


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er can kill her own child, who will be able to preventa child from killing his mother?” That is what Moth-er Teresa said.These words were like rays of light projected into thedark sky: everyone there felt that his soul was bared,and every shred of selfishness burned away andserved as a healthy rebuke.At the end of the prayer vigil, something happenedwhich I have always remembered vividly and whichstill moves me deeply today. A rich industrialist hadtold me he intended to give Mother Teresa his villa,to house AIDS patients. He had the keys in his hand,ready to give them to her. I told Mother Teresa abouthis offer, and she promptly replied, “I must pray, Imust think about it; I do not know if it is a good thingto bring AIDS patients to a tourist destination. Whatif they are rejected? It would double their suffering!”What wisdom! What inner freedom!But to all of us, men of little faith, it seemed that Moth-

er Teresa was about to lose a beautiful and rare op-portunity. A distinguished gentleman, who had been present dur-ing the conversation, felt compelled to suggest, “Moth-er, take the keys for now, and then we’ll see...”Moth-er Teresa, without hesitation, perhaps feeling that whatwas even dearer and more precious to her had beenwounded, firmly closed the discussion, saying, “no, sir!Because what I do not need is a burden to me!”A wonderful and courageous reply. Let us take thesewords as guidance in our own lives: “what I do notneed is a burden to me.”

3) Divine Providence willed that Mother Teresa shouldeven go to speak at the United Nations General As-sembly.UN documents show that Secretary General JavierPérez de Cuéllar took the initiative to invite her to apublic event that took place on 26 October 1985. On

On October 28th, 2015Basilica St. Peter

in the Vatican

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that occasion, in addition to commemorating the for-tieth anniversary of the organization’s founding, theUN wished to pay tribute to her, with a screening ofa documentary entitled The World of Mother Tere-sa, filmed by her Canadian collaborator Ann Petrie. Pérez de Cuéllar introduced Mother Teresa to all theguests at the ceremony, which included then arch-bishop of New York, Cardinal J. O’Connor. Of all theways Mother Teresa has been described, during herlife and since her death, Pérez de Cuéllar’s is per-haps the most surprising and paradoxical. He saidthat Mother Teresa was “the most powerful womanin the world.” Here are his words:“This is a hall of words. A few days ago we had inthis rostrum the most powerful men in the world. Nowwe have the privilege to have the most powerfulwoman in the world. I don’t think I need to presenther. She doesn’t need words. She does needdeeds. I think that the best thing I can do is to paytribute to her and to tell that she is much more thanI, much more than all of us. She is the United Na-tions. She is peace in this world.”Mother Teresa was humbled by such high-soundingwords, yet her faith was great, and her courage equal-ly great.She held up the rosary she always carried and said, “I am only a poor nun who prays. When I pray, Je-sus puts His love in my heart and I go and give it toall those poor whom I meet on my way.”She was silent for a moment, which seemed like aneternity. Then she added, “pray too, all of you! Prayand you will recognize the poor who are around you.Perhaps on the same floor of the building where youlive. Maybe even in your homes... there is someonewaiting for your love. Pray and your eyes will beopened and your heart will be filled with love.” Tell me, did this woman not have the courage of a lion?

4) I saw Mother Teresa for the last time on 22 May1997. She was tired, breathing was difficult for her,and it seemed that her departure for Heaven was soonapproaching.She said to me, “I’ve come from New York and I amstopping for a few days in Rome to visit my sistersand my poor people, and then I have to go to Dublin,where we give support to many alcoholics, and thenI have to go to London where we will bring a little loveto the poor who sleep under the bridges of theThames, and then... and then... and then...”My im-mediate reaction was to say, “oh Mother, but this ismadness! You cannot attempt such a huge effort;even a young person could not continue at this pace.“She listened to me and was silent for a few moments.And then she gazed at me so sweetly and she said,“oh, my dear Bishop Angelo, we only have one life;it is not like a pair of sandles that can be replaced.I only have one life and I must spend it all sowinglove until my last breath. Remember that when wedie, we take with us only the suitcase of charity.”I listened and I did not dare to argue. In fact, Moth-er Teresa’s logic was flawless; it perfectly followed thereasoning of love! Which is the right kind.At the end, she said, “the only thing we take with usis the suitcase of charity: fill it, while you still have time!”These words resonate in my soul every morning whenI wake up and every night when I end the day. “HaveI put something in the suitcase of charity? If not, Ihave wasted a day.” This powerful call is the spiri-tual legacy of Mother Teresa. It is a call addressedto everyone. Let us keep it in our hearts as a reminderof this moment and of this Holy Eucharist.

Angelo Card. ComastriVicar General of His Holiness for Vatican City Archpriest of the Papal Basilica of Saint Peter

THURSDAY 17TH NOVEMBER 2016, 9.00 PM

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1. Allegro ma non troppo – Un poco maestoso2. Molto vivace – Presto3. Adagio molto e cantabile – Andante moderato4. Finale: Presto – Allegro assai – Allegro assai vi-vace (alla marcia) – Andante maestoso – Adagioma non troppo ma divoto – Allegro energico esempre ben marcato – Allegro ma non tanto –Presto – Maestoso – Prestissimo

O Freunde, nicht diese Töne!Sondern laßt uns angenehmereanstimmen und freudenvollere.Freude! Freude!

Freude, schöner Götterfunken,Tochter aus Elysium,Wir betreten feuertrunken,Himmlische, dein Heiligthum!

Deine Zauber binden wiederWas die Mode streng geteilt;Alle Menschen werden Brüder,Wo dein sanfter Flügel weilt.

Wem der große Wurf gelungen,Eines Freundes Freund zu sein;Wer ein holdes Weib errungen,Mische seinen Jubel ein!

Ja, wer auch nur eine SeeleSein nennt auf dem ErdenrundUnd wer's nie gekonnt,der stehleWeinend sich aus diesem Bund!

Freude trinken alle WesenAn den Brüsten der Natur;Alle Guten, alle BösenFolgen ihrer Rosenspur.

Küsse gab sie uns und Reben,Einen Freund, geprüft im Tod;Wollust ward dem Wurm gegeben,Und der Cherub steht vor Gott.

Froh, wie seine Sonnen fliegenDurch des Himmels prächt'gen Plan,Laufet, Brüder, eure Bahn,Freudig, wie ein Held zum Siegen.

THURSDAY 17TH NOVEMBER 2016, 9.00 PM

PAPAL BASILICA ST PAUL OUTSIDE THE WALLS

ILLUMINART PHILHARMONIC ORCHESTRA AND ILLUMINART CHORUSIN COLLABORATIONWITH "AMICI DELL' ORCHESTRA DI ROMA SINFONIETTA"TOMOMI NISHIMOTO, CONDUCTOR

Kana Kumamoto, sopranoTakako Nogami, mezzo-sopranoNaoki Nizuka, tenorTsutomu Tanaka, baritone

Ludwig van Beethoven (1770-1827)Symphony No. 9 in D minor, Op. 125

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Seid umschlungen, Millionen!Diesen Kuß der ganzen Welt!Brüder, überm SternenzeltMuß ein lieber Vater wohnen.Ihr stürzt nieder, Millionen?Ahnest du den Schöpfer, Welt?Such' ihn überm Sternenzelt!Über Sternen muß er wohnen.

Seid umschlungen, Millionen!Diesen Kuß der ganzen Welt! rüder, überm SternenzeltMuß ein lieber Vater wohnen.

Seid umschlungen,Diesen Kuß der ganzen Welt!Freude, schöner GötterfunkenTochter aus Elysium,Freude, schöner Götterfunken, Götterfunken.

On October 30th, 2015Basilica St.Paul outside the Walls

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FRIDAY 18TH NOVEMBER 2016, 12.30 PM

1. REQUIEMRequiem aeternam dona eis, Domine, et lux perpetua luceat eis, te decethymnus, Deus in Sion, et tibi reddetur votum in Jerusalem; exaudiorationem meam, ad te omnis caro veniet.Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.Kyrie eleison, Christe eleison, Kyrie eleison.

2. DIES IRAEDies irae, dies illa solvet saeclum in favilla,teste David cum Sybilla.Quantus tremor est futurus, quando judex est venturus, cuncta strictediscussurus.

3. TUBA MIRUMTuba mirum spargens sonum per sepulchraregionum, coget omnes ante thronum.Mors stupebit et natura, cum resurget creatura,

judicanti responsura.Liber scriptus proferetur, in quo totum continetur,unde mundus judicetur.Judex ergo cum sedebit, quidquid latet apparebit,nil inultum remanebit.Quid sum miser tunc dicturus? quem patronum rogaturus, cum vix justussit'securus?

4. REX TREMENDAERex tremandae maiestatis, qui salvandos salvas gratis, salva me, fonspietatis.

5. RECORDARERecordare Jesu pie, quod sum causa tuae viae,ne me perdas illa die.Quaerens me sedisti lassus, redemisti crucem passus; tantus labor nonsit cassus.Juste judex ultionis, donum fac remissionis ante


BASILICA GESUITA DI SANT’IGNAZIO DI LOYOLA IN CAMPO MARZIOpart of the Fund of Religious Buildings (Fondo Edifici di Culto)

The Fondazione Pro Musica e Arte Sacra dedicates the concert to the commemorationof the victims of the earthquake in Central Italy, of the victims killed in the earthquakeof L’Aquila 2009 and of all victims killed in earthquakes world-wide.

PALATINA KLASSIK VOCAL ENSEMBLEPHILHARMONISCHER CHOR AN DER SAARORCHESTRA AND CHORUS OF KAZAN STATE CONSERVATORYLEO KRAEMER, CONDUCTOR

Liudmila Slepneva, sopranoSusanne Schaeffer, mezzo-sopranoOscar de la Torre, tenorKarsten Mewes, baritone

Wolfgang Amadeus Mozart (1756-1791)Requiem Mass in D minor (K. 626)

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diem rationis.Ingemisco tanquam reus, culpa rubet vultus meus; supplicanti parce Deus.Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.Preces meae non sum dignae, sed tu, bonus, fac benigne, ne perenni cremer igne.Inter oves locum praesta, et ab hoedis me sequestra, statuens in partedextra.

6. CONFUTATISConfutatis maledictis, flammis acribus addictis,voca me cum benedictis.Oro supplex et acclinis, cor contritum quasi cinis,gere curam mei finis.

7. LACRYMOSALacrymosa dies illa, qua resurget ex favilla judicandus homo reus.Huic ergo parce Deus, pie Jesu Domine, dona eis requiem! Amen!

8. DOMINE JESUDomine Jesu Christe! Rex gloriae! Libera animas omnium fidelium defunctorumde 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 olimAbrahae promisisti, et semini ejus.

9. HOSTIASHostias 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, etsemini ejus.

10. SANCTUSSanctus, sanctus, sanctus Dominus Deus Sabaoth!pleni sunt coeli et terragloria tua.Osanna in excelsis.

11. BENEDICTISBenedictis, qui venit in nomine Domini.Osanna in excelsis.

12. AGNUS DEIAgnus Dei, qui tollis peccata mundi, dona eis requiem.Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.Lux aeterna luceat eis, Domine, cum sanctis in aeternum, quia pius es.Requiem aeternam dona eis, Domine, œet lux perpetua luceat eis.

October 25th, 2014Basilica of St. JohnLateran

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INTROITAd te levavi animam meam (Zu dir habe ich meine Seele erhoben)Gregorian sequence; Introit on the First AdventLyrics: Psalm 24 (25):1-4; Psalm 142 (143):8Ad te levavi animam meam, Deus meus in te confidoNon erubescam neque irrideant me inimici mei.Et enim universi qui te expectant non confundenturVias tuas, Domine, demonstra mihi et semitas tuas edoce me.

SALUTATIONDietrich Buxtehude (1637-1707)Cantate Domino canticum novum (Singt dem Herrn ein neues Lied), BuxWV 12Lyrics: Psalm 96, 1-4Cantate Domino canticum novum cantate Domino omnis terra,Cantate Domino et benedicite nomini eius,annuntiate die in diem salutare eius.Annuntiate inter gentes gloriam eius, in omnibus populis mirabilia eius,Quoniam magnus Dominus et laudabilis nimis terribilis est super omnes deos.Gloria Patri et Filio et Spiritui Sancto.Sicut erat in principio et nunc et semper et in saecula saeculorum.Amen.

KYRIEWolfgang Amadeus Mozart (1756–1791)Die ihr des unermesslichen Weltalls Schöpfer ehrtKantate KV 619Lyrics: Franz Heinrich Ziegenhagen (1753–1806)Arr. Gerald WirthDie ihr des unermesslichen Weltalls Schöpfer ehrt,Jehova nennt ihn, oder Gott, nennt Fu ihn, oder Brahma, hört!Hört Worte aus der Posaune des Allherrschers!Laut tönt durch Erden, Monde, Sonnen ihr ew’ger Schall,Hört Menschen, hört, Menschen, ihn auch ihr!Liebt mich in meinen Werken,Liebt Ordnung, Ebenmass und Einklang!Liebt euch selbst und eure Brüder!Körperkraft und Schönheit sei eure Zierd’,Verstandeshelle euer Adel!Reicht euch der ew’gen FreundschaftBruderhand,Die nur ein Wahn, nie Wahrheit euch so lang entzog!

Zerbrechet dieses Wahnes Bande,Zerreisset dieses Vorurteiles Schleier,Enthüllt euch vom Gewand,Das Menschheit in Sektiererei verkleidet!In Kolter schmiedet um das Eisen,Das Menschen-, das Bruderblut bisher vergoss.


PAPAL BASILICA ST. MARY MAJOR

The concert is exclusively reserved for the benefactors of the Fondazione Pro Musica e Arte Sacra.

WIENER SÄNGERKNABENGERALD WIRTH, CONDUCTOR

Luiz de Godoy, piano

Works by Mozart, Monteverdi, Schubert, Gallus, Haydn, Wirth, Caldara, Fux

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Zersprenget Felsen mit dem schwarzen Staube,Der mordend Blei ins Bruderherz oft schnellte!

Wähnt nicht, dass wahres Unglück sei auf meiner Erde!Belehrung ist es nur, die wohltut,Wenn sie euch zu bessern Taten spornt,Die, Menschen, ihr in Unglück wandelt,Wenn töricht blind ihr rückwärtsin den Stachel schlagt,Der vorwärts, vorwärts euch antreiben sollte.Seid weise nur, seid kraftvoll und seid Brüder!Dann ruht auf euch mein ganzes Wohlgefallen,Dann netzen Freudenzähren nur die Wangen,Dann werden eure Klagen Jubeltöne,Dann schaffet ihr zu Edens Tälern Wüsten,Dann lachet alles euch in der Natur,Dann ist’s erreicht, des Lebens wahres Glück!

GLORIAClaudio Monteverdi (1567-1643)GloriaFrom: Messa di quattro voci da Capella (published in 1650)Gloria 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, 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.

GRADUALFranz Schubert (1797-1828)Der 23. Psalm, opus 132. D 706 (1820)Lyrics: biblical; Translation: Moses Mendelssohn(1729–1786)

Gott ist mein Hirt, mir wird nichts mangelnEr weidet mich auf grüner Aue,Er führet mich zum frischen Wasser,Sein Wort erquicket meine Seele.Er führet mich auf rechter StraßeUm seines Namens willen.

Und wall' ich auch im Todesschattentale,so fürchte ich kein Unglück,denn Du bist bei mir.Dein Stab und Deine StützeSind mir immerdar mein Trost.

Du richtest mir ein FreudenmahlIm Angesicht der Feinde zu,Du salbst mein Haupt mit ÖleUnd schenkst mir volle Becher ein.

Mir folget Heil und SeligkeitIn diesem Leben nach,Einst ruh' ich ew'ge ZeitDort in des Ew'gen Haus.

ALLELUIAJacobus Gallus (~1550-1591)Haec dies (Dies ist der Tag)Motet for a four-part double choir a capellaHaec dies quam fecit Dominus:Exultemus et laetemur in ea. Alleluia.

CREDOAnton Bruckner (1824-1896)CredoFrom: Windhaager Messe WAB 25 (1842)Credo in unum Deum,Patrem omnipotentem, factorem coeli et terræ,visibilium omnium et invisibilium.Et in unum Dominum Iesum 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 coelis

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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 coelum, sedet ad dexteram Patris.Et iterum venturus est cum gloria,iudicare vivos et mortuos, cuius regni non erit finis.

Et in Spiritum Sanctum, Dominum et vivificantem,qui ex Patre filioque procedit.Qui cum Patre et filio simul adoratur etconglorificatur:qui locutus est per prophetas.

Et unam, sanctam, catholicam et apostolicamecclesiam.Confiteor unum baptisma in remissionempeccatorum.Et expecto resurrectionem mortuorum,et vitam venturi saeculi.Amen.

OFFERTORYJacobus GallusConfirma hoc, Deus (Bestärke dies, Gott)Offertory of Pentecost for four voices a capellaConfirma hoc Deus, quod operatus es in nobis atemplo tuo quod est in Jerusalem. Alleluia

SANCTUSSanctus (Heilig)Gregorian sequence (12th/13th century)Sanctus Dominus Deus Sabaoth.Pleni sunt coeli et terrae gloriae tuae:Hosanna in excelsis!

BENEDICTUSJoseph Haydn (1732-1809)BenedictusAria for sopranoFrom: Missa brevis Sancti Joannis de Deo (Kleine Orgelsolomesse)Hob. XXII:7Benedictus qui venit in nomine Domine.Hosanna in excelsis.


On December 11th, 2009Basilica of

St. John Lateran

41

AGNUSGerald Wirth (*1965)Mercy-Forgiveness-Inner PeaceFrom: Missa universalisAgnus Dei, miserere mei – Poshaluysta eleison imas kripakaru, bebakhshid - huruma, erbarme dich unserkelian women ba, jihi o ataeruten piedad de nosotros,have mercy!Agnus Dei, doce nos veniam Lamb of God, have mercy upon meAgnus Dei, teach us to forgiveAgnus Dei, grant us inner peaceDona nobis pacem – gib uns Friedengrant us peaceBeh-Ma Solhe Daruni-Jad BedahidHamen Atmic Shankti Do

COMMUNIONAntonio Caldara (1670–1736)Ego sum panis vivus (Ich bin das lebendige Brot)Ego sum panis vivusqui de coelo descendisi quis manducaverit ex hoc panevivet in aeternum.Alleluia

Johann Joseph Fux (1660-1741)Salve Regina (Gegrüßt seist du, Königin), KV 257Salve, Regina, mater misericordiae;vita, dulcedo et spes nostra, salve.Ad te clamamus, exsules filii Evae.Ad te suspiramus, gementes et flentes in haclacrimarum valle.Eia ergo, advocata nostra,illos tuos misericordes oculos ad nos converte.Et Jesum, benedictum fructum ventris tui,nobis post hoc exsilium ostende.

Balduin Sulzer (*1932)Veni, sancte Spiritus (Komm, heiliger Geist)For four descantsVeni, sancte spiritusreple tuorum corda fideliumet tui amoris ignem accende.

Veni, sancte Spiritus.Amen.

Hymn of ThanksgivingIte missa est:Christoph Willibald Gluck (1714-1787)Trionfi amore (Es siegt die Liebe)Choir of the Opera Orfeo and Euridice (1762)Lyrics: Ranieri Calzabigi (1714-1795)Arr. Gerald Wirth

Triumph sei der Liebedie Welten, sie preisenin ewigen Weisender Schönheit Macht!

Ihr will ich dienenmit dankbaren Sinnenführt auch ihr Pfad oft durch Dunkel und Nacht.

Hat oft sie auch grausamdem liebenden Herzenbittere Qualen undKummer gebracht.

Dahin ist das Leidund vergessen die Wundesobald uns die Stundedes Glücks wieder lacht.

Eifersucht schlägt unsmit Kummer und Reueaber die Treuehält gute Wacht.

Sie weiß die Geister des Argwohns zu bannenscheuchet von dannenden schwarzen Verdacht.

Triumph sei der Liebedie Welten, sie preisenin ewigen Weisender Schönheit Macht!

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SATURDAY 19TH NOVEMBER 2016, 12.00 NOON

Ronald Staheli (*1947)Sing a New Song

Giovanni Pierluigi da Palestrina (c. 1525-1594)Sicut cervus

Eriks Esenvalds (*1977)Salutaris Hostia

Ola Gjeilo (*1978)The Ground

Eriks Esenvalds (*1977)Stars

Paul Caldwell/Sean IvoryJohn the Revelator


BASILICA DI SANTA MARIA SOPRA MINERVA part of the Fund of Religious Buildings (Fondo Edifici di Culto) and by concession of the Dominican friars.

THE CONTINUO ARTS SYMPHONIC CHORUS & CHAMBER ORCHESTRAIN COLLABORATION WITH ORCHESTRA DI ROMA SINFONIETTATHE EVANGEL UNIVERSITY CHORALEROY & ROSEMARYCANDACE WICKE, CONDUCTORTOM MATRONE, CONDUCTOR

Jennifer Forni, sopranoKeith Spencer, baritoneRoy Tan, pianoRosemary Siemens, violinGreg Morris, accompanist

The Evangel University Chorale Works by Staheli, Palestrina, Esenvalds, Gjeilo, Caldwell, Ivory

43

Commissioned by The Continuo Arts Foundationin honor of Sen. Dr. h.c. mult. Hans-AlbertCourtial and dedicated to the Fondazione ProMusica E Arte Sacra in recognition of global &historical impact on the arts.

Roy & RosemaryAve Maria - Great is thy Faithfulness - The Lord’s PrayerThe Courtial Concerto for Violin & Piano (World Premiere)

KYRIEAwake my soul, and with the sun Thy daily stage of duty run; Shake off dull sloth, and joyful rise To pay thy morning sacrifice. Redeem thy mis-spent time that’s past, Live this day as if ’twere thy last:Improve thy talent with due care; For the great Day thyself prepare.(Thomas Ken, 1637–1711)

Kyrie eleisonChriste eleisonKyrie eleison

Lord Have MercyChrist Have MercyLord Have Mercy

GLORIAGloria in excelsis Deo, et in terra,hominibus bonae voluntatis.Laudamus te, benedicimus te, adoramus te.Gratias agimus tibi propter magnam gloriam tuam.Domine Deus, Rex caelestisDeus Pater omnipotensDomine Fili unigenite, Jesu ChristeDomine 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.

Glory be to God on high,and on earth peace,Good will towards men.We praise thee, we bless thee, we worship theeWe give thee thanks for thy great glory.Oh Lord God, heavenly King,God the Father Almighty.O Lord, the only-begotten Son, Jesus Christ;O Lord God, Lamb of God, Son of the Father,Thou that takest away the sins of the world,Have mercy on us.Thou that takest away the sins of the world,Receive our prayer.Thou that sittest at the right hand of God the FatherHave mercy on us.For thou only art holy; thou only art the Lord;Thou only, O Christ, with the Holy Ghost,Art most high in the glory of God the Father.Amen.

The Continuo Arts Symphonic Chorus & Chamber Orchestra John Rutter (*1945)Mass of the Children

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SANCTUS & BENEDICTUSSanctus, Sanctus, SanctusDominus Deus Sabaoth, Hosanna!Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.Benedictus qui venit in nomine Domini. Hosanna!

Holy, Holy, HolyLord God of HostsHosanna!Heaven and Earth are full of Thy glory.Hosanna in the highest.Blessed is he who comes in the name of the Lord.Hosanna!

AGNUS DEIAgnus Dei,Qui tollis peccata mundi,Miserere nobis.

Lamb of GodWho takest away the sins of the world,Have mercy on us.Little lamb, who made thee? Dost thou know who made thee? Gave thee life and bid thee feed, By the stream and o’er the mead; Gave thee clothing of delight, Softest clothing, woolly bright;Gave thee such a tender voice, Making all the vales rejoice: Little lamb, who made thee?

On October 22nd , 2014Basilica Santa Maria

sopra Minerva

45

Dost thou know who made thee? Little lamb, I’ll tell thee; Little lamb, I’ll tell thee: He is called by thy name, For he calls himself a Lamb: He is meek and he is mild, He became a little child: I a child and thou a lamb, We are called by his name.Little lamb, God bless thee. Little lamb, God bless thee. (William Blake, 1757–1827)

Miserere nobis.Have mercy on us.

FINALELord, open thou mine eyes that I may see thee; Lord, open thou my lips that I may praise thee; Lord, open thou my heart that I may love thee, Serve thee with joy, fear none above thee. Christ be my sword and shield, my strongdefender;Christ be my light and my Redeemer. Lord, be with me this day in each endeavour; Lord, keep my soul with thee now and for ever.(John Rutter, based on Lancelot Andrewes, 1555–1626)

Dona nobis pacem.Grant us Peace

Christ, be my guide today, my guide tomorrow; Christ in my days of joy, my days of sorrow; Christ in the silent hours when I lie sleeping, Safe in his holy angels’ keeping. Christ be within the hearts of all who love me;Christ all around, and Christ above me. Christ in my thought and prayer and myconfessing; Christ, when I go to rest, grant me your blessing.(based on St Patrick’s Breastplate, a 5th-century prayer)

Agnus Dei,Lamb of GodQui tollis peccata mundi, Who takest away the sins of the world,Dona nobis pacem.Grant us peace.

Glory to thee, my God, this night For all the blessings of the light; Keep me, O keep me, King of kings, Beneath thy own almighty wings. Praise God, from whom all blessings flow, Praise him, all creatures here below, Praise him above, ye heavenly host, Praise Father, Son, and Holy Ghost.(Thomas Ken) Dona nobis pacem.Grant us peace.

On October 22nd, 2014Basilica di SantaMaria sopra Minerva

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SATURDAY 19TH NOVEMBER 2016, 12.30 PM

1.INTRODUCTIONStabat mater dolorosaIuxta crucem lacrimosa,Dum pendebat filius;

2. ARIACuius animam gementem,Contristantem et dolentemPertransivit gladius.O quam tristis et afflictaFuit illa benedictaMater unigeniti!Quae maerebat et dolebat,Et tremebat, cum videbatNati poenas incliti.

3. DUETTQuis est homo, qui non fleret,Christi Matrem si videretIn tanto supplicio?Quis non posset contristari,Piam matrem contemplariDolentem cum filio?

4. ARIAPro peccatis suae gentisIesum vidit in tormentisEt flagellis subditum.Vidit suum dulcem natumMorientem, desolatum,Dum emisit spiritum.

5. CHORUS AND RECITATIVESEia, mater, fons amoris,Me sentire vim dolorisFac, ut tecum lugeam.Fac, ut ardeat cor meumIn amando Christum Deum,Ut sibi complaceam.

6. QUARTETTSancta mater, illud agas,Crucifixi fige plagasCordi meo valide.Tui nati vulnerati,Iam dignati pro me pati,Poenas mecum divide.


BASILICA GESUITA DI SANT’IGNAZIO DI LOYOLA IN CAMPO MARZIO part of the Fund of Religious Buildings (Fondo Edifici di Culto)

PALATINA KLASSIK VOCAL ENSEMBLEPHILHARMONISCHER CHOR AN DER SAARORCHESTRA AND CHORUS OF KAZAN STATE CONSERVATORYLEO KRAEMER, CONDUCTOR

Liudmila Slepneva, sopranoSusanne Schaeffer, mezzo-sopranoOscar de la Torre, tenorKarsten Mewes, baritone

Gioachino Rossini (1792-1868) Stabat Mater

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THE PILGRIM’S CHORUSBeglückt darf nun dich, o Heimat, ich schaun und grüßen froh deine lieblichen Auen;nun lass’ ich ruhn den Wanderstab, weil Gott getreu ich gepilgert hab!

Durch Sühn’ und Buß’ hab ich versöhnt denHerren, dem mein Herze fröhnt,der meine Reu’ mit Segen krönt, den Herren, dem mein Lied ertönt!

Der Gnade Heil ist dem Büßer beschieden, er geht einst ein in der Seligen Frieden;vor Höll’ und Tod ist ihm nicht bang, drum preis’ ich Gott mein Lebelang! Halleluja!Halleluja in Ewigkeit, in Ewigkeit.

FINALEHeil! Heil! Der Gnade Wunder Heil! Erlösung ward der Welt zuteil. Es tat in nächtlich heilger Stund’ der Herr sich durch ein Wunder kund.Den dürren Stab in Priesters Hand hat ergeschmückt mit frischem Grün,dem Sünder in der Hölle Brand soll so Erlösung neu erblühn.Ruft ihm es zu durch alle Land, der durch dies Wunder Gnade fand.Hoch über alle Welt ist Gott und sein Erbarmen ist kein Spott.Der Gnade Heil ward dem Büßer beschieden,nun geht er ein in der Seligen Frieden!

Richard Wagner (1813-1883)Extracts from the opera Tannhäuser

Fac me vere tecum flere,Crucifixo condolere,Donec ego vixero.Iuxta crucem tecum stare,Te libenter sociareIn planctu desidero.Virgo virginum praeclara,Mihi iam non sis amara,Fac me tecum plangere.

7. CAVATINAFac, ut portem Christi mortem,Passionis eius sortemEt plagas recolere.Fac me plagis vulnerari,Cruce hac inebriariOb amorem filii.

8. ARIA AND CHORUSInflammatus et accensus,Per te, virgo, sim defensusIn die iudicii.Fac me cruce custodiri,Morte Christi praemuniri,Confoveri gratia.

9. QUARTETTQuando corpus morietur,Fac ut anima doneturParadisi gloriae.

10. CHORUSIn sempiterna saecula.Amen!

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Stabat mater dolorosajuxta crucem lacrimosadum pendebat filius;cujus animam gementemcontrstatam et dolentempertransivit gladius.

O quam tristis et afflictafuit illa benedictaMater Unigeniti!Quae moerebat et dolebatet tremebat, cum videbatNati poenas inclyti.

Quis est homo qui non fleretChristi matrem si videretin tanto supplicio?Quis non posset contristaripiam matrem contemplariDolentem cum filio?

Pro peccatos suae gentisVidit Jesum in tormentiset flagellis subditum.

Vidit suum dulcem Natummorientem, desolatum,dum emisit spiritum.

Eja, mater, fons amoris,me sentire vim dolorisfac ut tecum lugeam.Fac ut ardeat cor meumin amando Christum Deum,ut sibi complaceam.

Sancta amter, istud agas,Crucifixi fige plagascordi meo valide.Tui Nati vulneratitam dignati pro me pati,poenas mecum divide.

Fac me vere tecum flere,Crucifixo condolere,donec ego vixero.Juxta crucem tecum starete libenter sociarein planctu desidero.



WIENER PHILHARMONIKERALBENA DANAILOVA, CONCERTMASTER

Albena Danailova and Raimund Lissy, violinsChen Reiss, soprano

Johann Sebastian Bach (1685-1750)Konzert für 2 Violinen, d-Moll, BWV 1043

Luigi Boccherini (1743-1805)Stabat Mater – first version 1781 (G.532) for soprano, two violins,viola, violoncello and contrabass

49

Virgo virginum praeclara,mihi jam non sis amara;fac me tecum plangere.Fac ut portem Christi mortem,passionis fac consortem,et plagas recolere.

Fac me plagis vulnerari,cruce hac inebriariob amorem Filii.

Inflammatus et accensusper te, Virgo, sim defensusin die judicii.

Fac me cruce custodiri,morte Christi preamuniri,confoveri gratia.Quando corpus morietur,fac ut animae doneturparadisi gloria. Amen.

On November 13th, 2012Basilica St. Paul outside the Walls

50

SUNDAY 20TH NOVEMBER 2016, 8.30 PM

KYRIEChoirKyrie eleison.Christe eleison.Kyrie eleison.

GLORIAChoirGloria in excelsis Deo,Et in terra pax hominibus bonae voluntatis.Laudamus te,benedicimus te,adoramus te,glorificamus te.

Tenor soloGratias agimus tibi propter magnam gloriam tuam.

ChoirGloria in excelsis Deo.Domine Deus, Rex coelestis, Deus Pateromnipotens.Domine fili unigenite, Jesu Christe,Domine Deus, Agnus Dei, Filius patris.Qui tollis peccata mundi suscipe deprecationemnostram. Miserere nobis.Quoniam tu solus Sanctus,tu solus Dominus,

tu solus Altissimus, Jesu Christe.Cum Sancto Spiritu in gloria Dei Patris. Amen.Gloria in excelsis Deo. Amen.

CREDOChoirCredo in unum Deum,Patrem omnipotentem, factorem coeli et terrae,visibilium omnium et invisibilium. Et in unum Dominum Jesum ChristumFilium Dei unigenitum. Et ex Patre natum ante omnia saecula.Deum de Deo, lumen de lumine,Deum verum de Deo vero.Genitum non factum consubtantialem Patriper quem omnia facta sunt.Qui propter nos homineset propter nostram salutem descendit de coelis.

Tenor solo e choirEt incarnatus est de Spiritu Sanctoex Maria Virgine et homo factus est.

BassesCrucifixus etiam pro nobissub Pontio Pilato passus et sepultus est.

SUNDAY 20TH NOVEMBER 2016, 8.30 PM


CORO E ORCHESTRA DELL'ACCADEMIA TEATRO ALLA SCALACHRISTOPH ESCHENBACH, CONDUCTOR

ALBERTOMALAZZI, CHORUSMASTEROF THEACCADEMIATEATRO ALLA SCALA

Oreste Cosimo, tenorDongho Kim, baritone

Giacomo Puccini (1858-1924)Messa di Gloria per soli, coro a 4 voci miste e orchestra (op. postuma)

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ChoirEt resurrexit tertia die secundum scripturas. Et ascendit in coelum sedet ad dexteram Patris. Et iterum venturus est cum gloriajudicare vivos et mortuos,cuius regni non erit finis. Et in Spiritum Sanctum,Dominum et vivificantemqui ex Patre et Filioque procedit. Qui cum Patre et Filiosimul adoratur et conglorificatur; qui locutus est per prophetas. Et unam sanctam catholicamet apostolicam Ecclesiam.Confiteor unum baptismain remissionem peccatorum. Et expecto resurrectionem mortuorum.Et vitam venturi saeculi. Amen.

SANCTUS AND BENEDICTUSChoirSanctus, Sanctus, Sanctus,Dominus Deus Sabaoth.Pleni sunt coeli et terra gloria tua.Hosanna in excelsis.

Baritone soloBenedictus qui venit in nomine Domini.

ChoirHosanna in excelsis.

AGNUS DEITenor soloAgnus Dei qui tollis peccata mundi.

ChoirMiserere nobis.

Baritone soloAgnus Dei qui tollis peccata mundi.

ChoirMiserere nobis.Tenore solo e baritono soloAgnus Dei qui tollis peccata mundi.Soli and ChoirDona nobis pacem.

Wolfgang Amadeus Mozart (1756-1791)Misericordias Domini KV 222

ChoirMisericordias Domini cantabo in Aeternum.

Wolfgang Amadeus Mozart (1756-1791)Ave Verum Corpus KV 618

ChoirAve verum Corpusnatum de Maria Virgine,vere passum, immolatumin cruce pro homine.Cujus latus perforatumunda fluxit et sanguine,esto nobis praegustatumin mortis examine..

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MONDAY 21ST NOVEMBER 2016, 9.00 PM

MONDAY 21ST NOVEMBER 2016, 9.00 PM

BASILICA DI SANTA MARIA IN ARACOELIpart of the Fund of Religious Buildings (Fondo Edifici di Culto) and by concession of the Friars Minor of the Roman Province

WORLD PEACE PHILARMONICJUSTUS FRANTZ, CONDUCTOR

Ksenia Dubrovskaya, violin

Anton Bruckner (1824-1896)SYMPHONY NO. 3 IN D MINOR

On October 31st, 2015Basilica St. Paul

outside the Walls.

Wolfgang Amadeus Mozart (1756-1791)Violin Concerto No. 4 in D-major, K 218

53

THE ARTISTS

CHOIRS

CHORUS OF KAZANSTATE CONSERVATORYThe Student Choir of the Zhiganov Kazan State Con-servatoire is a brilliant performing collective that formany years has been representing Kazan Conser-vatoire at various music venues in Russia and Eu-rope. It is one of the oldest and, at the same time,one of the youngest, given the age of its members,choirs in the Republic of Tatarstan and in its capi-tal Kazan. The choir members are the students of theChoral Conducting Department of the Kazan Con-servatoire. The repertoire of the choir consists ofminiature and large-scale musical pieces, chorala’cappella compositions and works in the choral sym-phony genre. Traditions of the Kazan Conservatoire Student Choirwere laid by its founder, one of the most remarkableRussian chorus masters of the 20th century, SemyonAbramovich Kazatchkov (1909-2005) - a unique andlegendary musician. As many as fifty years, from 1947to 1997, Kazatchkov was the irreplaceable leader andchoir director who developed one of the best per-forming groups in the country and created uniquestyle of its sound, which features a balance betweenintellectual rigor and sensual beauty. SemyonAbramovich directed concerts that took place inKazan, Moscow, Leningrad, Saratov, Tallinn and oth-er cities around the country and it have always beenan unforgettable experience for the audience. Since 1997, the Student Choir has been directed byone of the leading Russian choir masters, the head of

Choral conducting Department of the Kazan Conser-vatoire, the Honored Artist of Russia and Tatarstan, Pro-fessor Vladislav Lukyanov. Collective’s performancesunder his direction enjoyed great success in the bestconcert halls in Moscow (Bolshoi and RachmaninovHall of the Moscow Conservatory), St. Petersburg (StateAcademic Capella, the Grand Philharmonic Hall,Glazunov Hall St. Petersburg Conservatory), Nizhny Nov-gorod and other cities of Russia.The choir is a frequent guest at music festivals in Rus-sia and abroad, such as «Internationale Musiktageim Dom zu Speyer» Speyer (Germany, 2005-2007),«Festival Internazionale di Musica e Arte Sacra» inRome (Italy, 2006), “Autumn Choral Festival“(Moscow, 2006),”Outstanding figures of Russianchoral music “(Moscow, 2009),” International Con-servatoire Week “(St. Petersburg, 2012, 2013),Sivukhin All-Russian Choral Festival (Nizhny Nov-gorod, 2010) and many others. In November 2012 the Kazan Conservatoire StudentChoir participated in the celebration of the 150th an-niversary of the St. Petersburg Conservatory. The choirpresented two solo programs and performed the grandA. Rubinstein’s oratorio “Tower of Babel” at the clos-ing concert in the combined choir of four conserva-tories from St. Petersburg, Moscow, Saratov and Kazan.The main feature in the choir’s repertoire has alwaysbeen choral a’cappella miniature pieces. The com-bination of pathos and emotional restraint, vivid cli-maxes and a special “singing silence” has alwaysmade the choir’s solo programs stand out. The an-nually revised repertoire of the choir contains clas-sics from the so-called “choral watercolor palette”

Chorus ofKazan StateConservatory

(Tchaikovsky, Kalinnikov, Taneyev, Rachmaninov,Schumann, Schubert, etc.), works by the 20thcentury composers (Shostakovich, Schnittke,Gubaidulina, Sviridov, Shchedrin, Denisov, Stravin-sky, Kodály, Poulenc, Milhaud , Basler etc.), as wellas folk songs by peoples from around the worldarranged for academic performance.The Student Choir takes on the challenge of masteringsignificant choral pieces. Since the beginning of theXXI century the Choir’s repertoire has expanded toinclude large scale compositions such as “St. JohnPassion” and Bach’s High Mass, “Hallelujah” byGubaidulina, Schubert’s and Saint-Saens’ masses,“Elijah” by Mendelssohn, “The Creation” by Haydn,“Requiem”, Coronation Mass and the Great Mass byMozart, Verdi’s “Requiem”, Beethoven’s SymphonyNo. 9, Mahler’s Symphony No.8, “John of Damas-cus” by Taneyev, “Passion week” by Gretchaninov,and many others.The Student Choir also takes part in the Kazan Conser-vatoire Opera Studio productions – Tchaikovsky’s “Eu-gene Onegin”, “The Love for Three Oranges” byProkofiev, and «Altynchech” by Zhiganov among others.Creative collaborations of the Student Choir with out-standing collectives (Camerata Salzburg orchestra,Sveshnikov Russian Choir, Yurlov Capella, ChamberChoir of the Moscow Conservatory, Choir and Or-chestra of the Mariinsky Theatre, St Petersburg Phil-harmonic Chamber Orchestra) and renowned con-ductors (Valery Gergiev, L. Kremer, V. Chernushenko,A. Sladkovskiy, G. Dmitryak) allow not only to expandchoir’s repertoire but also to constantly hone its per-formance art, each time reaching new heights.Today the Kazan Conservatoire Student Choir is thekeeper of traditions in high performance culture, im-peccable musical taste and professional ethics.

Soprano: Iuliia Chekmareva, Violetta Gaitova,Adilia Ganiullina, Lilit Elchian, Elena Emelianova,Kristina Krutikhina, Daria Lukianova, EkaterinaMarushina, Diana Nosikova, Daria Tretiakova,Oksana Verendeeva, Adeliia ZakirovaAlto: Kristina Akhmatova, Iuliia Akhmetgalieva,Daria Barysheva, Ekaterina Bataeva, DariaChueva, Natalia Churianina, Tanzilia Garipova,Damira Gimaltdinova, Olga Derendiaeva, AliiaIshmurzina, Nina Korsakova, Veronika Kudrina,Anna Naumova, Ekaterina Nikolaeva, ElenaSamodelkina, Aidana Satybaldy, EkaterinaShchekacheva, Muxiao WuTenor: Vladimir Aiupov, Aleksandr Grinin,Aleksandr Ivanov, Ruslan Khabibullin, RuslanKhaziakhmetov, Roman Paliakin, Ilia Riabinskii,Mikhail Safronov, Ivan Savinykh, Evgenii Solin, Evgenii Tselishchev,Maksim VinchenkoBass: Ivan Bezborodov, Dmitrii Dorofeev, RadmilShariev, Evgenii Sitnikov, Konstantin Smirnov, Leonid Timashev, VladislavTimofeev, Dmitrii Zheleznov

CONTINUO ARTSSYMPHONIC CHORUSFounded in 2007 the inaugural concert of the Con-tinuo Arts Foundation’s Symphonic Chorus took placein 2008 on the Italy. Under the direction of Dr. Can-dace Wicke, the chorus has repeatedly been featuredin first tier venues at home and around the world in-cluding Carnegie Hall, Lincoln Center, Boardwalk Hall,The Music Center at Strathmore, the Sistine Chapeland other concert halls of note. Renown globally forcompositional premieres, diverse repertoire andengaging performances, The Continuo Arts Sym-

54

THE ARTISTS

Continuo Arts Symphonic

Chorus

55

phonic Chorus was recently reviewed by the New YorkTimes as ‘the signal pleasure of the show’ in refer-ence to the world premiere performances of Disney’s“The Hunchback of Notre Dame” at the Paper MillPlayhouse. Comprising singers of all ages, previousappearances also include international concertbroadcasts, performance tours in Ireland, Italy, andthe Czech Republic, in addition to being the subjectof a feature length documentary film.Soprano: Kathryn Hammond, Noni BeckerMacPherson, Kathleen Martin, Marguerite Marty,Lyle Brehm, Mary D’Amato, Kathryn Evenson,Susan Taylor, Ana Venutolo, Marcia Mahnken,Gabriella MerinoAlto: Amelia Lunde, Xanthe Miller, MercedesCamacho Walsh, Millie Cooper, Drude SpareCrane, Nicole Dencker, Janet Whitman, MiaAndersen, Chantal GomesTenor: Elizabeth Gump, Richard Lunde, CorbinBrett Abernathy, Mia Andersen, Andrew Beck,Casey Okamoto, Nicolas SteltzerBass: William Hammond, William Hildebrandt,Christopher Allred, Daniel Apruzzese, GeoffreyBuchan, Glen CraneTreble ChorusSoprano: Jack Apruzzese, Victoria Nicely, AriaAlva, Katherine BuchanSoprano 2: Katelyn Leiter, Ines Lopez-Silvero,Kathryn Evenson, Gabriella MerinoAlto: Ellen Camacho Walsh, Chantal Gomes,Amelia Lunde, Juliana Venutolo

CORO DELL’ACCADEMIATEATRO ALLA SCALAThe La Scala Academy Choir is an expressive out-let for students in the Advanced Courses for Lyrical-Symphonic Choral Artists, instituted in 1999 to de-velop and refine technical skills and interpretive tal-ents in preparation for a professional career of thehighest level in lyric-symphonic choirs. Under the artistic direction of Bruno Casoni, direc-tor of the La Scala Choir, the courses involve individualstudy (voice technique, study with opera coach, vo-cal chamber music), small group lessons (vocalchamber music), and full group lessons (choral prac-tice, stage arts, German diction). Students develop a high level of proficiency in

reading and understanding the musical score andrefine their sense and control of intonation, stage pres-ence, and ability to work in a group.Instructors include Alfonso Caiani, Massimiliano Car-raro, Biancamaria Casoni, Tiziana Colombo, CarloGaifa, Vincenzo Manno, and Alessandra Molinari.The internships involve intense participation in concertsand operas in prestigious theatres in Italy and abroad.Notable opera titles performed by the Choir include Ugo,conte di Parigi at Teatro degli Arcimboldi in Milan (2003)and Parisina at Teatro Donizetti in Bergamo (2004) di-rected by Marcello Iozzia. Alfonso Caiani led the Choirbetween 2006 and 2012 in the La Scala Academy Proj-ect: Ascanio in Alba (2006), Così fan tutte (2007), Lenozze di Figaro (2008), Le convenienze ed inconve-nienze teatrali (2009), L’italiana in Algeri (2011), andDon Pasquale (2012). In 2012 the Choir was direct-ed by Alfonso Caiani in Rienzi by Wagner in a production

opening the 2012-2013 season of the Théâtre du Capi-tole in Toulouse. In 2013 Bruno Casoni directed theChoir in the Petite Messe Solennelle by Rossini at theBéla Bartók National Concert Hall in Müpa Budapest.Marco De Gaspari was on the podium for Il barbieredi Siviglia in 2015 and Alberto Malazzi the following yearin a new production of Die Zauberflöte.Soprano: Maria Laura Bertoli, Beatrice Binda,Mariachiara Cavinato, Selena Colombera, FrancescaCopertino, Eva Corbetta, Elsa Galasio, Chiara Iaia,Caterina Iora, Sumika Kanazawa, Kalim Kim,Marianna Mennitti, Anna Piroli, Antonella Profera, JiYeong Son, Anna Paola Troiano, Kurumi Yanagi

Corodell’Accademia Teatro alla Scala

Photo © Giulia di Vitantonio

Mezzo/Alto: Grazie Bilotta, Barbara Brandi,Eleonora De Prez, Cecilia Gaetani, AnnaGiumentaro, Biljana Kovac, Paola Lo Curto, ArleneMiatto Albeldas, Sofia Olivieri, Tania Pacilio,Simona Parra, Irene Ripa, Claudia Roberta Strano,Vittoria Vimercati, Xin YangTenor: Matteo Cammarata, Manuel Caputo, PaoloCauteruccio, Yong Seok Choi, Gjergji Kora, NicolòLa Farciola, Matteo Michi, Mattia Muzio, AndreaPalamara, Fernando Pibernat, Marco Pollone,Eder Sandoval, Andrea Scafidi, Yohan YangBass: Jorge Abarza Sutter, Sergio Alcamo, NicolòBartoli, Fabrizio Brancaccio, Cristian Chiggiato,Guido Dazzini, Kennosuke Kumatani, Ivan DarioLozano Ruge, Diego Arturo Manto, Fabian Sali,Luca Vianello, Sheng Tao Xiao, Michele Zanchi,Deng Hui Zhao

CORO DELLA CAPPELLA MUSICALEPONTIFICIA “SISTINA”The Cappella Musicale Pontificia “Sistina” is thePope’s personal Choir. It traces its origins to the firstcenturies of the Church, was reorganized in the sixthcentury under Gregory the Great, and underwent ma-jor changes under Pope Boniface VIII. It was furtherreorganised by Pope Sixtus IV in 1471 and then ob-tained the name “Sistine” both in homage to the Popewho revived it and because it usually sang in thechapel of the same name.

During the Renaissance, singers of the Sistine ChapelChoir included Giovanni Pierluigi da Pal-estrina, LucaMarenzio, Cristóbal de Morales, Cos- tanzo Festa, JosquinDesprès and Jacob Arcadelt. In the nineteenth centu-ry its directors included Giuseppe Baini and Domeni-co Mustafà. Lorenzo Perosi became choirmaster in 1898and Domenico Bartolucci in 1956. From 1997 to 2010the choir was directed by Msgr Giuseppe Liberto. On16 October 2010, Benedict XVI appointed Msgr Mas-simo Palombella as its director.The choir consists of 20 permanent adult singers, withthe addition of some extras as required. There arealso some 35 boy singers (the Pueri Cantores) whoare prepared by Msgr. Mons. Marcos Pavan.In addition to its main commitment in the Papal Litur-gies, the Sistine Chapel Choir also gives concertsaround the world both as a full choir and in sections,including only boys’ voices. By these concerts fea-turing its musical and liturgical history, the Choir ex-presses the Evangelical mission of the Church.

EVANGEL UNIVERSITY CHORALEThe Evangel University Chorale is a 48-member se-lect chorale ensemble, which performs both on theEvangel University campus and in the community. Themission of the Chorale is to prepare and present onlythe best of sacred classical choral literature. In addi-tion to on-campus performances, the Chorale regu-larly performs with the Springfield Symphony Orchestra

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Coro dellaCappellaMusicalePontificia“Sistina”

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and various artistic ensembles in the community. Past collaborations of the Evangel University Choraleinclude Mozart Requiem, Beethoven Ninth Symphony,Mahler Tenth Symphony, and Mendelssohn Lobge-sang. The University Chorale is under the direction ofMr. Tom Matrone.Soprano: Kathryn Baker, Ashley DeVries, AlishaGraham, Hannah Grahlman, Julia Gardino, MasonKohler, Skyler McAlister, Maria McArdle, MikaelaMcGarrahAlto: Juliana Beatie, Mariah Cook, LaurenDawson, Melissa Gadd, Sydney Holland, BrookeLopez, Elyse Steward, Ashley Thomasson, RachelZimmermanTenor: Nicholas Cole, Jacob Karst, Noah Holmes,Reagan Maginn, Kenny Ortiz, Braiden Wells,Christian CunninghamBass: Jonathan Alvarado, Matt Garon, JoshuaLittle, Ephraim McFarland, James Luke Thomas,Dallas Wicke

ILLUMINARTPHILARMONIC CHORUSUnder the artistic direction of Tomomi Nishimoto, Il-luminart Chorus is engaged in stage performances,restoration performances of local folk songs - such asthe long-lost Minyo tunes - and stage production work-shops as it works toward making contributions to so-ciety through artistic and cultural activities. It puts on

historically-based performances such as its 2014restoration of “Orasho,” a Gregorian hymn, in Hirado,Nagasaki that had been passed down verbally in thearea since its introduction approximately 456 years ago.In 2015, the Chorus has performed in traditional Japan-ese temples and theatres, including a musical memorialservice commemorating the 1200-year anniversary ofMount Koyasan, a staging of the opera Madame But-terfly at Kyoto Minamiza and Shinbashi Enbujo, anda performance at the “Sennyu-ji Otobutai.”Chorus Master: Hiroyuki TsujiSoprano: Yuko Aoki, Hiroko Chiba, Etsuko Gamoh,Kahoko Hanyu, Rieko Hattori, Atsuko Honda,Manami Ishikawa, Renko Kaitsuka, Makiko Kamio,Mihono Kamiya, Tomoko Kanzaki, Mika Kasahara,Satomi Kawakami, Kei Kinase, Rumi Kirikawa,Hiromi Kishi, Nobuko Kitada, Natsuki Koyama,Kyoko Makino, Yasuyo Makino, Mikiko Matsumoto,Kazuko Matsunaga, Michiko Minami, MasumiMiyabe, Fumiko Miyauchi, Kimie Mori, YoshimiMori, Tomiko Nakajima, Yukiko Nakamura, KazumiNishimura, Mika Ojita, Tomoko Ono, Kiyoko Osada,Misako Otomune, Misako Sasaki, Mito Sasaki,Rimiko Sato, Eiko Sato, Kyoko Shigezumi, YasueSuzuki, Miyako Takashima, Kiyomi Tanaka, HirokoTanie, Sayuri Wataya, Mayumi Yamada, YukariYamada, Yoko Yamaoka, Kyooko Yokoi, KunikoYoneyama, Tazuyo Yoshigasako, Yuka Yoshino,Annarita Lorusso, Katia Bartulli

The Evangel UniversityChorale

Alto: Hisako Abe, Yukiko Ambo, Rieko Aoyanagi,Michiyo Chiba, Machiko Chikayama, HatsukoHarada, Tamiko Hase, Keiko Hatta, TomokoHirono, Mutsuko Ichinose, Ikuko Ikuta, SachieInukai, Ryoko Ishikawa, Chieko Ishimoto, Yoko Ito,Atsuko Kanaya, Kyoko Kawawa, Miki Kishi,Masako Kiyomiya, Maoko Kobayashi, TomokoKobayashi, Saeko Koide, Yasuko Koide, ItsumiKoike, Ikuko Koseki, Naoko Koyama, TomoeKuribayashi, Tami Kuroda, Kana Magae, MiekoMatsumoto, Chikako Matsunaga, TomokoMiyajima, Eriko Miyauchi, Chiho Miyazaki, JunkoMori, Setsuko Murakami, Junko Nagashima,Kazumi Nakahara, Yoshiko Niwa, Atsuko Noguchi,Hiroko Noguchi, Kiyoka Saito, Atsuko Sakamoto,Mitsuru Sakazaki, Michiko Sasajima, NorikoSawada, Takako Sawada, Yumiko Shimizu, ReikoSumida, Hiroko Suzaki, Keiko Tachibana, ReikoTakagi, Misao Sumitani, Keiko Tachibana, ChizukoTakaoka, Mieko Terahara, Yuko Tokimoto, MiekoTsuboi, Junko Watanabe, Nozomi Watanabe,Yasuko Yagi, Aki Yamada, Junko Yasuda, KarenYoshihara, Taeko Yoshihara, Yukiko TanakaTenor: Toru Fukui, Hisashi Miyajima, KazuyaMurasato, Kyoichi Ozaki, Yasuou Satoh, ChiyoshiTakahashi, Makoto Takebayashi, MineoToyoshima, Motohiro Tsujii, Takashi Tsujimoto,Nicola Nicoloso, Marco Nani, Carlo Napoletani,Manrico Carta, Andrea Fermi, Andrea Martini,

Riccardo Cecchi, Egidio D’Elia, Marco Satarelli,Anselmo Fabiani, Franceso TomaBass: Kiyoyuki Honda, Yasuyuki Igarashi, KaoruIshida, Masaki Kajiwara, Haruo Kemmotsu, ShojiMiyazawa, Kazuhiro Ogita, Naofumi Okubo,Hiroshi Ozaki, Fumiaki Saito, Hiroto Sasajima,Yoshimi Takaoka, Motoyoshi Tanaka, TomonoriYokoe, Tsuyoshi Yoneyama, Hajime Yoshioka,Marco Tartaglia, Fabrizio Di Bernardo, AndreaScorsolini, Aldo Calabro, Angelo Nardinocchi,Alessio Cacciamani, Carlo Riccioli, MassimoSimeoli, Dario Colasanti, Riccardo Di Stefano

PALATINAKLASSIKVOCAL ENSEMBLEThe PalatinaKlassik Vocal Ensemble consists of 40 vo-calists from the regions of Palatinate and Saarland andis known as being one of the most distinctive ensem-bles of its kind in South-West Germany. The press com-ments: „Flawless choir sound. Versatile in its expressionand fine-tuned in its register harmonisation. It’s the soundof a choir you always wish for, but rarely manage to find.“The repertoire of the Vocal Ensemble reaches fromthe 15th to the 21st century – from a compact a-cap-pella formation to a large scale symphonic choir en-semble in cooperation with the Philharmonischer Choran der Saar.Soprano: Cathrin Bungert, Hisako Kraemer, SuniMang, Jana Wagner

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Illuminart Philarmonic

Chorus

PalatinaKlassik Vocal Ensemble

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Alto: Brk Christel, Rosemarie Doll, Gabriele Müller,Gerda Gandert Schramm, Gisela RödlerTenor: Julian Kuhn, Dr. Theo Mang, Dr. BernhardSchneider, Michael WagnerBass: Manfred Adam, Thomas Gärtner, Uli Holder,Burkhard Schramm, Toni Steber

PHILARMONISCHERCHOR AN DER SAARThe Philarmonischer Chor an der Saar is renownedat home and abroad for its perfected repertoire of con-cert masses and oratorios spanning all stylistic peri-ods. The choir was founded in 1960 under pianistRobert Leonardy, who was subsequently appointed pro-fessor at the Saarland Conservatory of Music. In 1969,Leo Kraemer took over the musical direction of the choirand developed it into an internationally recognized or-atorio choir. The choir’s members now hail from Saar-land and the neighboring state of Rhineland-Palatinate.The repertoire of the Philarmonischer Chor an der Saar– which has largely performed in tandem with theSpeyer Cathedral Choir and the Choir of the SaarlandBach Society – includes oratorios, concert masses andrequiems of various periods. After Leo Kraemer’s re-tirement as cathedral organist and director of musicat the Speyer Cathedral in 2009, the choir entered intoa close musical collaboration with Kraemer’s Palati-naKlassik Vocal Ensemble, at home in Speyer. Venues in Germany at which the choir has performedduring the past 40 years include Speyer, Mannheim,

Ludwigshafen, Kaiserslautern, Saarbrücken, the Völk-lingen Ironworks World Cultural Heritage Site, and var-ious towns and cities in Saarland and Rhineland-Palati-nate. International concert tours have taken the choirto Chartres, Salzburg, Rome, Minsk, Kazan, and St. Pe-tersburg. The choir has celebrated success in the fes-tival program of the St. Petersburg Philharmonic, hav-ing been invited a total of five times. The choir has alsoperformed numerous a cappella concerts in associa-tion with Leo Kraemer’s organ concerts, largely in theSpeyer Cathedral and the St. Laurentius Church of thechoir’s hometown Schwalbach-Hülzweiler.Soprano: Madelaine Gauer, Liane Birk, MirkaAgathe Mazurek, Jessica Hedrich, VerenaWiesemann, Alice Feld-Geraldy, Elisabeth Haag,Monika Kunze, Sabine Neu-Grützmacher, ClaudiaRivinius, Ellen SchoenenAlto: Anneliese Baus, Maria Becher, MargretSteimer, Anne Blass-Ziegler, Waltraud Gindorf,Ulrike Soranna, Margret Knierim, Monika Koch-Buhl, Petra Kölling, Ulla Kops, Andrea Kraus, UrselLinn, Stefanie Louis, Ruth Martin, Helga Petry,Gertrud Quinten, Christel Leonardy, Edith TrunzlerTenor: Christoph Barth, Walter Birk, Gerd Dornoff,Clemens Gergen, Alfons Geraldy, Egon Haag,Franz Fuchs, Heiner Knierim, Gerhard Leonardy,Johannes Mazurek, Daniel GergenBass: Albert Baus, Thomas Becher, Jens Hedrich,Hans-Josef Linn, Rudolf Rhein, Andreas Woll,Martin Ziegler

Philarmonischer Chor an der Saar

WIENER SÄNGERKNABENBoys have been singing at the court in Vienna sincethe 14th century. In 1498, more than half a millenniumago, Holy Roman Emperor Maximilian I moved hiscourt and his court musicians to Vienna. He gave in-structions that there were to be six singing boys amonghis musicians; the boys came from different parts ofthe Holy Roman Empire, from the Netherlands, Italy,Germany, and Austria. Historians have settled on 1498as the foundation date of the Vienna Chapel Impe-rial (Hofmusikkapelle) and in consequence, the Vi-enna Boys’ Choir. Until 1918, the choir sang exclu-sively for the imperial court, at mass, concerts andprivate functions, and on state occasions.Musicians like Heinrich Isaac, Philippe de Monte,Heinrich Ignaz Franz Biber, Johann Joseph Fux, Wolf-gang Amadeus Mozart, Antonio Caldara, AntonioSalieri, Christoph Willibald Gluck, and Anton Bruck-ner worked with the choir. Composers Jacobus Gal-lus, and Franz Schubert were themselves choristers.Brothers Joseph Haydn and Michael Haydn, mem-bers of the choir of St. Stephen’s Cathedral, and fre-

quently sang with the imperial boys’ choir.In 1918, after the breakdown of the Habsburg Em-pire, the Austrian government took over the courtopera, its orchestra and the adult singers, but not theboys’ choir. Josef Schnitt, who became Dean of theImperial Chapel in 1921, turned the Vienna Boys’Choir into a private institution. The former court choirboys became the Wiener Sängerknaben (Vienna Boys’Choir); the imperial uniform was replaced by the sailorsuit, then the height of boys’ fashion. There was notenough money to pay for the boys’ upkeep, and thechoir started to give concerts outside of the chapelin 1926, performing motets, secular works, and - atthe boys’ request – children’s operas. The impact wasamazing. Within a year, the choir performed in Berlin(where Erich Kleiber conducted them), Prague andZurich. Athens and Riga (1928) followed, thenSpain, France, Denmark, Norway and Sweden(1929), the United States (1932), Australia (1934)and South America (1936). Since 1926, the choir hasclocked up more than 1000 tours in 100 differentcountries.

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PresentToday, there are 100 choristers from 31 different na-tions between the ages of ten and fourteen, dividedinto four touring choirs. Between them, the four choirsgive around 300 concerts and performances each yearin front of almost half a million people. Each groupspends nine to eleven weeks of the school year on tour.They visit virtually all European countries, and they arefrequent guests in Asia, Australia and the Americas.The Wiener Sängerknaben (Vienna Boys’ Choir) hasa close association with the Vienna Philharmonic Or-chestra. Together with members of the orchestra andthe men of the Vienna State Opera Chorus, the choirboys maintain the tradition of the imperial musicians:as Hofmusikkapelle (Chapel Imperial) they providethe music for the Sunday Mass in Vienna’s Imperi-al Chapel, as they have done since 1498. In 2016,the choir participated for the sixth time in the NewYear’s Concert of the Vienna zThe choir’s repertoire includes everything from me-dieval to contemporary and experimental music.Motets and lieder for boys’ choir form the core of thetouring repertoire, as do the choir’s own arrangementsof quintessentially Viennese music, waltzes and polkasby Lanner, Lehár, and Strauss.Both the choir and the Chapel Imperial have a longtradition of commissioning new works, going back toImperial times, when composers like Mozart, Haydn,or Bruckner wrote for the ensemble. Austrian com-posers Heinz Kratochwil, Balduin Sulzer, Wolfram Wag-ner, and Gerald Wirth have written works for today’sboys. Benjamin Britten penned a vaudeville whichcould be performed on tours, and Australian composerElena Kats-Chernin wrote her ‘Land of Sweeping Plains’for them. The Vienna Boys’ Choir performs majorchoral and symphonic works, sometimes as part ofthe Hofmusikkapelle, sometimes with other orches-tras and men’s choirs. They are regularly asked to sup-ply soloists for large choral and orchestral works, suchas Bernstein’s Chichester Psalms. In recent years, theyhave performed with the Vienna Philharmonic Or-chestra, the Vienna Symphony Orchestra, the Lon-don Philharmonic, Staatskapelle Berlin, the Oslo Phil-harmonic and the Pittsburgh Symphony Orchestra.Over the last decade, the choir has worked with,among others, Pierre Boulez, Nikolaus Harnon-court, Mariss Jansons, Zubin Mehta, Marc Minkows-

ki, Riccardo Muti, Kent Nagano, Seiji Ozawa, Chris-tian Thielemann, Franz Welser-Möst, and SimoneYoung. The choir also takes part in opera perform-ances at the Vienna State Opera, the Vienna Volksoper,and the Salzburg Festival. Choristers appear regularlyas three boys in Mozart’s The Magic Flute.Children’s OperasThe boys love to act, and children’s operas are an im-portant part of the repertoire. The choir started per-forming operas in the 1920s, beginning with classicssuch as Mozart’sBastien und Bastienne, Weber’s AbuHassan or Haydn’s Lo Speziale, later branching out tocontemporary works. Benjamin Britten rehearsed hisThe Golden Vanity with the boys, and conducted theworld premiere at the Aldeburgh Festival in 1967.Over the last decade, the choir has produced a num-ber of new operas. Gerald Wirth’s The Journey of theLittle Prince and The Tablet of Destinies, an opera basedon the Babylonian myth of Anzu, and Raoul Gehringer’sMoby-Dick, based on the novel by Herman Melville, wereall shown at Vienna’s Musikverein. Gerald Wirth’s DerBettelknabe (The begging boy), a story set in medievalPalestine and Europe, was first shown in 2010; and againin 2015 and 2016 at the choir’s own concert hall, MuTh.World Music and Cross Over ProjectsOne of the choir’s goals is to introduce the boys toas many different styles of music as possible: sincethe 1920s, the choir has collected music from aroundthe world. In the past years, the choir has commis-sioned and produced a number of world music proj-ects, “Silk Road”, “Between Worlds”, “Inspiration”,and “Pirates!”. As Gerald Wirth explains, ‘We do notclaim to play ‘authentic’ world music; instead, we cre-ate something from the original sources that is ourown. We want to be faithful to the source in the sensethat we treat it with respect.’The choir has been recording its music since the1930s; the boys have appeared on practically everymajor label. In 2015, the choir signed a long-termpartnership with Universal Music – Deutsche Gram-mophon. The first joint project was a hugely suc-cessful Christmas CD.The Choir on Film: Silk Road, Bridging the Gap, Songsfor Mary, and Good ShepherdsThe choir’s Silk Road project inspired film directorCurt Faudon to make a film about the globetrottingchoristers. For over a year, Faudon followed the boys’

life in Vienna and on the road, filming the boys at workand at play, on and off stage, meeting and workingwith artists from Central Asia, China and India. Theresulting 90-minute film is a clever blend of docu-mentary, road movie, costume drama and music, withstunning footage from all across the world and an un-usual, off-beat soundtrack which has the boyssinging in Arabic, Chinese, Farsi, French, Japanese,Latin, Marathi, Maori, Savo Finnish, Tajik, Uyghur,Urdu, Uzbek and German.Faudon’s second film on the choir had a limited cin-ema release in 2014; in Bridging the Gap, the boyssing with an Apache medicine man, perform with anentire Indian village, ham it up in a Peruvian train.And in New Zealand they are adopted into a Maoritribe, via song. “Songs for Mary” pays hommage tothe virgin in 21 beautifully filmed pieces. This year,a new film is in the works: “Good Shepherds” takesan unusual look at shepherd carols and shepherdmusic from the Holy Land to the Arctic circle.The Choir SchoolThe choir maintains its own schools. Almost 400 chil-dren and teenagers between the ages of 3 and 18study and rehearse at Augartenpalais, a baroquepalace and former imperial hunting lodge in Vienna.Beginning with kindergarten, run in cooperation withthe city of Vienna, boys and girls are provided withan all-round education. At age ten, the most talent-ed boys are selected to join the choir and enter thechoir’s grammar school. All boys are assigned to oneof the touring choirs. Academic lessons are taughtin small groups. The school offers extracurricular ac-tivities ranging from all kinds of sports to attendinga wide range of concerts, operas, plays, musicals andmovies. The choristers are also encouraged to cre-ate their own projects; some form their own bands,others create short skits or films. All choir boys livein the choir’s well-appointed boarding school, withtwo to three boys sharing a room.In 2010, the choir launched its new senior high schoolfor boys and girls. The unique curriculum for years

8 to 12 was developed in conjunction with the Uni-versities of Music in Vienna and in Salzburg; it is de-signed to help young singers find their voice and dis-cover and develop their talents, and to prepare youngsingers for university and for a career in music.Most students retain a lifelong commitment to theArts. Roughly a quarter of the school’s alumni go onto become professional musicians, conductors,singers or instrumentalists. Almost all continue to sing.There are two male voice ensembles made up en-tirely of former choristers, the Chorus Viennensis andthe Imperial Chapel’s Schola Cantorum, who spe-cialises in Gregorian chant.Development and FundingThe Wiener Sängerknaben (Vienna Boys’ Choir) is aprivate, non-for-profit organisation, which finances it-self largely through concerts, recordings and royalties.The Ministry of Education and the State’s Art De-partment help fund special projects, such as the pro-duction of new children’s operas. Further developmentand projects depend on additional support: the choiris launching a new fundraising campaign in 2016.The POK Pühringer Privatstiftung, based in Vienna’sPalais Coburg is the choir’s general sponsor. With itsbacking, the choir was able to build its own on-cam-pus concert hall to facilitate opera productions in par-ticular. The hall, which was built to include thebaroque gatehouse and the old park wall, opened inDecember of 2012, with a joint gala concert by theWiener Sängerknaben (Vienna Boys’ Choir) and theVienna Philharmonic Orchestra. Its name, MuTh,stands for “Music and Theatre”. MuTh serves the en-tire community of Vienna with a wide range of acts,and there is special focus on providing a platform foryoung performers.Voices: Jinwook, Jetmir, Ha Jun, Danijal, Manuel, Julian, Jan, Noah, Felix Alexander,Raffael Kai, Florian, Kii, Mirko, Felix, Fabian,Tarun Thomas, Shuntaro, Jakob, Emmet,Hyunseo, Sascha Alexander, Denizcan, Filip,Angelo, Michele, Lukas

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ORCHESTRASORCHESTRA DI ROMASINFONIETTAThe Roma Sinfonietta Orchestra was formed in 1994and since then has played for many important com-posers of both film music and other kinds of seroiusmusica and also holds its own concert season at theUniversity of Rome “Tor Vergata” in order to help pres-ent and bring to the fore-front interesting and raremusical works. It is also regularly invited in the con-cert seasons of Accademia Filarmonica Romana andIstituzione Universitaria dei Concerti.The Orchestra has worked with many very important artistssuch as Burt Bacharach, Andrea Bocelli, CaetanoVeloso, Nicola Piovani, Luis Bacalov, Quincey Jones, RogerWaters, Dulce Pontes, Mariella Devia, Claudio Baglioni,Michael Bolton, Michael Nyman, Gianni Ferrio and hasworked with Ennio Morricone for over 14 years in his con-certs in some of the most important and prestigious ven-ues in the world (Auditorium Lingotto in Torino, Teatro Gre-co in Taormina, Teatro Massimo in Palermo, Nuovo Pic-colo Teatro and Mazda Palace in Milano, Arena di Verona,Quirinale, Campidoglio, Auditorium Parco della Musica,Auditorium Conciliazione in Roma, Barbican Centre andRoyal Albert Hall in London , Palais des congrès in Paris,International Forum in Tokyo, Festival Hall in Osaka, An-fiteatro Herodes Atticus in Atene, ONU e Radio City Hallin New York, Olympic Gymnasium in Seoul, Cremlino).

For the International Festival of Sacred Music andArt 2016 the Orchestra di Roma Sinfonietta has beencalled to collaborate with the Illuminart Philarmon-ic Orchestra and Chorus for the concerts of the Fes-tival with the following musicians:Violins: Prisca Amori, Leonardo Alessandrini,Luca Bagagli, Eunice Cangianiello, GiulianoCavaliere, Anna Chulkina, Andrea Cortesi, Fabiola

Gaudio, Paolo Marchi, Natalyia Nykolayishin,Maurizio TarsitaniViolas: Stefano Azzolina, Roberto Rosato, LorenzoRundoVioloncellos: Martina Mondello, Marco Simonaci,Matteo Scarpelli, Rina YouDouble basses: Gianpaolo Agus, MassimoCeccarelli, Diego Di Paolo, Willem Peci, MaurizioRaimondoFlutes: Paolo Fratini, Bruno LombardiOboe: Antonio VerdoneBassoon: Marco CiamaccoDouble bassoon: Milena SavelloniClarinets: Luca Cipriano, Roberto PetrocchiHorns: Oreste Campedelli, Giuseppe Calabrese,Maria Eleonora Ecca, Andrea PuccettiTrumpets: Andrea Camilli, Mauro MarcaccioTrombones: Massimiliano Costanzi, GiovanniDominicis, Luigino LeonardiPercussion: Giulio Cintoni, Alessandro Di Giulio,Pietro Pompei

For the International Festival of Sacred Music andArt 2016 the Orchestra di Roma Sinfonietta has beencalled to collaborate with the Continuo Arts SymphonicChorus & Chamber Orchestra for the concert of theFestival with the following musicians:Violin I: Francesco PeveriniViolin II: Carlo VicariViola: Antonio BossoneDouble bass: Massimo CeccarelliFlute: Monica BerniOboe: Antonio VerdoneClarinet: Luca CiprianoBassoon: Fabio GianollaHorn: Fabrizio GiannitelliTimpani: Sandro PippaPercussion: Flavio Tanzi

Orchestra diRoma Sinfonietta

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ILLUMINARTPHILARMONIC ORCHESTRAUnder the guidance of Principal Conductor Tomo-mi Nishimoto, the Illuminart Philharmonic Orches-tra consists of talented, award-winning musicians. Itis 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 enter-taining stage performances. It also appears in TV pro-grams and commercials.The orchestra has been introducing Japanese cultureto the world through its musical and theatrical inter-pretation of local traditional arts from Japan and oth-er Asian countries with performances such as the cel-ebrating of fifty years of the normalization of Japan-SouthKorea relations in 2015 and a performance in Vietnam.First violins: Hisanori Maeda, Kanade Narihara,Urara Otake, Sena Oshima, Uetaka TakehitoSecond violins: Chinami Tokai, Reina Yamana,Karen Israelyan, Satoko JimboViolas: Toshiyuki Akiyama, Takehisa Morohashi,Hitoshi Nariya, Sho Maruyama, Keiko MorohashiCellos: Mikio Unno, Yoriko Miyake, KotaroKobayashi, Yumiko IwaoDouble bass: Yuki OkadaFlute: Harue SugaiOboe: Naoki SugiuraBassoon: Akinobu YodaTimpani: Takao Okumura

ORCHESTRA DELL’ACCADEMIATEATRO ALLA SCALAThe Accademia Teatro alla Scala Orchestra developedout of the master courses as a means for training youngmusicians to work in a professional orchestra. It is cur-rently the only institution that guides students into theirfuture career, preparing them to perform the entirerepertoire of an orchestra musician: symphonic,opera, ballet. Held under the guidance of acclaimedmusicians and the first chairs of the Teatro alla ScalaOrchestra, the curriculum includes individual trainingwith the chosen instrument, chamber music, orchestrasections and orchestra exercises distributed over a pe-riod of two years for a total of 700 hours.The Academy Orchestra performs in famous theatres,concert societies and international festivals, including:Teatro alla Scala, La Fenice of Venice, Teatro Massimoin Palermo, Teatro San Carlo of Naples, Teatro Petruzzel-li of Bari, Auditorium Rai in Turin, Società del Quartet-to, Unione Musicale of Turin, and the Bologna Festival,Ravello Festival and Kissinger Sommer Festival. It also maintains a busy schedule of operas and con-certs on tour. Among the most recent: Abu Dhabi inthe United Arab Emirates in 2008 (Al-ain ClassicalMusic Festival) and 2015 (Abu Dhabi Classics, Emi-rates Palace), Denmark in 2009 (Aalborg, Kongres& Kultur Center), Russia in 2010 (Bolshoi Theatreof Moscow and the St. Petersburg Philharmonia) and2013 (Opera House of Kaliningrad), Oman in 2011,2012 and 2015 (Royal Opera House in Muscat), and

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the United States in 2013 for the Year of Italian Cul-ture in the United States, and in 2014 with the sup-port of Fondazione Bracco.From 2013 to 2015, the Orchestra experienced sig-nificant professional development under the tutelageof Fabio Luisi, who conducted concerts in Milan,Turin, Bologna, Naples and Palermo.Furthermore, the orchestra also takes part in the“Academy Project” at Teatro alla Scala, an opera thatis part of the regular season program, and is oftencalled upon by the Theatre for a number of BalletCorps productions, including A Midsummer Night’sDream, Il Pipistrello, Ballo Excelsior, Giselle, Onegin,and Histoire de Manon.Among the most recent titles featured in the Acade-my Project we mention Così fan tutte, Le nozze di Fi-garo, Le convenience ed inconvenience teatrali, L’oc-casione fa il ladro, L’italiana in Algeri, Don Pasquale,La scala di seta, and Il barbiere di Siviglia. In 2016,Mozart’s Die Zauberflötewas entrusted to the capablehands of conductor Ádám Fischer and opera directorPeter Stein. In 2017 the Academy orchestra will per-form Hänsel und Gretel by Humperdinck.Over its history, the Orchestra has been led by prestigiousconductors, including Yuri Temirkanov, Zubin Mehta,Fabio Luisi, Roland Böer, Christoph Eschenbach,Michele Mariotti, Gustavo Dudamel, Gianandrea Nose-da, Stefano Ranzani, Ottavio Dantone, Giovanni Antonini,John Axelrod, Susanna Mälkki, Pietro Mianiti, DanieleRustioni, David Coleman and Mikhail Tatarnikov, withsoloists of the caliber of Lang Lang, Herbie Hancock, Alex-ei Volodin, Simon Trp�eski, David Fray, and Olga Kern.

First violins: Demian Baraldi**, Nicola Bossone,Giulia Camardella, Caterina Coco, Lucia Gafà, YuFang Annie Hsu, Mari Kobayashi, BeatricePetrozziello, Livia Roccasalva, Mariana Rotaru,Nicola Russo, Mario Vultaggio, Roberto TestaSecond violins: Diego Massimini *, MariateresaAmenduni, Caterina Caramella, Ilze Circene, IlariaAngela Daga, Marcello Enna, Chiara Giovagnoli,Noemi La Cava, Tiziana Lafuenti, Claudia Nicolosi,Veronica SchifanoViolas: Francesco Scarpetti *, Maddalena Adamoli,Sergio Luís Baro Fonseca, Alessandra Commisso,Melania Galizia, Maria Antonietta Pappalardo, MilošRaki�, Nicolò Jacopo Suppa, Matteo TorresettiCellos: Giulia Libertini*, Dagmar Bathmann,Giovanni Luca Cascio Rizzo, Francesca Gaddi,Loris Rossi, Laura Pascali, Lucía Pérez DiegoDouble basses: Andrew Coccoli*, RosemarySalvucci, Mario Cano Diaz, Francesco Giordano,Stefano Morelli, Matías Ignacio Yañez CerdaPiccolo: Alice MafessoniFlutes: Chiara Scucces*, Paolo FerrarisOboes: Diego Martino Merisi*, Pietro SavonittoClarinets: Irene Marraccini*, Lorenzo BollaniBassoons: Lorenzo Contaldo*, Stefano RivaHorns: Matteo Leone*, Stefano LaluceTrumpets: Pietro Sciutto*, Giuseppe CimaTrombones: Flavio Placidi*, Roberto Orrù,Giovanni Capelli (trombone basso)Tuba: Diego ViscardiTimpani: Francesco Macrì*(**) leader (*) first chair

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THE ARTISTS

SYMPHONY ORCHESTRA OF THEKAZAN STATE CONSERVATOIREThe history of the Kazan Conservatoire Symphony Or-chestra begins in 1945with the founding of the Conservatoire. The first performance took place on March 1,1947. The program consisted of Beethoven’s Over-ture to the The Creatures of Prometheus ballet andConcerto for Violin and Orchestra.The orchestra was set up to fulfill the need in pro-viding practical training for professional musiciansof the State Symphony Orchestra of the Republic ofTatarstan, the Symphony Orchestra of the Musa JalilTatar State Opera and Ballet Theatre, and other pro-fessional performance groups of Tatarstan and theMiddle Volga region. Originally 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 with whom the Or-chestra worked were: Isai Sherman, Nathan Rach-lin, Fuat Mansurov, and Vladimir Vasiliev. In recent years, the Principal Guest Conductor of theorchestra is the outstanding German conductor andorganist Leo Kremer. The orchestra has also been di-rected by Pavel Lando (Moscow), Alim Shakhmametiev(Czech Republic), Borja Kintas (Spain), and GunterShtegmyuller (Germany).Currently, the Conservatoire Symphony Orchestra

presents symphonic concerts, as well as cantatasand oratorios in cooperation with the Kazan Con-servatoire Choir and takes part in productions of theOpera Studio.Among its recent programs there have been St. JohnPassion and the Christmas Oratorio by Bach, Re-quiem, Mass in C minor, Coronation Mass, The Ab-duction from the Seraglio opera, The Marriage of Fi-garo and Don Giovanni by Mozart, symphonies byBeethoven, 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 important part of its repertoire are the works theRepublic of Tatarstan composers.The Kazan Conservatoire Symphony Orchestra per-forms over 15 concerts a year. The Concerts are heldin Kazan as well as in other cities - St. Petersburg,Togliatti, Naberezhnye Chelny, Izhevsk, Yoshkar-Olaand Saransk. Every year, the orchestra tours the citiesof Germany at the invitation of «Palatina Klassik», theGerman Choral Society. In 2014, the Kazan Conservatoire Symphony Or-chestra 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.

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Concertmaster: Timur GiliazutdinovFirst violins: Irina Kirichek, Elmaz Kadyrova, AliyaShakirova, Gaisa Monasypov, Denis Chichkanov,Zarema Taimasova, Dina Vovchenko, OlgaKazantceva, Liana Shaykhlislamova, AngelinaOgoltcovaSecond violins: Diana Bairamova, AleksandraReznichenko, Evgeniia Elmekeeva, NadzhieOsmanova, Marina Sidorkina, Aliia Tarasova, AnnaGurianova, Natalia Ozhgibesova, Aziza Abduraimova,Elza Miftakhova, Regina NurutdinovaViolas: Donier Avlaiarov, Elena Shipova, IgorShlemov, Liana Shakirova, Marina Vechkenzina,Rimma Ermolaeva Cellos: Kamil Mukhametdinov, Aida Zarifullina,Irina Butiakova, Anastasiia Sviniakova, NinaShurkina, Alina LatypovaDouble basses: Vladimir Beloborodov, NikitaSmirnov, Ramis Davletshin, Vitalii Ulederkin Flutes: Olga Timoshina, Mariia Kurochkina,Evelina Ivanova Oboes: Adelia Mustafina, Igor Avdeev Clarinets: Iaroslav Artemev, Aitalina Egorova Bassoons: Ilnaz Farrukhshin, Ramis ZainullinHorns: Artur Zagortsev, Maksim Zhigalov, DmitriiPantyushin, Dmitrii AkulovTrumpets: Marat Gabitov, Artem KalininTrombones: Natalia Morozova, Anton Antonov,Oleg Khatipov Tuba: Rafael KashapovTimpani: Ekaterina Badykshina Percussion: Kirill Voloshin, Egor Filippov

WIENER PHILARMONIKERThere is perhaps no other musical ensemble more close-ly associated with the history and tradition of Europeanclassical music than the Vienna Philharmonic. Since itsinception by Otto Nicolai in 1842, the fascination thatthe orchestra has held for prominent composers andconductors, as well as for audiences worldwide, is basednot only on a homogenous musical style carefully be-queathed from one generation to the next, but also onits unique history and structure. The foremost ruling bodyof the organization is the orchestra itself.In accordance with Philharmonic statutes, only amember of the Vienna State Opera Orchestra can be-come a member of the Vienna Philharmonic. Beforejoining the Philharmonic, one must first audition fora position with the State Opera Orchestra and thensuccessfully complete a three year period before be-coming eligible to submit an application for mem-bership in the association of the Vienna Philharmonic. The Vienna Philharmonic performs approximately110 concerts every season at home, presents ViennaPhilharmonic Weeks in New York and Japan, and hasparticipated in the Salzburg Festival since 1922. Theorchestra makes yearly guest appearances in leadingconcert halls and festivals worldwide, presents the NewYear’s Concert, which is broadcast in over 90 countries,and presents the free Summer Night Concert Schön-brunn, attracting up to 100,000 people annually. In 2014, the VPO received the coveted Birgit Nils-son Prize for outstanding achievements and majorcontributions to the field of opera/concert, and theHerbert von Karajan Music Price 2014. Since 2008,

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Rolex is the Exclusive Sponsor of the Vienna Phil-harmonic Orchestra. For over a decade, the VPO has given benefitconcerts supporting humanitarian causes aroundthe world. The musicians of the ViennaPhilharmonic endeavor to implement the mottowith which Ludwig van Beethoven prefaced hisMissa solemnis: “From the heart, to the heart.”Soloist and concertmaster: Albena DanailovaFirst violins: Daniel Froschauer, Maxim Brislinsky,Isabelle Ballot, Thomas KüblböckSoloist and Second violin: Raimund LissySecond violins: Alexander Steinberger, HaraldKrumpöck, Dominik Hellsberg Viola-Solo: Robert BauerstatterViolas: Daniela Ivanona, Tilman KühnCellos-Solo: Robert NagyCello: Raphael FliederDouble basses: Christoph WimmerHarpsichord: Kotono Brilinsky

WORLD PEACE PHILARMONICA symbol of peace – “Let’s make peace with music.”Inspired by Leonard Bernstein and his vision, by theunifying power of making music, but also by Yehu-di Menuhin, Justus Frantz decided in 2016 to puttogether this Orchestra, World Peace Philharmonic,and to carry all over the world the message „Let’smake peace with music”The orchestra has been formed as a part of Europeanand especially German cultural tradition and is bornout of the desire to convey a message of peace in aworld dominated by religious and armed conflicts.Musicians from many nations come together sever-al times a year for intensive work and touring projects. There are musicians from all over the world - Serbsand Slovenes, Syrians and Israelis, Chinese and French,

Russians and Ukrainians. The secret of their peace-ful coexistence is their common language - music.Justus Frantz has succeeded to bring to life this or-chestra formed by many talented musicians all overthe world.World Peace Philharmonic represents a unique, mul-ticultural and multiethnic project, whose philosophyis that music should bring peace.This year international tours have taken the orchestrato Azerbaijan and Georgia and it has performed inthe greatest halls of the most important musical cen-ters. The interpretive quality of the World Peace Phil-harmonic has often been described as being „mag-nificent” and „sublime”.Even though the orchestra has been only been found-ed this year, World Peace Philharmonic is appreci-ated by great personalities and cultural institutionsof the world and the orchestra will be performing nextyear on major stages from Europe and Asia.Orchestra director: Mihai Ceascai Violins: Tercia Oliveira da Silva, Joseline Mariotti,Dana Gadea, Olga Vlaicu, Mariana Dudinic,Madalin Sandu, Sara Maria, Ana Maria Tanase,Bogdan Costache, Viorica Chepteni, SebastianTegzesiu, Lia Rusu, Hanibani Maria, MariaMelnic, Elena Jmurco, Irina Charagenov, MihaiAndritcu, Dmitri Iurcik, Irina Soplan, Olga Borisov,Elena CroitoruViolas: Carol Mai Antal, Marcel Camenita,Constantiin Postolachi, Iurie Dudinic, SiminaTrifescu, Achim Ovidu, Shih Hsien Tsai, VeaceslavBoghean, Franco Gonzales Bertolino Cellos: Bogdan Postolache, Octavian Lup, EmiliaSlugoskaya, Rina You, Matheus de Souza, EszterNagypal, Livia BivolDouble basses: Alexandru Merca, Gabriel Dono,Vladimir Vdovicenco, Igor Brabaro, Petru RastrasanuFlutes: Pey San, Way Ting ChenOboes: Stanislav Zhukovskyy, Silviu DroangaClarinets: Adrian Duminica, Elena VeronesiBassoons: Lazar Sandel, Gherman OvidiuTrumpets: Corneliu, Bogdan Barbu, Andrei CandrianuHorns: Nicolae Bivol, Nicolae Gribinic, AlexandruAntemie, Claudiu HontilaTrombones: Sergyy Kashin, Yusuf Sumbul,Anticona CabalieroTimpani: Igor Socinschi

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CONDUCTORS

CHRISTOPH ESCHENBACHBorn in Breslau, Germany (today Wroclaw, Poland),Christoph Eschenbach studied piano with ProfessorEliza Hansen and won in his young age numerouspiano competitions. In 1965 the first prize of the ClaraHaskil competition in Luzern was the original eventof his soloist carrier. Invited worldwide by famous con-cert halls and orchestras, he met conductor GeorgeSzell who asked him to take part to orchestra tourswith the Cleveland orchesta. In the same periodChristoph Eschenbach developped a great artistic col-laboration with Herbert von Karayan as well. Successful conducting studies passed in Hamburg andthe influence of Szell and Karayan, the two mentors,naturally led him to initiate his carrier as a conductor.He began in 1972, and made his debut in the USA in1975 with the San Francisco Symphony Orchestra. Nowadays Christoph Eschenbach is in demand as adistinguished guest conductor with the finest orches-tras and opera houses throughout the world (Vienna,Berlin, Paris, London, New York, Los Angeles, Boston,Chicago, Shanghai, Rome, Milan, Dresden, Leipzig,Münich, Amsterdam, etc.) as well as prestigious fes-tivals ( Salzbourg, Tanglewood, Ravinia, Saint Peters-bourg, Granada, Rheingau, Schleswig Holstein, ect.).His grand classic repertoire is ranging from J.S. Bachto music of our time and reflect his commitment tonot just canonical works but also to the music of thelate-20th and early-21st-century.In the field of opera, he has conducted Cosi fan tutteat Covent Garden in 1984 and at the Houston Opera,as well as the Nozze di Figaro, Don Giovanni, Cosi fantutte, Der Rosenkavalier, Lohengrin, Parsifal (staged byRobert Wilson), Salome and Elektra, (staged by AndreiSerban), Parsifal at the Bayreuth Festival and at theMariinsky Theater in Saint Petersburg. In November2001, Arabella at the New York Metropolitan and DonGiovanni (staged by Peter Stein) in 2004 for the 50thanniversary of the Chicago Lyric Opera. During the2005/2006 season, he has conducted at the Théâtredu Châtelet a production of Wagner’s Ring des Nibelung,staged by Robert Wilson. In December 2010 he hasconducted with great success Mathis der Maler by PaulHindemith at the Opera Paris Bastille. More recently,

he inaugurated the Mozart / Da Ponte cycle at theSalzburg Summer Festival with Cosi fan tutte in 2013and Don Giovanni in 2014. That same season, he hasalso conducted Idomeneo at the Vienna State Opera. The highlights of Maestro’s the 2016-2017 seasonincludes a new production of seven opera perform-ances at the Teatro alla Scala in Milan, The turn ofthe screw of Benjamin Britten, guest conducting atthe Orchestre de Paris, National Spanish Orchestra,Seoul Philharmonic, London Philharmonic, Neder-land Radio Philharmonic Orchestra, Orchestra Na-tional de France with Beethoven 9th Symphony, Roy-al Stockholm Philarmonic with Mahler 9th Symphony,Vienna Philharmonic for the worldwide televised Sum-mer Night Concert in Schönbrunn palace, etc.In addition of his NSO Music director subscription con-certs, Maestro Eschenbach will be much present inthe USA this season, including concerts with the Hous-ton Symphony, Los Angeles Philharmonic orchestra,a ten dates American tour with the historic Germanorchestra Bamberger Symphoniker of which Maes-tro Eschenbach is Honorary Conductor. Maestro willalso return this summer to the Ravinia Festival. Christoph Eschenbach has been the Music Directorof the Tonhalle-Gesellschaft in Zurich from 1982 to1986, of the Houston Symphony Orchestra from 1988to 1999 and of the NDR Symphony Orchestra inHamburg from 1998 to 2004. After ten years as Mu-sic Director of the Orchestre de Paris from Septem-ber 2000 to August 2010, and four years for thePhiladelphia Orchestra, from September 2003 to2008, he became in September 2010 Music Direc-tor of the Kennedy Center for the Performing Arts aswell as the Washington National Symphony.To his important discography as a pianist should beadded numerous recordings at the head of the Hous-ton Symphonic Orchestra, the Hamburg NDR Sym-phony Orchestra, the Philadelphia Orchestra (Tchaïkovs-ki, Mahler, Saint-Saëns, Bartok), the Orchestre de Pariswith Berlioz, Bruckner, Dusapin, Berio, Ravel, Dalbavie,Zemlinsky, Roussel (the complete symphonies),Beethoven (the Piano Concertos n. 1 and 4, nominatedfor the 2009 Grammy Awards) and the London Phil-harmonic Orchestra (Bruckner, Symphony n. 6,Beethoven, Missa Solemnis, Messiaen, Des Canyonsaux Etoiles). The Complete Symphonies by Mahler con-ducted and recorded with the Orchestre de Paris are

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Justus Frantz

visible in streaming on his website. His last recordingwith the Washington NSO was issued for the 50th An-niversary of the Kennedy Center. After the recent release of Die schöne Müllerin, theSchwanengesang and the Winterreise recorded forHarmonia Mundi, Christoph Eschenbach andMatthias Goerne are continuing their fructuous col-laboration and regularly perform in recitals of voiceand piano, presenting the cycles of Lieder by Schu-bert, Brahms and Schumann.For Christoph Eschenbach, to transmit and to discov-er are fundamental activities for a musician, this is whyhe regularly holds master-classes (Manhattan Schoolof Music, Kronberg Academy, CNSM of Paris) and col-laborates with summer academies and youth orches-tras such as the Schleswig Holstein Academy Orchestra,the Gustav Mahler Jugendorchester (GMJO), the Cur-tis Institute, the NSO’s Youth Fellowship Program.Christoph Eschenbach has received the 2014 Gram-my Award for his recording of works by Hindemithperformed with the NDR Symphony Orchestra andthe violinist Midori.He had the honor to be named Chevalier of the FrenchLégion d’Honneur in January 2003, Officer of the Na-tional Order of Merit in May 2006 and decorated withthe Order of Merit of the Federal Rebublic of Germany.He has been made French Commandeur dans l’Or-dre des Arts et des Lettres and has received theLeonard-Bernstein award of the Pacific Music Festi-val. In June 2015 he received the Ernst von Siemensmusic Awards (described as the « Nobel Price for Mu-sic ») in honour of his life ‘s dedication to music.

JUSTUS FRANTZFor decades, Justus Frantz has been an interna-tionally successful pianist, as a conductor, an out-standing sound body, as a presenter and indefatigablemusic mediator, a defining figure of the musicallife. He is the founder of the Schleswig-Holstein Mu-sic Festival and the Philharmonic of the Nations. Withhis dedication to music and his enthusiasm, he is anambassador for the classical musical heritage of Cen-tral Europe, and especially Germany in the world.Born in Silesia, Justus Frantz grew up in the East Hol-stein Testorf. After studying the piano with ElizaHansen in Hamburg and Wilhelm Kempff in Positanoas well as the conducting studies with Wilhelm Brück-

ner-Rüggeberg in Hamburg, he won the attention ofa larger audience for the first time as a pianist andprize-winner at the ARD International Music Com-petition in Munich. The international breakthroughcame in 1970, when Herbert von Karajan engaged theyoung pianist. He has toured with the Berliner Phil-harmoniker, the Vienna Philharmonic, the Orchesterde Paris and the Czech Philharmonic through France,Germany and Austria as well as performances at theSalzburg Festival. Concerts with the New York Phil-harmonic founded in 1975 the creative friendship be-tween Justus Frantz and the American composer andconductor Leonard Bernstein.In 1986, Justus Frantz founded the Schleswig-Hol-stein Music Festival and directed it until 1994 as anartistic director. It has made it one of the most im-portant festivals in Europe, creating a format that hasbecome the model for many other festival foundations.Justus Frantz constantly develops unconventionalconcepts in order to open up new listening circlesto classical music. It overcomes rigid conventions andallows many people new and unbiased encounterswith music. For ten years he presented the successfultelevision broadcast »Achtung! Klassik ", for whichhe received the Golden Camera in 1993.1987 Justus Frantz was appointed professor at theMusikhochschule Hamburg. Justus Frantz is the artistic director in 1995 he found-ed and inspired by Leonard Bernstein and YehudiMenuhin Philharmonie der Nationen.Justus Frantz works regularly with renowned or-chestras and opera houses all over the world. Men-tion may be made by way of example, the orches-tra of the Mariinsky Theatre of St. Petersburg, the Chi-na Philharmonic Orchestra, the Beijing SymphonyOrchestra, the Great Symphony Orchestra Moscow,the KZN Philharmonic Orchestra in Durban, the Geor-gian Chamber Orchestra and the Sinfonia Varsovia. 2013 Justus Frantz was in Israel Sinfonietta Beer She-va transferred as the first non-Jewish German artist, theposition of chief conductor of an Israeli state orchestra. His "Finca Festival Frantz & Friends" in Gran Canariafor years one of the "secrets" of the international mu-sic scene. Renowned soloists and conductors, as wellas the Philarmonic Orchestra of the Nations and WorldPeace Philarmonic meet every year in an informal at-mosphere for joint concerts.

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Leo Kraemer

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 the Mendelssohn-Award of theStiftung Preußischer Kulturbesitz, Berlin (1966), 1967Flandern Festival, Bruges, Belgium (1967), Pfälzis-che Musikgesellschaft, Palatinate, Germany (1969)and Aosta, Italy (1970).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-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’s cyclical performances (the complete or-gan works of Bach, the great Messiaen cycles, as wellas all Bruckner symphonies) brought him to the inter-national festival stage. In addition to his work in Spey-er, he served as Principal Conductor of the Estonian Phil-harmonic Tallinn from 1992 to 1994. Since 1995, hehas been “Exclusive Principal Conductor” of the Phil-harmonic Minsk and associate conductor of the St. Pe-tersburg Philharmonic, and also Principal Conductor ofthe St. Petersburg Chamber Orchestra since 1997. Forseveral years now, he has been Director of the Cham-ber Orchestra of the Philharmonic Samara (Russia). Fur-thermore, he has been working as lecturer and conductorof the Orquesta Sinfónica Nacional in Mexico-City and

staging performances in the Palacio des Bellas Artes. Prof. Kraemer is in high demand as church organ-ist for solo performances at international classical mu-sic festivals in Chicago, Tokyo and San Sebastian.Many radio, TV and CD recordings document his workas organist, conductor and member 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:Honorary Membership of the Philharmonic Societyof St. Petersburg, Russia (2002), the Peter CorneliusPlakette of the state of Rhineland-Pfalz, Germany(2007). He further received the Cross of the Orderof Merit of the Federal Republic of Germany (2010)for his distinguished achievements in the arts in thestate of Rhineland-Pfalz.Since 2012, Leo Kraemer has been Artistic Directorand co-founder of the new concert series „Palati-naKlassik e.V. Speyer.“ He directs the Baroque, Brassand Vocal Ensembles as well as the PhilharmonicChamber Orchestra.Prof. Leo Kraemer keeps working as organist and con-ductor around the world and focuses on collabora-tions with international ensembles. Concert tours takehim to Rome, Tokyo, Seoul, Mexico-City, Kazan,Samara, St. Petersburg and Moscow.

ALBERTO MALAZZIAlberto Malazzi received his diploma in Piano,studying under Mirina Longato, and in TraditionalComposition from the Milan Conservatory. He hasworked as rehearsal accompanist and musical as-sistant to the director in various theatres in Italy andabroad, including the Rossini Opera Festival, TeatroLa Fenice in Venice (conductors Gianluigi Gelmettiand Isaac Karabtchevsky), and the Klangbogen Wien(conductor Yehudi Menuhin).He has performed as piano accompanist in inter-national competitions and for courses and internshipsunder eminent maestri, including Petre Munteanu,Regina Resnik, Antonio Spruzzola, Alberto Zedda, andLuciana Serra. From 2002 to 2014 he was piano ac-companist for Alessandra Althoff in the summercourses at the Mozarteum in Salzburg.He has also performed in concerts at such prestigious

Alberto Malazzi

venues as La Scala in Milan, the Sala Verdi of the Mi-lan Conservatory, Teatro Coccia in Novara, PiccoloRegio of Turin, Palazzo dei Congressi in Stresa, TeatroFilarmonico of Verona, Teatro Olimpico of Vicenza,and Teatro Carlo Felice in Genoa. He has participatedin the concert seasons of important institutions, in-cluding the Gioventù Musicale Italiana, Asolo Musi-ca, the Milanese association Novurgia, the SerateMuscali of Milan, the Teatro La Fenice of Venice, the7th “Musica Oggi” Festival (at the University of Cal-abria) and the Sagra Musicale in Umbria.From 1994 to 2002 he was High Choir Master atTeatro La Fenice of Venice and was also Choir Mas-ter there for symphonic productions directed by Djan-sug Kakhidze, Rudolf Barshai, Gary Bertini, IsaacKarabtchevsky, and Milan Horvat.He has been Guest Choir Master for Radio Francesince 2011. That same year he prepared Verdi’s operaI Due Foscari, directed by Daniele Callegari. In 2013he directed a choral concert in an Italian repertoire(Palestrina, Petrassi, Pizzetti). In 2015 he preparedPuccini’s Messa di Gloria directed by Paolo Arrivabeniand in autumn 2016 Verdi’s Requiem directed byJérémie Rhorer.He is currently High Choir Master at La Scala in Mi-lan, where he has worked as Choir Master in pro-ductions with such directors as Esa-Pekka Salonen(Elektra by Strauss), Marko Letonja (L’Affare Makrop-ulos by Janá�ek), and Marco Armiliato (concert by Edi-ta Gruberova). In 2016, as Director of the La ScalaAcademy Choir, he prepared Mozart’s Die Zauberflöte,directed by Ádám Fischer. He has also worked withthe Associazione del Coro Filarmonico della Scala.He was an instructor in Choir Direction at the Pon-tificio Istituto Ambrosiano di Musica Sacra in Milanand currently teaches Choir Master Technique at LaScala Academy.As a soloist he has made recordings for RAI, BMGRicordi, and MONDOMUSICA.

THOMAS MATRONEThomas Matrone presently holds the position of Chair-man of the Music Department and Director of ChoralStudies at Evangel University where he conducts theEvangel University Chorale, the Women’s ChamberEnsemble and teaches Choral Conducting, Choral Ma-terials, Church Music History, Hymnology, and Lead-

ership in Worship (Church music) Studies.Matrone is also the Artistic Director for the Spring-field Mid-America Singers since September 2011. Inhis appointment, he has elevated the singers with hisorganizational skills and wealth of conducting and ed-ucational experience. Matrone has endeavored to in-fuse the choral art within the community at large forthe purpose of choral music awareness and educationMatrone has also been a Worship Arts Director forthe past 38 years with the Assemblies of God Fel-lowship in which he has envisioned bridging the gapbetween traditional and contemporary worship for-mats in church music. In collaboration to this postMatrone is a Consultant to the National LeadershipResource Department of the Assemblies of God.Matrone has been guest conductor and seminarspeaker at the local level as well as national and in-ternational platforms in the United States, Canada,South Africa, Asia, and Europe. A graduate ofNorthwest College (B.A., Biblical Studies) and DrakeUniversity (Master of Music, Choral Conducting) andpresently a Doctoral candidate in Choral Conduct-ing at the University of South Carolina.

TOMOMI NISHIMOTOTomomi Nishimoto is the current Artistic Director andPrincipal Conductor of the IlluminArt Philharmonic Or-chestra. She concurrently serves as the Music Direc-tor and Principal Conductor of the Royal Chamber Or-chestra, and is a Visiting Professor at Osaka College ofMusic. Nishimoto has received an honorary doctoratedegree from Matsumoto Dental University, and she alsoserves as the first Honorary Ambassador for the city ofHirado in Nagasaki Prefecture and as the first Inter-national Cultural Ambassador for Osaka. After gradu-ating from the Osaka College of Music with a Bache-lor of Music in Composition, she went abroad to studyOpera and Symphony Conducting at the Saint Pe-tersburg State Conservatory in Russia. She has receivedmany awards, including the Idemitsu Award and Japan’sAgency for Cultural Affairs’s internship scholarship inthe arts. Her career includes work as Artistic Director/ Principal Conductor for the Tchaikovsky FoundationRussian Symphony Orchestra (2004-2007), the Prin-cipal Guest Conductor for the St. Petersburg Mussorgsky(Mikhailovsky) State Academic Opera and Ballet The-atre (formerly the Leningrad State Academic Maly Opera

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TomomiNishimoto

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MassimoPalombella

Theatre) (2004-2006), and the Principal Guest Con-ductor for the the State Symphony Orchestra of Rus-sia (2010-2011). Her career features many accom-plishments unusual for a non-Russian, including a guestappearance at the Moscow City Symphony (the Russ-ian Philharmonic)Nishimoto has also been invited toperform at numerous music festivals, including SplitSummer Festival, Dubrovnik Summer Festival, PragueProms, and Vilnius Music Festival. Her successful con-cert with the Bruckner Orchestra Linz at the Bruckn-erhaus in Linz, Austria represented her initial step intoEurope, and her performance with the Monte-Carlo Phil-harmonic Orchestra in Monaco was also highlypraised. She has had successes with her regular sea-son concert with the Budapest Philharmonic Orches-tra, as well with the George Enescu Philharmonic Or-chestra in Romania, the Lithuanian Chamber Orchestra,the British Royal Philharmonic Orchestra, the LatvianNational Symphony Orchestra, the National Sympho-ny Orchestra of Belarus, and more. In 2010, she con-ducted the American Symphony Orchestra in CarnegieHall to great success, and from 2011 on she has beenregularly invited to the Westchester Philharmonic Or-chestra in the United States. Beginning in 2014, heractivities expanded into South America. She is also well-regarded 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.Nishimoto has also conducted historical concerts suchas the concert commemorating the1300-year anniversary of Nara Heijo-kyo, the formerJapanese Capital, and 1200-year anniversary ofMount Koyasan, the opening concert for L’Aquila Con-cert Hall, the concert commemorating the 120th An-niversary of Diplomatic Relations between Japan andBrazil, and the 2015 concert commemorating the50th anniversary of the normalization of relations be-tween Japan and South Korea.Nishimoto has made successive appearances at theFestival of Sacred Music and Art beginning in2013, where she led a restoration performance of the“orasho,” the chant and prayers of the JapaneseKakure Kirishitans (secret Christians), brought toJapan by Francis Xavier, for the first time in nearly455 years. In 2014, she became the youngest indi-

vidual to receive an honorary award from the Vati-can’s foundation for music.Recently, Nishimoto has also been involved in stageperformances, such as a rendition of the operaMadame Butterfly that incorporates traditionalJapanese arts, in order to “Bring Asia together throughculture and art.”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. Aside from music, Nishimoto has served in 2007 asan elected 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 continues to garner worldwide reputationthrough her global tours and activities.

MASSIMO PALOMBELLAMgr Massimo Palombella was born in Turin on 25thDecember 1967. He was ordained a priest for the Sale-sians on September 7th, 1996. He studied Philoso-phy and Theology, obtaining a PhD in Dogmatic The-ology and studied music with Luigi Molfino, ValentinMiserachs Grau, Gabriel Henry and Alessandro RuoRui, majoring in Chorale Music and Composition.He was the founder and Musica Director of the Uni-versity Choir of Rome and he worked in the Univer-sity Chaplaincy of the Diocese of Rome from 1995to 2010.He is a professor at the Pontificial Salesian Univer-sity in the city of Rome, in the Faculty of Theology,Music and Liturgy; and at the Music Academy “Gui-do Cantelli” of Novara, in a biannual specialization inSacred Music, Musical Composition for the Liturgy,Roman polyphony and Legislation of Sacred Musica. He was also professor of Music Languages at the Uni-versitu “La Sapienza” of Rome.He taught Liturgy at the Music Academy of Turin andat the Pontificial Insitute of Sacred Musica in the cityof Rome. From 1998 to 2010 he edited a Review of

Liturgical Music, “Harmony of Voices”, published byElleDiCì Publishers.He is a member of the Consulta of the National Litur-gical Office of the Italian Episcopal Conferenze, asan expert. From 1995 to 2010 he was choirmaster of all Papalmeetings with the University Chaplaincy.With the Interuniversity Choir of Rome, which he di-rected untile june 2011, he organized numerous con-certs in Italy and around the world and a large num-ber of recordings on CD and DVD.On October 16th, 2010 His Holiness Benedict XVI,appointed him Choirmaster of the Sistine Chapel Choir.Under the direction of Maestro Massimo Palombel-la the Sistine Choir has begun a series of exclusiverecordings on the Deutsche Grammophon label andwon the Echo Classic award.

CANDACE WICKECandace Wicke made her Carnegie Hall debut in2002. As a champion of new music, Dr. Wicke haspremiered new works in many of her Carnegie Hallappearances including the World Premiere of ImantRaminsh’s Symphony of Psalms, Gary Fry’s Sing ASong With Me, and Stephen Edward’s A Carol Fan-tasy, Requiem for my Mother, Revelation, and the NewYork Premiere of the Ave Maria Mass. Sharing thestage of the 7th International Festival of Sacred Mu-sic and Art in 2008 with the likes of the Vienna Phil-harmonic, Christoph Eschenbach, and HelmuthRilling, Wicke conducted the European premiere andworld-wide television broadcast of the Edwards Re-quiem for my Mother with the Continuo Arts Sym-phonic Chorus & Orchestra and the City of PraguePhilharmonic.Wicke conducted and produced the Carnegie Hall“Christmas Time in the City” concert series in 2009and the Lee Kjelson Memorial “Sounds of Music Se-ries” in 2010. In 2011, Dr. Wicke conducted the firstFestival Internazionale Di Arte Per Giovani Musicistiin Rome. She also served as the principal conduc-tor for the 2012 Inaugural season of the Minuetto Mu-sic Festival and returned for the second annual Gio-vani Musicisti Festival to conduct the world premiereof Stephen Edwards Missa Brevis in Rome, VaticanCity, Assisi and Prague in 2012. In February of 2014she conducted the first concert in history inside the

Sistine Chapel by an American organization and con-ductor in addition to concert performances in Ireland.The 2015 season included serving as Chorus Mas-ter for the world premiere of Disney’s “The Hunch-back of Notre Dame” at the Paper Mill Playhouse.Dr. Wicke’s international experience also includes con-ducting the United States representative Wind En-semble at the Taipei Presidential Inauguration, the Con-tinuo Arts Symphonic Chorus at St. Peter’s Basilicain Rome, the City of Prague Philharmonic, in Pragueand the Waratah Girls Choir in Australia. Ensemblesunder her baton have received National and Inter-national acclaim performing with Andre Rieu and theJohan Strauss Orchestra, the Turksoy Orchestra in Lin-coln Center and the Music Center at Strathmore, theGlobal International Women’s Summit, Musica Mun-di International, Legatus International, and the Mia-mi Civic Associations Young Artist Debut. She is a pop-ular guest conductor, adjudicator and master classclinician across the United States.Wicke is the founder, president, and executive directorfor the Continuo Arts Foundation and conducts theContinuo Arts Intergenerational Choral Ensembles in-cluding; Children’s Chorus, Chanticleers, Singers,Continuos!, Civic Chorale, Seniors Sing and Sonaré!These ensembles are featured in a variety of concertseries and community outreach performancesthroughout the year. In this roles, she is committedto procreating the arts through performance, com-position, education, and to fostering patronage for mu-sical advancement and exposure. Wicke resides inWestfield, NJ and is a graduate of the University ofMiami and Evangel University, majoring in vocal andinstrumental performance, music education, and con-ducting. She is the recipient of the 2014 DistinguishedAlumni of the Year for Evangel University, New Jer-sey’s 2016 Women of Excellence in Arts & Human-ities Award Winner for Union County, and has receiveda 2016 Congressional recognition for dedication andexcellence in Arts & Humanities.

GERALD WIRTHGerald Wirth received his first musical training as amember of the Vienna Boys Choir and at the AntonBruckner Konservatorium in Linz, Austria, where hestudied voice, oboe and piano. As a teenager, Ger-ald Wirth already conducted a children choir and was

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the founder of a Youth Choir and a trio sonata en-semble. He was involved in countless premier per-formances of new works by a wide variety of con-temporary European composers. He was one of theyoungest ever choir directors of the Vienna BoysChoir and Chorus Director at the Salzburg Operacompany “ Landestheather”. In 1991, Gerald Wirthmoved to Calgary Canada to take on the position asArtistic Director of the Calgary Boys Choir Organi-sation. He also founded and directed a profession-al vocal ensemble, “Sangita”. He was the Music Di-rector of the Calgary Civic Symphony as well as As-sociate Conductor of the Calgary Philharmonic Or-chestra. He has conducted choirs and orchestrasall over the world, and sings and plays himself in anumber of ensembles. Gerald is regularly invitedthroughout the globe as a clinician to conduct work-shops about music pedagogy and all aspects ofchoral music. He plays and sings himself in manydifferent ensembles and he can get practically any-one and anything to sing.In 2001, Gerald Wirth became the artistic directorof the Vienna Boys Choir. While he is keenly awareof the choir’s rich tradition, Wirth also explores newways to create and make music. He has instigated

a number of projects involving world music, a cap-pella pop and film music. Wirth’s first love is the voice;as is evident from his own compositions: his worksinclude three children’s operas, several oratorios, the-atre projects, music especially written for festivals andcountless arrangements for choirs. He finds muchof his inspiration in myths and philosophical texts.His works are commissioned and performed inter-nationally. Wirth is convinced that intensive en-gagement in music has a positive impact on everyrealm of the personality, and motivates his studentsto utilise their potential. Together with close friendsGerald founded the Organization “Superar”, a Eu-ropean movement supporting the integration of un-derprivileged children and people in difficult socialsituation through high quality music education.Over the years, he has developed a unique methodto teach people of all age groups to express them-selves in music, by training their voice, sense ofrhythm, hearing and sight-reading skills.Quote “A choir consists of many individuals whoseaim it is to act as a single entity. A concert is only re-ally powerful and exciting when each individual is ableto convey his own personality. But if that happens,it’s magic.”

Holy House inLoreto, GermanChapel at thePontificial Shrine

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SOLISTI

ALBENA DANAILOVA, CONCERTMASTERAlbena Danailova was born in Sofia as the daughterof a violinist and a pianist. At the age of five she be-gan her musical education with Nely Jeleva and DoraIvanova at the music school and academy in her homecity. After graduation from high school, she studiedviolin performance at the College of Music and The-ater in Rostock and in Hamburg with Petru Munteanu.She finished her degree in 2001, having augment-ed her studies by masterclasses with Ida Haendel, Her-man Krebbers and others. In the same year she re-ceived an engagement as second violinist in the Bavar-ian State Orchestra, advancing in 2003 to sectionleader of the first violins and in 2006 to first con-certmaster. In this same capacity, she also served inthe London Philharmonic Orchestra in the 2003/04season. On September 1, 2008, she became the con-certmaster of the Vienna State Opera Orchestra.This prize winner of numerous competitions (2nd Prize“Kloster Schöntal”, Tibor Varga-Special Prize”, semi-finalist at the Moscow “Tchaikovsky Competition”, FirstPrize “Vittorio Gui”, etc.) has, in addition to her workas an orchestral musician, established an equally suc-cessful career as soloist and chamber musician. AlbenaDanailova appears regularly in Bulgaria, Deutschland,Israel, and the USA, among others. She has maderecordings for Deutschlandradio Kultur, the North Ger-man Radio, as well as for television and radio in herhome country, and, since the beginning of this season,as leader of the “Ensemble Wien” (as the successorto Paul Guggenberger and Rainer Honeck). She hasappeared twice as a Philharmonic soloist: On January24, 2009, she performed Haydn’s Sinfonia Concertantein B-flat major, Hob I:105 at the Salzburg Mozart Fes-tival with Tamás Varga, Harald Hört and Michael Wer-ba under the direction of Seiji Ozawa and in October2009 she was captivating in the violin solo of RichardStrauss’ tone poem, “Ein Heldenleben”, at the 2nd Sub-scription Concerts conducted by Georges Prêtre, a per-formance repeated in a concert in the Vienna Konz-erthaus as well as at the “Concert for Austria” in theBrucknerhaus in Linz on October 26, 2009, which wasbroadcast live on ORF 2. Danailova is a member of theAssociation of the Vienna Philarmonic since 2011.

LUIZ DE GODOY, PIANOLuiz de Godoy was appointed one of the conductorsof the Vienna Boys Choir in 2016 – he conducts oneof the touring choirs both in Austria and on tour. Be-sides selecting the repertoire for his choir, and con-ducting the daily rehearsals, he prepares the cho-risters for the Sunday Masses at the ImperialChapel, for appearances in the opera, recordings, andfilm shoots. His first major task with the boys was theproduction of “Der Bettelknabe (The begging boy)”in Vienna, a children’s opera by Gerald Wirth, writ-ten for the choir. To Mr de Godoy, music is one of thevirtues of human life; something that can be taughtand learned, something that helps us express our-selves, understand each other, and treat each oth-er with respect. “It is vital to be exposed to music asearly as possible,” he says.De Godoy was born in Mogi das Cruzes, Brazil. As achoirboy in his hometown he learned to love music.He learned to play the piano at the music school ofthe opera house in Sa�o Paulo, and went on to studypiano, choral and orchestral conducting, solo voice,and organ at the University of Sa�o Paulo and the Mu-sic University in Cologne, Germany. He holds a mas-ter’s degree in piano from the University of Applied Artsin Castelo Branco, Portugal. In 2009, de Godoy wasone of twenty students from around the world selectedas recipients of a scholarship for an exchange pro-gramme run by UNESCO, leading to studies and per-formances in Boston, Tanglewood, New York andWashington DC. In 2013, Luiz de Godoy matriculat-ed at the Music University in Vienna, studying orchestralconducting with Simeon Pironkov and choral con-ducting with Erwin Ortner.Luiz de Godoy began to perform professionally at anearly age, as singer, pianist, and conductor. At theage of only fourteen, he served as a répétiteur in proj-ects of the São Paulo opera house, working on choralconcerts and on a wide range of operas, from worksby Mozart to works by Weill. At 15, he went on stageas a pianist in Orff’s Carmina Burana. Later, he di-rected the Opera Studio of the „Mu� sica nas Mon-tanhas“ Festival in Brazil. In addition to performing,de Godoy is active as music educator. In his homecountry, he has led classes for schoolchildren in solosinging and choir, as part of “Projeto Guri”, a majorprogramme of the Brazilian government.

Albena Danailova

Luiz de Godoy

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Oscar de la Torre

In 2010, de Godoy moved to Europe. He sang with theEuropean Chamber Choir, Cologne; worked as assis-tent conductor in Melk, Lower Austria, and led a work-shop on Brazilian choir music at the University of Vi-enna. He has also been working as assistant directorof the women’s chamber choir Cantilena, and ofGumpoldskirchner Spatzen, an Austrian children’schoir, with whom he undertook tours to China and Ger-many. He continues to work as assistant to the artis-tic director of the prestigious Wiener Singakademie,collaborating with the likes of Gustavo Dudamel, SirSimon Rattle, Valery Gergiev, and Simone Young.

OSCAR DE LA TORRE, TENORDuring the last few years, the Mexican tenor Oscarde la Torre has gained significant reputation through,in particular, prestigious opera productions in his homecountry such as the Mexican premiere of Vivaldi’sGriselda and Motezuma as well as his interpretationof Laurie at the Mexican premiere of Mark Adamo’sLittle Women. One of the highlights in the course ofhis career is the performance of Orff’s Carmina Bu-rana at the Auditorio Nacional in Mexico City with morethan 10.000 members of the audience. As anotherhighlight ranks his concert with Edita Gruberova inthe Herkulessaal in Munich, Germany.De la Torre further participated in various internationalfestivals and appeared with international performanceson the stages of e.g. the Theater an der Wien, Gross-er Musikvereinsaal, Haydn Saal, in Austria; TheaterWinterthur in Switzerland; Grosser Konzertsaal Va-troslav Lisinski in Zagreb, Croatia; King´s Theatre inEdinburgh, Scotland; Teatro Reggio, Auditorium del-la Gran Guardia with the Fondazione della Arena diVerona, Basilika Santa Maria Maggiore in Rome, Italy;Papal Basilica St Peter in the; Aarhus Teater, AalborgTeater, Vejle Musikteater in Denmark; Dicapo OperaTheatre in New York; Palacio de Bellas Artes (NationalOpera of Mexico), Teatro del Bicentenario, Teatro De-gollado, Teatro Peón Contreras, Mexico, Auditorio Na-cional de México, Sala Nezahualcóyotl, in Mexico aswell as in Germany at i.a. the Prinzregententheater,Münchner Philharmonie, the Theater of the City of Hei-delberg, Anhaltisches Theater Dessau, Theater Bre-men, Landestheater Niederbayern and the TheaterVorpommern.De la Torre has performed amongst others with Placido

Domingo, Edita Gruberova, Giacomo Aragall, Fran-cisco Araiza, Kurt Rydl, Paolo Gavanelli, José Bross,Marco Armiliato, Alfredo Silipigni, Alexander Rahbari,Enrique Ricci, Antoni Ross-Marbá, Pietro Rizzo, AntonyHermus, Lorenz Nasturica, Massimiliano Murrali, Nay-den Todorov and Gregor Palikarov. He was awardedwith the „Opera de Bellas Artes“ Award and the „Lu-nas del Auditorio 2010“ and additionally received theFONCA scholarship of the National Art Fund for Re-search.

JENNIFER FORNI, SOPRANOAmerican soprano Jennifer Forni is quickly distinguishingherself as a dynamic singer possessing the raw, luxu-rious power of a classic lirico spinto. “Forni’s voice hasthe power and brilliance of a roman candle, and yet isnever pushed, always in control. She has the best mes-sa di voce I’ve heard in a long time.” - Oregon Arts Watch. A prolific concert singer, Ms. Forni’s repertoire includesperformances of Beethoven’s Symphony No. 9,Mahler’s Symphony No. 2, Barber’s Knoxville; Sum-mer of 1915, St. John Passion, and performed at NewYork’s Carnegie Hall; Vaughan Williams’ A Sea Sym-phony, Faure’s Requiem, and Rutter’s Requiem.Ms. Forni is often in recital singing the works of Strauss,Duparc, Schubert, Chausson, and Debussy. On the operatic stage Ms. Forni made her Metro-politan Opera debut in Wagner’s Parsifal in 2013, aproduction broadcast in HD worldwide. Ms. Forni ex-cels in the heroines of Bizet, Mozart, Verdi, Pucci-ni, Strauss, and Tchaikovsky.Ms. Forni is currently a Professor of Voice at Evangel Uni-versity. She received her Bachelor of Vocal Performancefrom the Oberlin Conservatory of Music and her Mas-ter of Opera from the University of Maryland. Ms. Forniwas a member of the prestigious Portland Opera Res-ident Artist program, as well as an apprentice with theSanta Fe Opera and the Opera Theatre of St. Louis.

KANA KUMAMOTO, SOPRANOGraduating with the best grade and at the top of Classof the Year from Osaka College of Music majoring in vo-cal performance, Ms. Kana Kumamoto has enjoyed ex-tensive concert and recital work with leading conduc-tors and stage directors. She sang as a member of Vo-cal Ensemble of Biwako Hall, a professional choral en-semble supervised by Hiroshi Wakasugi, under the di-

Jennifer Forni

Kana Kumamoto

rection of Ryusuke Numajiri and several conductors in1998. She received scholarship from Agency for CulturalAffairs Government of Japan in 2001, and studied voicein Paris, France, with Camille Maurane, Irène Aïtof, andYumi Nara as a trainee of Program of Overseas Study.Ms. Kumamoto won the 1st prize of the French MusicCompetition organized by Franco-Japanese Musical As-sociation in 2002. She was the finalist of Madama But-terfly International Competition in Nagasaki in 2005 aswell. Since 2008 she had been engaged as a memberof the choir of Opéra de Paris, and made many publicappearances there on stage. In the following year, she start-ed singing regularly at Théâtre du Capitol de Toulouse.During her residence in France, she constantly appearedin Concerts de Fêtes de musique and Les Chorégies d’O-range. Since her return to Japan in 2015, she gives voicelessons as a lecturer at Osaka College of Music. As a gifted soprano, Ms. Kumamoto is an asset to anyproduction. Having sung the roles of Fiordiligi ofMozart’s Cosi fan tutte and Micaëla of Bizet’s Carmen,she shows great interest not only in operatic work butalso in art-songs and pieces for vocal ensemble. It isnoteworthy that she gave the Japanese premiere ofCinq Chansons, contemporary art-songs by Frenchcomposer Gérard Pesson. She has also collaboratedwith many choirs and orchestras as a soloist per-forming both secular and sacred compositions suchas Beethoven’s 9th Symphony, Gounod’s Messe SainteCécile, Pergolesi’s Stabat Mater, J. S. Bach’s Christ-mas Oratorio, Fauré’s Requiem, and Orff’s CarminaBurana. She is now a member of Illuminart Chorus.

RAIMUND LISSY, VIOLINBorn in Vienna in 1966, Raimund Lissy began vio-lin lessons at the age of four. Later he studied withThomas Kakuska at Wiener Musikhochschule and withAlfred Staar. After some seasons with the orchestraof the Arena di Verona he joined the orchestra of theVienna State Opera. In 1991 he became a memberof the Vienna Philharmonic Orchestra. In the sameyear he took over the position of assistant principalsecond violins; since 1993 he has been principal ofthe second violins. From 2013 Raimund Lissy hasbeen employed at the Wiener Hofmusikkapelle.As second violin of „Ensemble Wien“ Raimund Lis-sy is deeply committed to chamber music. With thisstring quartet formation he has been performing in five

concerts annually since 1994 within the cycle of sub-scription concerts “Freude an Musik” of theGesellschaft der Musikfreunde in the Brahmssaal ofthe Musikverein in Vienna, where he has appeared inmore than 100 concerts. Moreover, together with En-semble Wien he has performed in numerous distin-guished concert halls in New York, Toronto, Vancou-ver, Tokyo, Paris or Athens as well as at festivals suchas the Salzburg Festival, the Ravenna Festival and the“Berliner Festspiele”. As a member of this string en-semble he can also be heard in CD recordings for“VMS”, “Koch” and “Erato”. Together with “Ensem-ble Wien” Raimund Lissy has appeared with artists likeChristian Altenburger, José Carreras, Helmut Deutsch,Plácido Domingo, Barbara Frittoli, Nancy Gustafson,Angelika Kirchschlager, Elisabeth Kulman, HelmuthLohner, Ann Murray, Jessye Norman, Marlis Petersen,Benjamin Schmid, Janis Vakarelis and Stefan Vladar.As a soloist Raimund Lissy has performed the violin con-certs of Beethoven, Mendelssohn, Pleyel and Tchaikovskyaccompanied by various orchestras in Vienna and Low-er Austria. He has also given sonata recitals.His CD recordings include works for violin by ReynaldoHahn (Koch, together with various artists), Ch. Koech-lin, G. Tailleferre and F. Poulenc (VMS) with pianist JanLatham-Koenig, as well as a violin concert by I. Pleyel(Ars; conductor: Johannes Klumpp). Raimund Lissyis specially devoted to the promotion and spreadingof the oeuvre of violin virtuoso Joseph Mayseder, whoalso participated in the first concert of the newly-found-ed Vienna Philharmonic Orchestra in 1842.In 2008 he founded the „Lissy Quartet“. With this pi-ano quartet he has performed repeatedly, among oth-ers in Gläserner Saal/Magna Auditorium of theMusikverein in 2011, 2012 and 2013. With his “Lis-sy Quartet” he has performed several world premieresof works for piano quartet by Balduin Sulzer.

KARSTEN MEWES, BARITONEKarsten Mewes began his singing career, afterstudying at the Academy of Music "Hanns Eisler" inBerlin with Dr. F. Eckardt, at the "Staatsoper Unterden Linden" and at the "Komische Oper Berlin". Hesang many lyric baritone roles, ranging from Silvio,Papageno, the Count , and Figaro to Fluth, and inthe Italian Fach all the way from Marcello, Lescaut,Posa, Ford, Jago, Macbeth, Scarpia to Rigoletto.

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Raimund Lissy

Karsten Mewes

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Naoki Nizuka

Takako Nogami

His Wagner career began with Melot in "Tristan", Kling-sor in "Parsifal" and the "Flying Dutchman“, these werefollowed by Alberich in the complete Ring, and thenin 2008, in the complete Mannheim Ring (directedby Martin Schüler), both Wotans and the Wanderer.Then in 2010 Karsten Mewes gave his role debut asHans Sachs in the "Meistersinger von Nürnberg".He has retained his love for Lieder, and the concertand oratorio repertoire, and considers these to be im-portant factors in his singing career.Thus "Carmina Burana" has taken him to Madrid andTel Aviv, Bach’s B minor Mass to Madrid, Mahler’s8th Symphony to Graz and Peking, and Beethoven’s9th Symphony and Recitals have taken him to Greece,Finland, Japan and Australia. He has worked with directors like Christoph Schlin-gensief, Harry Kupfer, Ruth Berghaus, ChristineMielitz, Jonathan Miller, August Everding, and An-dreas Homoki; and with conductors such as Sir RogerNorrington, Sir Colin Davis, Daniel Barenboim, Prof.Rolf Reuter, Ottmar Suitner, Fabio Luisi, Donald Run-nicles, and Dan Ettinger.Christoph Schlingensief invited him in 2007 toBayreuth to sing Klingsor in his "Parsifal" production. Karsten Mewes is currently an ensemble member ofthe „Nationaltheater Mannheim“. There he is singingin a new Ring Cycle directed by Achim Freyer, the roleof Alberich in „Das Rheingold“ ( by special requestof the GMD Dan Ettinger) and Wotan in „Walküre“ andhas sung the Wanderer in „Siegfried“. In the season2014/15 he sang Mephistopheles in „La Damnationde Faust“ and King Pentheus in the „Bassarids“ ofHeinz Werner Henze at his home Theater. At the same time 2014/15 he sang at the „Volksoper“Vienna the role of Tonio in the „Bajazzo“ an in a newproduction of Fidelio (conducted by Julia Jones) the roleof Pizarro. In March 2016 he was invited to Beijing tothe National Centre for the Performing Arts to sing therole of Biterolf (Tannhäuser) by Richard Wagner. In December 2016 a concert of the Fauré Requiemin Tokyo – Japan will follow.

NAOKI NIZUKA, TENORNaoki Nizuka is a graduate of the Faculty of Music atOsaka University of Arts. He began his professional ca-reer as a opera singer at Biwako Hall Center of the Per-forming Arts as a member of Biwako Hall Vocal Ensemble.

Since his early career, he has performed many lead-ing roles such as Don José in Bizet ‘s Carmen, Fer-rando in Mozart’s Così fan tutte, Fenton in Nicolai’sDie lustigen Weiber von Windsor, Radames in Ver-di’s Aida, Der Tenor in R.Strauss’s Ariadne auf Nax-os. He recently expanded his repertoire by singingTristan in Wagner’s Tristan und Isolde for the concertof Kansai Philharmonic Orchestra in July 2016, andit was a great success. He has been also featured asa soloist in Beethoven’s Ninth Symphony, Bruckn-er’s Te Deum, Verdi’s Requiem, Orff’s Carmina Bu-rana, Mahler’s Das Lied von der Erde. He participatedin Miyazaki International Music Festival for two yearsrunning, in 2015 and 2016.

TAKAKO NOGAMI, MEZZO-SOPRANOBorn in Hyogo, Japan, Ms. Takako Nogami graduatedfrom Osaka College of Music majoring in vocal per-formance. She is gifted with a beautiful voice and sta-ble vocal sounds with intensity, and enjoys a good rep-utation for her musical expression with a good taste.In operatic scenes, Ms. Nogami has appeared as LaCieca in Amilcare Ponchielli’s La Gioconda, PrinzOrlofsky in Johann Strauß II’s Die Fledermaus,Gertrud in Engelbert Humperdinck’s Hänsel und Gre-tel, and Ottavia in Claudio Monteverdi’s L’Incoron-azione di Poppea. In January 2014, she performedSuzuki in Giacomo Puccini’s Madama Butterfly re-ceiving a favorable reception at Kyoto Minamiza un-der the direction of conductor, Ms. Tomomi Nishi-moto. In the following year, she made reappearanceacting the same role of the opera at the theatres ofKyoto Minamiza and Tokyo Shinbashi Enbujo. Therole of Suzuki in 2015 was highlighted with specialand more demanding choreography than usual forthis production, and Ms. Nogami’s outstanding per-formance as Suzuki received high praise.Her repertoire as a soloist includes Beethoven’s NinthSymphony, Händel’s Messiah, and several choral set-tings of Mass. She also participates in various kindsof choral performances.Ms. Nogami has been a member of Kobe City Phil-harmonic Chorus, a professional vocal ensemblefounded by Kobe City, playing an important role asthe section leader of altos. She is also a registeredmember of IlluminArt, a musical performance as-

sociation directed by Ms. Tomomi Nishimoto. In thepast three years (2014-2016) Nogami has partici-pated as a soloist in the International Festival of Sa-cred Music and Art, Rome and Vatican.

CHEN REISS, SOPRANOSoprano Chen Reiss performed leading parts at theVienna State Opera, Bavarian State Opera, Théâtredes Champs- Élysées, Teatro alla Scala, SemperoperDresden, Deutsche Oper Berlin, Hamburg StateOpera, De Nederlandse Opera Amsterdam ,WienerFestwochen, Maggio Musicale Fiorentino, Opera Com-pany of Philadelphia and the Israeli Opera. In December 2014 Chen Reiss was invited to singfor Pope Francis during the Christmas Mass, whichwas broadcast worldwide. Accompanied by theBerlin Philharmonic and Sir Simon Rattle, Ms.Reiss sang the soundtrack to the film Das Parfum.A frequent soloist at important concert venuesworldwide, Ms. Reiss sang with distinguished con-ductors such as: Daniel Barenboim, Ivor Bolton,Daniele Gatti, Daniel Harding, Manfred Honeck,Marek Janowski, Paavo Järvi, James Levine, ZubinMehta, Donald Runnicles, Jeffrey Tate, ChristianThielemann and Franz Welser-Möst. ��She performed concerts at the Salzburg, Ludwigs-burg, 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, Munich Philhar-monic, Radio Symphony Orchestra Berlin, TonhalleDüsseldorf, Laeiszhalle Hamburg, PhilharmonieBerlin, Concerto Köln, Schleswig-Holstein Musik Fes-tival, Gstaad Festival, Mozarteum Orchestra Salzburg,Orchestre de Paris, Orchestre National de France,Pittsburgh Symphony, Atlanta Symphony, NewJapan Philharmonic and the Israel Philharmonic. ��Recently Chen Reiss has been invited as a recital-ist with pianist Charles Spencer to the Tonhalle Düs-seldorf as well as the Gstaad Festival. With pianistAlexander Schmalcz she sang a recital at theLaeiszhalle Hamburg. Other highlights as a recital-ist were appearances at Carnegie Hall, the Philhar-monie in Berlin, Prinzregententheater in Munich, theSchleswig-Holstein Music Festival, the Festival in BadKissingen, the Konzerthaus Dortmund, the Philadel-

phia Museum of Art and the Alice Tully Hall.Her operatic repertoire includes: Gilda (Rigoletto), Ad-ina (L’elisir d’amore), Nannetta (Falstaff), Oscar (Unballo in maschera), Marie (La fille du régiment), So-phie (Der Rosenkavalier), Rosina (Il barbiere diSiviglia), Pamina (Die Zauberflöte), Ilia (Idomeneo),Servilia (La clemenza di Tito), Blonde (Die Entführungaus dem Serail), Susanna (Le nozze di Figaro), Zer-lina (Don Giovanni), Despina (Così fan tutte), Euridice(Orfeo ed Euridice), Adele (Die Fledermaus) and thetitle role in Das Schlaue Füchslein. ��Her most recent opera performances include Ilia inMozart’s Idomeneo, Sophie in Der Rosenkavalier, thetitle role in Janacek’s The Cunning Little Vixen as wellas Gretel in a new production of Hänsel und Gretelunder Christian Thielemann at the Vienna StateOpera, Pamina in Die Zauberflöte at De NationaleOpera in Amsterdam a.o. Furthermore she ap-peared in numerous concerts in Berlin, Frankfurt, Vi-enna, Hamburg, Lissabon, Istanbul and Valencia. Fu-ture projects include Liù in Puccini’s Turandot in TelAviv, Zdenka in Arabella, Marzelline in Fidelio as wellas Gretel at the Vienna State Opera and concerts inTokyo, Munich, Amsterdam, Lissabon, Istanbul andChicago.Her solo album, LIAISONS, won the Diapason D’Orin 2011. On her latest album Le Rossignol et la RoseChen Reiss presents a romantic compilation of songswith distinguished pianist Charles Spencer.

ROY & ROSEMARY, PIANO AND VIOLINFrom the stages of Carnegie Hall to Walt Disney WorldFlorida, this Canadian musical sensation has beencapturing the hearts of audiences with their fresh mu-sical arrangements, their technical virtuosity, and theirability to invite their audience into the music mak-ing process.Highly gifted and virtuoso pianist Roy Tan, and thecharismatic violinist Rosemary Siemens, are musi-cians at the top of the improvisational craft. Their mu-sic features captivating arrangements of familiar andcontemporary numbers, with a highly cinematic andtheatrical influence. Their diverse styles are an art-ful palate of sound, using elements of jazz, pop, andclassical, expanding beyond the limits of any singlegenre. This results in a thrilling live experience where

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Chen Reiss

Roy & Rosemary

Photo © Paul M

arc Mitchell

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SusanneSchaeffer

their shows have many instances of audience par-ticipation including a request set as well as sponta-neous composition sessions.Dies resultiert in mitreissenden Live-Shows unter Ein-bezug des Publikums mit u.a. der Aufführung einesWunschprogramms sowie spontanen Kompositionen,bei denen das Duo die Ideen seines Publikumsmusikalisch umwandelt.This duo has already performed in a diverse num-ber of venues ranging from intimate house concerts,to a number of concerts at New York’s famed‘Carnegie Hall’, St. Peter’s Basilica, the Egyptian Con-sulate in Washington DC, The Miss America pageantin Las Vegas as well as performances at the Beijingand Vancouver Olympics.

SUSANNE SCHAEFFER, MEZZO-SOPRANOSusanne Schaeffer was born in Hanau, near Frank-furt/Main, Germany. She studied with ElisabethFellner-Köberle and Maria Tuczek-Graf at the uni-versity of music Mainz and also participated in mas-ter classes of Leonard Hokanson and Sergiu Celi-bidache.She obtained a scholarship of the Villa Musica inMainz and has won prizes at different competitions.Susanne Schaeffer often works with many of the fa-mous concert-orchestras in and out of Germany andis also a well-liked guest at grand Festivals such asthe 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, SylvainCambreling, Steven Sloane and Eiji Oue, with whichshe has worked quite several times in Japan, amongother in cooperation with Tokyo Philharmonic Orchestra.She often sings in such famous concert halls as thePhilharmonies in Cologne, Essen, Munich and St.Pe-tersburg, the Hamburger Musikhalle, the FestspielhausBaden Baden, the Alte Oper Frankfurt, the KonzerthausBerlin, the Megaron of Athens, the Festival Hall of Os-aka and the Suntory and NHK-Hall of Tokyo.Beside other recent performances, she has beensinging Beethovens Missa Solemnis under the con-ducting of Christoph Poppen as a live radioproduction

in Saarbrücken and Wiesbaden, Mahlers 8th Sinfonieunder the conducing of Charles Dutoit in the NHK-Hallin Tokyo and Bach's St.Mattew's passion during theWhite Nights in St.Petersburg with Leo Krämer.Together with her husband, the well-known pianistBurkhard Schaeffer, she practised an extensive Lied-repertory of all epochs and performs with himmany Lied-recitals.She had also several operaengagements at the op-erahouses of Dortmund, Cologne and Kassel. Su-sanne Schaeffer also works as a singing instructorat the Hochschule für Musik und DarstellendeKunst in Frankfurt/Main. Radio and TV productionsdocument her artistic life.

KEITH SPENCER, BARITONEKeith Spencer was born in West Palm Beach, Flori-da, one of thirteen children in a musical family. Hispursuit of a professional singing career began withformal training at the University of Miami, where hereceived his Bachelor of Music degree in 1987. Hecompleted a Master of Music degree in 1989 in voiceat the Manhattan School of Music, and in 1991, Kei-th received his second Master’s degree in opera per-formance from The Curtis Institute of Music.Keith made his professional operatic debut in 1992with the Virginia Opera Company. Since then, he hasappeared with various ensembles, including the OperaCompany of Philadelphia, The Indianapolis SymphonyOrchestra, Glimmerglass Opera, Santa Fe Opera, Sky-light Opera Theater, Greensboro Opera, ChautauquaOpera, Lake George Opera, Ashlawn-Highland Opera,Opera Roanoke and Diamond Opera Theater. In No-vember 2009, Keith made his Carnegie Hall solo de-but singing two of his original compositions in a pro-gram entitled “Christmas Time in the City”.Keith’s operatic roles include Papageno in Die Za-uberflöte, Dandini in La Cenerentola, Dr. Malatesta in Don Pasquale, Count Almaviva in LeNozze di Figaro, Guglielmo in Così fan tutte, Figaro in Il Barbiere di Siviglia,Schaunard in La Boheme, and the title role in Mon-teverdi’s Orfeo. An accomplished concert singer, hehas performed such orchestral works as Songs ofTravel and Dona Nobis Pacem by Ralph VaughanWilliams, the Requiems of Fauré and Duruflé,Mozart’s Mass in C, Bach’s Mass in B minor and St.

Keith Spencer

Matthew Passion, Handel’s Messiah, Saint Saens’Christmas Oratorio, and Mendelssohn’s Elijah. Hemade his New York recital debut in 1995 with theHugo Wolf Society at Merkin Concert Hall.Keith is also recognized for his work in contemporarymusic. In June 2002, he performed a solo recital of newmusic at The Americas Society in New York City singingsongs by Laura Kaminsky, Alba Potes and Chris De-Blasio. He recorded the preliminary sketches of Burn-ing Bright at RCA Recording Studios. Composed byFrank Lewin, this modern opera is based on the Stein-beck novel of the same name. At American Opera Proj-ects in New York City, Keith premiered Three Remi-niscences - songs composed for him by Ed Windellswith texts by W.S. Merwin. He has also premiered worksby composers Robert Alpert, Peter Susser, and AlbertAhlstrom. In June 2008, Keith premiered the canta-ta “A Measure of Love and Silence” by RichardCameron-Wolfe at New York City’s Symphony Space.In 2014, Keith was a featured soloist with The EasternMusic Festival where he sang Dover Beach, and theFaure Requiem under the baton of Gerard Schwarz. Keith’s competition honors include: 1st place, BelCanto Singers of York Competition, winner of the Mu-sic Guild of Boca Raton Competition, winner of theFive Towns Music and Art Foundation Award, and re-gional finalist in the Metropolitan Opera National Coun-cil Auditions. He has also received the Theodore New-man Voice Scholarship, the Kiwanis Club of PalmBeach Scholarship and the Greater Miami Young Pa-tronesses of the Opera Award.In 2007, Keith and his brother Mark Spencer (harp),released their first compact disc titled “The SpencerBrothers - With Harp and Voice”, a CD inspired bythe attacks on September 11, 2001. Keith composedtwo of the pieces on this CD, including the title work,“With Harp and Voice” written for his brother Mark,and “Joseph’s Promise” which Keith composed tohonor the memory of the their parents. In November, 2008, Keith sang the world premiereof Requiem for My Mother by Stephen Edwards,which features a baritone solo written especially forKeith by the composer. The concert was broadcastlive on Italian television from The Church of St. Ig-natio in Rome, Italy, and was recorded on CD in thefamous Studio Medico Parioli di Roma. The CD wasnominated in 2009 for a Grammy Award. Keith’s oth-

er CDs include Dreams for Alice, a musical by GilbertHeatherwick, The New Moon with City Center En-cores, the Indianapolis Symphony’s Yuletide Christ-mas CD, Brahms’ Ein Deutsches Requiem with Mar-vis Martin, soprano, and Diamond Street (March2010) a comic opera by Harold Farberman.

LIUDMILA SLEPNEVA, SOPRANOLiudmila Slepneva was born in Russia and studiedVocal perfomance at the Ippolitov-Ivanov Music Col-lege in Moscow. She graduated from the GnessinState Musical College with a degree in Vocal Peda-gogy and worked as a vocal coach at the Ippolitov-Ivanov Music College from 1994 to 2000.In 1990, Slepneva received the silver medal at the Fran-cisco Viñas International Singing Competition and wassecond at the Singing Competition in Bilbao, Spain. Shedebuted in 1991 at the opera house of Arriaga, Bilbao,Spain, in the role of Violetta in Verdi’s La Traviata.Since 1993 Liudmila Slepneva has been the first sopranoat the Stanislavski and Nemirovich-Danchenko MoscowAcademic Music Theatre Moscow. She also sang i.a.at the Wiener Kammeroper in Vienna, the Opéra du Rhinin Strasbourg and the Teatro Lirico in Cagliari.Since 2001 Liudmila Slepneva is a member of theopera ensemble at the Nationaltheater of Mannheim,Germany, where she sang major opera parts of Ver-di and Puccini as well as various operas of Mozartsuch as Elektra in Idomeneo or Vitellia in La clemen-za di Tito. She further appeared in the roles of Ros-alinde, Gerhilde, Norma, Nedda and Santuzza.Further appearances include performances at theDeutsche Oper in Berlin and Düsseldorf, at the Sem-peroper in Dresden, at the Wiener Staatsoper and atthe Staatsoper Hamburg.Together with pianist Rena Shereshevskaya she hasdeveloped an extensive recital repertoire consistingof European and Russian art songs. The duo performsin France, Austria, Germany and Russia.

TSUTOMU TANAKA, BARITONETsutomu Tanaka made his debut with Mozart’s Lenozze di Figaro and subsequently appeared inamongst others Mozart’s Così fan tutte, Leoncaval-lo’s Pagliacci and Verdi’s Falstaff. From 1990 to 1991,Tanaka was sent as by the Japanese Agency for Cul-tural Affairs as an overseas trainee to the Universi-

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THE ARTISTS

LiudmilaSlepneva

Tsutomu Tanaka

83

ty of Music and Performing Arts, Vienna, where hestudied for one year. After returning to Japan, he ap-peared in various operas such as Verdi’s La Travia-ta and Rigoletto, Dan’s Yuzuru (Twilight Crane),Tschaikowsky’s Evgenij Onegin as well as in Pucci-ni’s La Bohème, Madama Butterfly and Turandot.He won the Encouraging Prize for New Singers of the22nd Naniwa Performing Arts Festival, and AudienceSpecial Award of the 1st International Lied Compe-tition of the Japan Schubert Society (J.S.G). In 1999,he awarded for cultural merit from Izumi city, and forthe 20th Critics Society Prize in 2000. In 2004, hereceived the Osaka Performing Arts Award. In2011, he won the Agency for Cultural Affairs Art Awardfor his performance in Verdi’s Rigoletto.In 2014, he participated for the first time in the In-ternational Festival of Sacred Music and Art in Romeand Vatican. He completed a course in Operatic Stud-ies of Osaka College of Music Graduate School. Cur-rently, he is professor of Osaka College of Music, headteacher in charge of Operatic Studies of Osaka Col-lege of Music Graduate School, executive board mem-ber of Kansai Opera Company, and associate ofJapanische Schubert Gesellschaft.

KSENIA DUBROVSKAYA, VIOLINKsenia Dubrovskaya is an exceptionally talented andcharismatic violinist of the new generation. At a youngage she has become a winner of many regional com-

petitions, including Tchaikovsky Competition forYoung Musicians. Ksenia has graduated fromMoscow State Conservatory with honors and last yearshe obtained a Master of Music in Performance de-gree at Zurich High School of Music under Profes-sors Zakhar Bron (violin) and Marc Kissoczy (con-ducting). Ksenia is a constant participant of the fol-lowing significant festivals: Mecklenburg- � Vorpom-mern, MDR Musiksommer, Festival der Nationen BadWörishofen in Germany,Festival Internationale Di Mu-sica E Arte Sacra (Vatikan),Alba Music Festival(Italia),Ost- �West Musikfest in Austria, Rencontres MusicalesInternationales d’Enghien in Belgium ,Contest Fes-tival Gyumri (Armenia) and Arslonga Festival inMoscow. She is one of the organizers and an irre-placeable participant of annual Gran Canaria FincaFestival of Frantz & Friends. Her immense repertoireranges from Baroque to modern periods.Her partners were such famous musicians as YuryBashmet, Dmitry Sitkovetsky, Liana Isakadze, Jus-tus Frantz and Phillipp Graffin. As a soloist, KseniaDubrovskaya performed with world- �renowned or-chestras under the baton of Saulius Sondeckis, Jus-tus Frantz, Jacek Kaspczyk etc. She is an acting Jury member of many music com-petition. Ksenia performs on the violin by GiovanniBattista Gabrielli in 1770 – the instrument leased byReinhold Wu� rth Musical Fund (Germany) to out-standing musicians.

Organ of LucaBlasi (1597-99),Basilica of St. John Lateran,restored with the support of Dr. Hans-AlbertCourtial between1984 and 1989.

KseniaDubrovskaya

Ars Artem Salvat

15. Festival Internazionale di Musica e Arte Sacra

Rom Und Vatikan16. - 21. November 2016

86

23. Okt. 2014Basilika

San Paolofuori le Mura

87

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

Mag. Nicole Anneliese Courtial

EHRENPRÄSIDENTS. Hochw. Eminenz Angelo Kardinal Comastri

Erzpriester der päpstlichen Basilika von St. Peter im

VatikanGeneralvikar des Papstes für die Vatikanstadt -

Präsident der Dombauhütte von St. Peter

EHRENKOMITEES. Hochw. Eminenz Santos Kardinal Abril y Castelló

Erzpriester der Basilika Santa Maria Maggiore, Rom

S. Hochw. Eminenz Domenico Kardinal Bartolucci (Borgo San

Lorenzo, 7. Mai 1917 – Rom, 11. November 2013)

Kapellmeister auf Lebenszeit 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 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

“Fondazione Pro Musica e Arte Sacra” 2006

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

Mgr. 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

Seine Hochw. Eminenz Camillo Kardinal Ruini

Generalvikar Em. Seiner Heiligkeit für die Diözese Rom

S. Hochw. Exzellenz Mons. Giovanni Tonucci

Erzbischofprälat des Heiligen Hauses von Loreto

Seine Hochw. Eminenz Agostino Kardinal Vallini

Generalvikar 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


Prof. Nikolaus Harnoncourt Dirigent, Preisträger



Preisträger “Fondazione Pro Musica


Dr. Gianni Letta Preisträger “Fondazione Pro Musica e

Arte Sacra” 2004

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 Preisträger “Fondazione Pro

Musica e Arte Sacra” 2008

Dr. h.c. Hans Urrigshardt (1945-2016) Preisträger


Franz Welser-Möst Dirigent

ORGANIGRAMM

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KÜNSTLERISCHES KOMITEEMsgr. Pablo Colino

Domkapellmeister i. R. und Präfekt für die Musik der

Basilika St. Peter im Vatikan, Preisträger “Fondazione

Pro Musica e Arte Sacra” 2014

Prof. Janos Czifra

Domkapellmeister am Dom zu Salzburg


ehem. Präsident der Wiener Philharmoniker

Prof. Eberhard Metternich

Domkapellmeister am Kölner Dom

Msgr. Valentino Miserachs Grau

Rektor Emeritus des Päpstlichen Institutes

für Kirchenmusik

M° James O’Donnell

Organist und Domkapellmeister der Westminster Abbey

M° Massimo Palombella, SDB

Leiter des Papstchores Cappella Musicale

Pontificia “Sistina”

FÖRDERKOMITEEDr. 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 srl, Rom

RECHNUNGSPRÜFERDr. Demetrio Minuto, Präsident

Dr. Valter Sebastianelli, Rechnungsprüfer

Dr. Giorgio Peraldo Matton, stellvertrender

Rechnungsprüfer

Dr. Silvio Paolo Magnanego, stellvertrender

Rechnungsprüfer

Dr. Carlo Bardanzellu, Rechnungsprüfer

Gründer, Generalpräsident und gesetzlicher Vertreter

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

Präsidentin des Festival 2016

Dott.ssa Claudia Autieri

Sekretariat

Dott.ssa Elena Regina Brandstetter

Dott.ssa Daniela Wellnitz

Verwaltung

Rag. Andrea Serafini

Pressebüro

Dott.ssa Sara Ciccarelli

Dott. Luca Pellegrini

Fotografen

Flavio Ianniello

Riccardo Musacchio


ORGANIGRAMM DES 15. FESTIVAL INTERNAZIONALEDI MUSICA E ARTE SACRA

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Das Festival Internazionale di Musica e Arte Sacra ist 2016 dem Andenken an Mutter Teresa von Kal-kutta gewidmet, einer Heiligen unserer Zeit. Es soll ein von Herzen kommendes Dankeschön an die

Frau sein, die von der Liebe Gottes sang und mit ihrem Leben eine herrliche Sinfonie wunderbarer Werkeder Nächstenliebe komponierte.Mutter Teresa sagte oft, der Egoismus sei das größte Unglück für einen Menschen. Und sie fügte hinzu:„Ich wette mit jedem, dass er noch nie einen glücklichen Egoisten kennengelernt hat“. In der Wohl-standsgesellschaft (wie der unseren) ist der Egoismus stark verbreitet und daher gibt es leider auch so vielUnzufriedenheit, Unruhe und Gewalt. Die Armen, die Nähe zu den Armen, die Hingabe an die Armen istdie einzige Medizin, um den Egoismus zu besiegen und Freude zu finden. Mutter Teresa meinte einmal:„Die Kranken sind eine Therapie für die Gesunden, sie sind die beste Medizin, um sie vor dem Egoismuszu bewahren“.Mutter Teresas Einstellung geht aus einem Interview mit ihr deutlich hervor:- Mutter Teresa, was ist der schönste Tag in Ihrem Leben?- Heute! Denn ich kann ihn noch mit Liebe füllen!- Welche Person ist für Sie am wichtigsten?- Die, mit der ich gerade spreche.- Was ist der Ursprung allen Übels?- Der Egoismus! Davon bin ich überzeugt!- Was ist die schönste Zerstreuung?- Die Arbeit, denn sie erfüllt mich mit Freude, während ich anderen ein wenig Freude mache.- Was ist der sicherste Schutz?- Ein Lächeln, denn es entwaffnet.- Was ist die beste Medizin?- Der Optimismus, denn er heilt alle Krankheiten.- Was ist das Schönste auf der Welt?- Die Liebe. Denn Gott ist Liebe. Aber man muss darauf achten, die wahre Liebe von der falschen Liebezu unterscheiden – und heutzutage gibt es viel falsche Liebe!

1995 fand in Peking die Vierte UN-Weltfrauenkonferenz zur Situation der Frau statt, an der neben den Mit-gliedsstaaten der Europäischen Union weitere 174 Länder teilnahmen. Das Ziel der Konferenz war erneut,die Gleichheit von Mann und Frau zu betonen. Der Heilige Stuhl ließ seinen Standpunkt von Mutter Te-resa darstellen. Doch als die vierte Konferenz stattfand, war der Gesundheitszustand von Mutter Teresazu kritisch, als dass sie nach Peking hätte reisen können. So musste sie ihren Vortrag schriftlich einrei-chen, und er wurde von Mercedes Wilson verlesen, der Vorsitzenden der Vereinigung Family of the Ame-ricas, zu der auch die Bewegungen Pro Vita und Pro Familia gehören. Mutter Teresa machte sich keineGedanken darum, ob ihre Ansichten und ihr Standpunkt mit denen der Mehrheit übereinstimmten, son-dern schrieb mit schlichtem Mut ihre Überzeugung auf. Mutter Teresa hatte keine Angst, die Wahrheit zusagen, denn der Konformismus der Menschen ohne Rückgrat war ihr gänzlich fern.Dies war ihre Nachricht: „Liebe Freundinnen, ich erbitte Gottes Segen über euch alle, die ihr an dieser vier-ten Weltfrauenkonferenz in Peking teilnehmt. Meine Hoffnung ist, dass diese Konferenz jeder von unshilft, den besonderen Platz zu erkennen, zu schätzen und zu respektieren, den die Frauen in Gottes Planeinnehmen, so dass alle Frauen diesen Plan in ihrem Leben umsetzen können. Ich kann nicht verstehen,wieso einige behaupten, Männer und Frauen seien genau gleich, und somit die schöne Unterschiedlich-keit zwischen Mann und Frau leugnen. Alle Gaben Gottes sind gut, aber sie sind nicht alle gleich. Oft ant-

MUTTER TERESA: EINE SINFONIE GELEBTER NÄCHSTENLIEBE

S. Em. AngeloCardinal Comastri

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worte ich Menschen, die mir sagen, sie würden gerne so den Armen dienen, wie ich es tue: „Was ich tue,kannst du nicht tun, und was du tust, kann ich nicht tun. Aber gemeinsam können wir etwas schaffen,das Gott gefällt“. Die Unterschiedlichkeit zwischen Mann und Frau geht in diese Richtung. Gott hat jedenvon uns, jeden Menschen, für etwas sehr Wichtiges geschaffen, nämlich um zu lieben und geliebt zu wer-den. Aber warum hat Gott wohl einige von uns als Männer geschaffen und andere als Frauen? Weil dieLiebe einer Frau ein Bild der Liebe Gottes ist und die Liebe eines Mannes ein anderes Bild der Liebe Got-tes. Beide wurden geschaffen, um zu lieben, aber jeder liebt auf andere Art und Weise“. Diese klarenWorte haben es nicht nötig, kommentiert zu werden, sie sind äußerst aktuell und schicken Licht, um ausder Konfusion zu gelangen, die uns umgibt.1979, als sie aus Oslo zurückkehrte, wo sie gerade den Friedensnobelpreis erhalten hatte, machte Mut-ter Teresa einen Halt in Rom. Eine Gruppe von Reportern drängte sich im Hof, der vor dem schlichtenWohnhaus der Missionarinnen der Nächstenliebe auf dem Monte Celio liegt. Mutter Teresa entzog sich denJournalisten nicht, sondern empfing sie wie Kinder und legte jedem von ihnen eine kleine Medaille der Un-befleckten Empfängnis in die Hand. Die Journalisten machten eine Unmenge von Fotos und stellten Fra-gen über Fragen. Eine Frage war etwas spitzbübisch: „Mutter, Sie sind schon siebzig. Wenn Sie sterben,wird die Welt genauso sein wie zuvor. Was ist denn anders geworden nach so viel Mühe? Mutter Teresa,ruhen Sie sich aus! Es ist die viele Mühe nicht wert“.Mutter Teresa hätte darauf mit ein wenig ehrlicher Entrüstung reagieren können, stattdessen aber lächeltesie freundlich, als hätte man ihr einen liebevollen Kuss gegeben. Und sie antwortete: „Sehen Sie, ich habenie gedacht, ich könne die Welt verändern! Ich habe nur versucht, ein Tropfen sauberes Wasser zu sein,in dem sich die Liebe Gottes spiegeln kann. Denken Sie, das sei wenig?“. Der Reporter fand keine Ant-wort darauf, während sich rund um Mutter Teresa aufmerksame und bewegte Stille ausbreitete. Mutter Te-resa ergriff erneut das Wort und fragte den ‚unverschämten‘ Journalisten:- Versuchen Sie doch auch, ein Tropfen sauberes Wasser zu sein. Dann sind wir schon zu zweit. Sind Sieverheiratet?- Ja, Mutter.- Dann sagen Sie es auch Ihrer Frau, und schon sind wir zu dritt. Haben Sie Kinder?- Drei Söhne, Mutter.- Dann sagen Sie es auch Ihren Söhnen, und wir sind zu sechst ... Mutter Teresa sagte es klar und deutlich: Jeder von uns hat ein kleines, aber unentbehrliches Kapital anLiebe in der Hand, und wir müssen uns darum kümmern, dieses persönliche Kapital an Liebe zu inve-stieren. Alles andere ist unnötige Ablenkung, sterile Polemik oder eine Maske für fehlendes Engagement.

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, gerne heiße ich Sie auch in diesemJahr zum Festival Internazionale di Musica e Arte Sacra in der Ewigen Stadt und im Vatikan ganz herz-

lich willkommen.L’Arte salva l’Arte – durch Kunst die Kunst retten, das ist seit fünfzehn Jahren unser Motto, und das Kon-zept dahinter liegt uns am Herzen wie am ersten Tag. Es ist uns nach wie vor sehr wichtig, das Ziel zu betonen, welches die Fondazione Pro Musica e Arte Sacrain ihrem Namen trägt und aktiv verfolgt: die Förderung der sakralen Musik und Kunst. So organisiert dieStiftung ohne Gewinnstreben jährlich ihre Konzerte, um dazu beizutragen, die sakrale Musik mit ihrengroßartigen Komponisten wieder aufleben zu lassen und weiter erfahrbar zu machen und dies in einemfeierlichen Ambiente, welches an künstlerischem Wert kaum zu übertreffen ist: den Basiliken und Kir-chen Roms, die von begnadeten Künstlern erschaffen wurden, welche einst mit christlicher Gesinnung anebendiesen Orten das Leben Christi und die Christenheit darstellten, indem sie jene künstlerischen, ge-stalterischen und architektonischen Techniken aus der Antike anwandten, die aus dem alten Griechen-land und dem antiken Rom übermittelt wurden.Die sakrale Musik und Kunst sind ein Erbe, welches über Jahrhunderte durch die Kraft des Menschen er-schaffen wurde, und die Fondazione Pro Musica e Arte Sacra ruft alle dazu auf, zu dessen Andenken undErhaltung beizutragen, damit diese Kunstwerke auch in Zukunft als Forschungsobjekte und Beispiele fürdie Ausbildung kommender Künstlergenerationen und Kunstliebhaber zur Verfügung stehen. Die sakraleMusik ermöglicht auch jenen Menschen einen Zugang zur spirituellen Welt, die sich einer Dimensiongläubigen Lebens oder der Zugehörigkeit zu einer Kirche eigentlich fern fühlen. Der Appell heißt: „Wer-den 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 Interna-zionale di Musica e Arte Sacra organisieren. Seit 2011 haben wir zudem damit begonnen, einige ökume-nisch-musikalische Projekte des Papstchores Cappella Musicale Pontificia „Sistina“ finanziell zuunterstützen. Gottseidank teilen und verstehen viele Menschen unser Konzept, und unser Dank geht an sie, die Spon-soren, Wohltäter, Förderer, Künstler, und an erster Stelle an die Wiener Philharmoniker, die seit der ers-ten Ausgabe als orchestra in residence nach Rom und in den Vatikan kommen.Auch in diesem Jahr können wir Sie wieder herzlich zu unserem Festival willkommen heißen und Ihnenein musikalisches Programm bieten, welches einige der größten Meisterwerke der Musica Sacra aller Zei-ten präsentiert sowie Kreationen der zeitgenössischen sakralen Musik, aufgeführt unter der Leitung vonCandace Wicke und Tom Matrone von den amerikanischen Musikern des Continuo Arts Symphonic Cho-rus & Chamber Orchestra, The Evangel University Chorale und Roy & Rosemary.Im Rahmen unseres Festivals ist es möglich, den Wiener Philharmonikern und weiteren Orchestern zu lau-schen, die zu den bekanntesten und beliebtesten der Welt zählen und die sich dazu bereit erklärt haben,an unserem Projekt unter dem Motto „L‘Arte salva l’Arte“ teilzunehmen. Zum vierten Mal können Sie wieder den Künstlern des IlluminArt Chorus and Orchestra begegnen. Alldiejenigen, die das japanische Ensemble bei einem Festival der vergangenen drei Jahre kennengelernthaben, durften bereits Disziplin und Haltung dieser asiatischen Künstler bestaunen, denen es durch ihrenGlauben – einen sehr tiefen Glauben – gelingt, Meisterwerke von Verdi, Beethoven und Mozart darzubie-ten. Es ist ein beeindruckendes Erlebnis, das Engagement und die Kraft dieser Künstler zu beobachten,die Dank jahrelanger Arbeit in der Lage sind, diese Musik erklingen zu lassen. Eine spirituelle Andacht mit

GRUSSWORT DES GENERALPRÄSIDENTEN

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

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der Krönungsmesse KV 317 von Wolfgang Amadeus Mozart, aufgeführt vom Illuminart Chorus and Or-chestra unter der Leitung der Dirigentin Nishimoto, wird der Heiligen Messe vorangestellt. Die Heilige Messe des Festivals wird musikalisch gestaltet vom Chor der Päpstlichen Musikkapelle „Sis-tina“ unter der Leitung von Massimo Palombella, mit der Missa Prima Pontificalis von Lorenzo Perosi, undabgeschlossen vom Chor Illuminart mit Orasho-Gesängen.Dieses Jahr erleben wir auch die Teilnahme des erst kürzlich ins Leben gerufenen Orchesters World PeacePhilarmonic, geleitet von ihrem Gründer Justus Frantz, einem international erfolgreichen Pianisten, Diri-genten von hochrangigen Orchestern und unermüdlichem Vermittler und Förderer der Musik. Wir haben beschlossen, das Requiem in d-moll KV 626 von Wolfgang Amadeus Mozart, aufgeführt vomPalatina Klassik Vocal Ensemble (Deutschland), dem Philharmonischen Chor an der Saar (Deutschland)


BasilikaS. Paolo

fuori le MuraPapstaltar

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und von Chor und Orchester des Staatlichen Konservatoriums von Kazan (Russische Föderation) unter derLeitung von Leo Kraemer, den eine langjährige Freundschaft mit der Fondazione verbindet, dem Geden-ken an die Opfer des Erdbebens zu widmen, das kürzlich Mittelitalien getroffen hat, sowie dem Anden-ken an die Opfer des Erdbebens von L’Aquila von 2009 und an alle Menschen, die in der Welt Opfer vonErdbeben wurden. Auch die Wiener Sängerknaben dürfen wir zum vierten Mal beim Festival vorstellen, den 1498 von Maxi-milian I. gegründeten Knabenchor, der Chorwerke von Mozart, Monteverdi, Schubert, Gallus, Haydn, Wirth,Caldara, Fux präsentiert.Anlässlich der Beendigung des Heiligen Jahres der Barmherzigkeit am 20. November werden in der Ba-silika San Paolo fuori le Mura, zum ersten Mal in Rom, die jungen Talente von Orchester und Chor der Ac-cademia del Teatro alla Scala unter der Leitung von Christoph Eschenbach die Messe für Soli, Chor undOrchester von Giacomo Puccini aufführen und daneben das Misericordias Domini KV 222 und das AveVerum Corpus KV 618 von Wolfgang Amadeus Mozart.An dieser Edition des Festivals nehmen 800 Musiker, 21 Solisten und 7 Chor- und Orchesterdirigenten ausJapan, Deutschland, Österreich, Israel, Italien, Kanada, den USA, der Vatikanstadt und der RussischenFöderation teil.Anwesend sind auch 1.400 Freunde der Musica Sacra aus Deutschland, Österreich, der Schweiz, Frank-reich, Japan, Spanien, den Niederlanden, Schweden und den USA.Die sakrale Musik, deren Entstehung eng mit unseren christlichen Wurzeln und unserer jahrhunderteal-ten Kultur verbunden ist, hat definitiv historischen Charakter. Sie ist historisch verwurzelt, weil die bedeu-tende sakrale Musik von wichtigen Komponisten aller vergangenen Epochen erschaffen wurde, weil sie alsAnregung für die Liturgien der Vergangenheit diente, weil sie Teil der Geschichte unserer Vorfahren ist.Doch auch wenn sie diesen antiken Charakter innehat, so fehlt es ihr doch keineswegs an Aktualität. Diesakrale Musik der Vergangenheit wird immer dann aktuell, wenn sie von Artisten der heutigen Zeit für dasPublikum von heute dargeboten wird – und immer dann, wenn sie als Orientierungs- und Forschungsobjektfür Komponisten unserer Zeit die Idee zu neuen und modernen Kompositionen liefert. ZeitgenössischeKunstschaffende, die ihre Erfahrung aus der sakralen Musik der vergangenen Epochen ziehen, schaffenneue Ausdrucksformen sakraler Musik und zeigen dabei, wie ihr Geist wächst und sich verändert. Von der enormen Wichtigkeit dieser neuen Generation an Künstlern und Komponisten sind wir überzeugt. Die Fondazione Pro Musica e Arte Sacra unterstützt seit 2011 den Chor der Päpstlichen Musikkapelle„Sistina“, geleitet von Massimo Palombella, in einem ökumenischen Musikprojekt, das dieser auf Wunschvon Papst Benedikt XVI und nun von Papst Franziskus durchführt. Es handelt sich um einen musikalischenAustausch mit bekannten Chören anderer christlicher Konfessionen. Der Austausch sieht jedes Jahr meistein oder zwei gemeinsame Konzerte in Rom oder im Vatikan und am Heimatort des christlichen Choresvor, der am Projekt teilnimmt. Bei diesen Konzerten wird die Chormusik der römischen Schule neben denjeweiligen Chortraditionen der anderen christlichen Konfessionen präsentiert. In diesem Jahr unterstützte die Fondazione Pro Musica e Arte Sacra die ökumenische Deutschlandreisedes Chores der Päpstlichen Musikkapelle „Sistina“ vom 17. zum 20. Mai 2016 mit Gesangsaufführungenin Berlin, Wittenberg und Dresden.Im Zusammenhang mit diesem wichtigen Projekt unterstützte die Fondazione Pro Musica e Arte SacraDank der Beiträge ihrer Förderer und Wohltäter außerdem die ökumenisch-musikalische Romreise des an-glikanischen Chors The Choir of New College Oxford, geleitet von Robert Quinney, und die ökumenisch-musikalische Romreise des evangelisch-lutherischen Windsbacher Knabenchores, geleitet von MartinLehmann, zum Hochfest der Schutzpatrone Roms, der Hl. Peter und Paul.Neben den Konzerten haben wir über die Jahre hinweg die Erhaltung wichtiger sakraler Kunstschätze fi-nanziert. Die Fondazione Pro Musica e Arte Sacra bringt mit Hilfe ihrer großzügigen Mäzene weiterhin dasgrößte Projekt voran, das je von ihr unterstützt wurde: die Restaurierung der äußeren Fassaden des von

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Michelangelo entworfenen Teil des Petersdomes. Die Wichtigkeit dieses Projektes ist direkt mit der Per-son Michelangelos verknüpft, des Architekten, Bildhauers und großartigen Künstlers, der zwischen 1546und 1564 den Hauptteil der Basilika in der Form eines griechischen Kreuzes realisierte. Unser Einsatz be-gann im Jahre 2010, als wir die Restaurierungsarbeiten im dritten Abschnitt der Südfassade der Basilika(die linke Seite, auf den Petersdom blickend) finanziell unterstützten. Die Arbeiten verliefen weiter in Rich-tung Westfassade, also der Apsis der Basilika, und sie werden 2016 mit der Restaurierung der Nordseite,ebenfalls Teil des Entwurfs von Michelangelo, vollendet.In den Jahren 2017-2019 wird die Fondazione Pro Musica e Arte Sacra die Restaurierungsarbeiten amTambour der großen Kuppel des Petersdomes und an den beiden kleineren Nebenkuppeln über den Ka-pellen Cappella Clementina und Cappella Gregoriana fördern.Darüber hinaus haben wir uns für die Restaurierung der Statuen der Heiligen Peter und Paul auf dem Pe-tersplatz eingesetzt. Diese wurden allerdings wegen des besonderen Jubiläumsjahres um einige Zeit ver-schoben, um das Projekt in einem ruhigeren Moment ins Auge fassen zu können. Das Jubiläumsjahrerfüllt die Herzen der gesamten Kirche mit großer Freude und unser Gedanke geht an die päpstlichen Ba-siliken und die Kirchen Roms, die das Ziel der Pilger aus aller Welt sind. Die spirituelle Botschaft wird soerneuert, wie sie bereits zuvor durch jedes Jubiläum neu entfacht und verbreitet wurde und auch das kul-turelle Interesse anderer Kulturen anregte. Wir sind überzeugt davon, dass wir durch das Erhalten und Bewahren dessen, was uns an Schönheit ausvergangener Zeit übermittelt wurde, unseren Teil dazu beitragen können, ein Zeichen zu setzen und eineBotschaft von hohem spirituellem Wert zu vermitteln, derer unsere Welt in der heutigen Zeit mehr dennje bedarf. Ich möchte mich bei unseren Sponsoren, Wohltätern und Förderern von ganzem Herzen bedanken, diedurch ihren großzügigen Beitrag all diese Aktivitäten erst möglich machen. Die von Ihnen unterstütztenProjekte reihen sich in eine lange Liste an bereits erreichten Zielen der Fondazione Pro Musica e ArteSacra ein. Zuletzt noch eine Widmung. Die Fondazione Pro Musica e Arte Sacra hat beschlossen, das Festival 2016Mutter Teresa von Kalkutta zu widmen, der Heiligen des Jahres der Barmherzigkeit.Ich nutze diese Gelegenheit, um Sie über das nächste große kulturelle und musikalische Projekt zu in-formieren, das die Wiener Philharmoniker zusammen mit der Fondazione Pro Musica e Arte Sacra in dennächsten Jahren durchführen werden. Ab 2018 wird das Festival Internazionale di Musica e Arte Sacrasieben Jahre lang auch in sieben europäischen Städten organisiert werden. Es handelt sich um ein gro-ßes kulturelles und musikalisches Projekt, das die Wiener Philharmoniker zusammen mit der FondazionePro Musica e Arte Sacra in den nächsten Jahren durchführen werden. Im Jahr 2024 steht der 200jährigeGeburtstag des großen österreichischen Komponisten Joseph Anton Bruckner (Ansfelden, 4. September1824 - Wien, 11. Oktober 1896) an. In Anbetracht dieses wichtigen historischen Jubiläums werden dieWiener Philharmoniker unter der Leitung von Christoph Eschenbach ab 2018 und bis 2024 den gesam-ten Zyklus der Sinfonien Bruckners aufführen, jedes Jahr mit einem Konzert in einer bedeutenden euro-päischen Kathedrale. Rund um diese Termine wird die Fondazione auch ein Festival di Musica e ArteSacra organisieren, ähnlich wie jenes, welches sie seit fünfzehn Jahren in Rom anbietet. Das erste Kon-zert wird in St. Florian in Österreich stattfinden, das zweite in Sankt Petersburg, die folgenden in Madrid,Paris, London, Stockholm und Köln. Das 16. Festival Internazionale di Musica e Arte Sacra findet 2017 vom 13. bis 17. September in Rom undim Vatikan statt, wie immer mit den Wiener Philharmonikern als orchestra in residence.

Sen. Dr. h.c. mult. Hans-Albert CourtialGeneralpräsident der Fondazione Pro Musica e Arte Sacra


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Schon ein kurzer Blick auf die Aktivitäten der „Fondazione pro Musica e Arte Sacra“ in den fünfzehnJahren 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 KULTURELLERTOURISMUS FÜR DIE EWIGE STADT

Dott. Gianni Letta

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25. Okt. 2014Basilika

S. Giovanni in Laterano

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 UNTERNEHMERISCHERWERT - DIE BEDEUTUNG DER MÄZENE

Dott.ssa ClaudiaAutieri

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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.

Dr. Claudia AutieriSteuerberaterin und Wirtschaftsprüferin

Präsidentin des Förderkomitees der Fondazione Pro Musica e Arte Sacra


Basilika S. Giovanni in Laterano,

Altar "SantissimoSacramento"

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DIE STIFTUNGFONDAZIONE 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, ist einegemeinnützige Körperschaft ohne Erwerbszweck,deren Ziel die Förderung der Kirchenmusik auf höch-stem Niveau und die Restaurierung kirchlicher Kunst-schätze ist. Zu diesem Zweck kann die Stiftung folgendeAktivitäten ausüben:• Veranstaltung von Konzerten zur Verbreitung undFörderung der Kirchenmusik;

• Veranstaltung 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 öffentli-chen oder privaten Rechts, aus Italien oder dem Aus-land, 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 dereninstitutionellen Zielen ausdrücklich die Unterstützungder Stiftung gehört. Jedes Jahr organisiert die Stiftungdas „Festival Internazionale di Musica e Arte Sacra“in den wundervollen päpstlichen Basiliken Roms.

DIE ZIELE DERFONDAZIONE 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 be-deutenden Restaurierungsprojekten ihren Beitrag lei-sten:• Restaurierung der "Cappella di Santo Stefano" imQuerschiff der Basilika St. Paul vor den Mauern mitUnterstützung durch den Partner DaimlerChryslerItalia;

• 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 einemherrlichen Freskenzyklus mit Szenen aus demLeben Mariens ausgeschmückt ist, der in denJahren 1892 bis 1902 von Ludwig Seitzausgeführt wurde, mit Unterstützung durch denPartner DaimlerChrysler Italia;

• Restaurierung der Kuppel der "Cappella di SistoV" (auch "Cappella Sistina" genannt) in derBasilika Santa Maria Maggiore;

·• Komplette Restaurierung der Bibliothek desPäpstlichen Instituts für Kirchenmusik in Rom mitUnterstützung durch den Partner DaimlerChrys-ler 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;

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

• Vollständige Restaurierung des Mausoleums H in derVatikanischen Nekropole mit der Unterstützung desMäzens Dr. h.c. Hans Urrigshardt und der FirmenLGT Bank in Liechtenstein AG, Mercedes-Benz Ita-lia S.p.A., Pedrollo S.p.A. und Courtial Viaggi srl;

• Restaurierung der Statue von Papst Paul V. Borg-hese, 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, einem Werk von Arnolfo di Cambio ausdem Jahr 1285;

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

• 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 in der Vati-kanischen Nekropole unter dem Petersdom;

• 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 dem Petersdom, mit Un-terstützung durch den deutschen "Förderverein derFreunde der Fondazione Pro Musica e Arte Sacrae.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.

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VatikanischeNekropole

Mausoleum der Valeri

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DIE AKTUELLEN PROJEKTEDER FONDAZIONE PROMUSICA E ARTE SACRA

I n den Jahren 2017-2019 unterstützt die Fonda-zione Pro Musica e Arte Sacra die folgenden Re-staurierungsarbeiten und musikalischen Projekte:• das Festival Internazionale di Musica e Arte Sacra;• die Restaurierung der Statuen der Heiligen Peterund Paul auf dem Petersplatz;

• die Restaurierung der Nordfassade der Basilika vonSt. Peter im Vatikan;

• die Restaurierung der Tambouren der Kuppel derBasilika von St. Peter im Vatikan sowie die Re-staurierung der kleineren Kuppeln der Kapellen Gre-goriana und Clementina.

• die Reise und Anwesenheit des Chores von West-minster Abbey in Rom anlässlich der Vespern zurBekehrung des hl. Apostel Paulus gefeiert von PapstFranzikus.

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 zwei ge-meinsame Konzerte in Rom oder im Vatikan und amHeimatort des christlichen Chores vor, der am Projektteilnimmt. Bei diesen Konzerten wird die Chormusikder römischen Schule neben den jeweiligen Chortra-ditionen der anderen Konfessionen präsentiert. So wurden seit 2011 Treffen des päpstlichen Cho-res mit bedeutenden Chören anderer christlicher Kon-

fessionen möglich, wie dem anglikanischen Choir ofWestminster Abbey im Jahr 2012, dem evangelisch-lutherischen Thomanerchor Leipzig 2013, demrussisch-orthodoxen Synodalchor des Patriarchatsvon Moskau 2014 und dem anglikanischen Choir ofNew College Oxford im vergangenen Jahr. In diesem Jahr unterstützte die Fondazione Pro Mu-sica e Arte Sacra die ökumenische Deutschlandrei-se des Chores der Päpstlichen Musikkapelle „Sisti-na“ vom 17. zum 20. Mai 2016 mit Gesangsauf-führungen in Berlin, Wittenberg und Dresden.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 Wittenberg inSachsen-Anhalt, wo er in der Stadtkirche St. Marienein ökumenisches Kirchenmusikkonzert präsentier-te, unter der Schirmherrschaft des Ministerpräsidentenvon Sachsen-Anhalt, Dr. Reiner Haseloff, der am Kon-zert auch zusammen mit Dr. Friedrich Schorlemmer,Direktor der Evangelischen Akademie Wittenberg, teil-nahm. Auch Dank der vom Regierungssprecher Dr.Matthias Schuppe in den Räumen der Stiftung Leu-corea in Wittenberg organisierten Pressekonferenz wardas Publikum äußerst zahlreich, und sowohl in denregionalen als auch nationalen Medien schenkten Pres-se und Funk dem Konzert 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 Musicae Arte Sacra außerdem zum Hochfest der Schutzpa-trone Roms, der hl. Peter und Paul, am 29. Juni 2016,den Romaufenthalt des anglikanischen Chors The Choirof New College Oxford, geleitet von Robert Quinney, unddes evangelisch-lutherischen Windsbacher Knaben-

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chores, geleitet von Martin Lehmann. Beide Chöre hat-ten die Gelegenheit, in Rom und im Vatikan zusam-men mit dem Chor der Päpstlichen Musikkapelle „Si-stina“ unter der Leitung von Massimo Palombella zusingen, in einem ökumenischen Konzert am 28. Juniin der Cappella Sistina im Apostolischen Palast und zurHeiligen Messe zum Hochfest der hl. Peter undPaul, die Seine Heiligkeit Papst Franziskus zelebrier-te und an der auch die Förderer und Wohltäter der Fon-dazione Pro Musica e Arte Sacra teilnahmen.Im Januar 2016 leistete die Fondazione auch finanzielleHilfe für die Romreise des Kammerchors der Frauen-kirche Dresden und seines Leiters Matthias Grünert. Ge-meinsam mit dem von Massimo Palombella geleitetenPapstchor gab der Kammerchor in der Päpstlichen La-teranbasilika ein Konzert und übernahm in der Päpst-lichen Basilika San Paolo fuori le Mura die musikalischeGestaltung der von Papst Franziskus geleiteten Vesperzum Hochfest der Bekehrung des hl. Paulus.

RESTAURIERUNG DERSTATUEN DER HEILIGENPETER UND PAUL AUF DEMPETERSPLATZ

D ie beiden Statuen der Apostel Petrus und Paulusauf dem Petersplatz vor der majestätischen Fas-

sade der Vatikanbasilika wurden von Papst Gregor XVI.in Auftrag gegeben, aber erst während des Pontifika-tes von Papst Pius IX. zwischen 1847 und 1849 in ih-rer jetzigen Position auf zwei hohe Sockel mit den Wap-pen des Papstes und der Dombauhütte von St. Peteraufgestellt. Sie ersetzten zwei wesentlich kleinere

Statuen aus dem 15. Jahrhundert, die in weniger ge-eigneter Proportion zum Petersdom und den Kolon-naden Berninis gestanden hatten. Die neuen Marmorstatuen wurden beide von Schü-lern des Canova geschaffen, der Petrus von GiuseppeDe Fabris (1790-1822) und der Paulus von AdamoTadolini (1788-1868). Heute befinden sich die Sta-tuen in einem eher schlechten Erhaltungszustand.Die Oberfläche wird von Biosubstanzen angegriffenund von anhaftenden sowie nicht anhaftenden Ab-lagerungen verschmutzt. Die Vergoldungen sind bei-nahe nicht mehr sichtbar und die inneren Stützbolzenweisen Oxidierungsspuren auf.

RESTAURIERUNG DES

AUSSENSEITE DER BASILIKAVON ST. PETER IMVATIKAN

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-


Statue des Apostels Paul

auf dem Petersplatz

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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-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 ingroßer 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, be-endet waren, nahm die Dombauhütte von St. Peter,wiederum mit Unterstützung der Fondazione Pro Mu-sica e Arte Sacra, die Fortführung der Arbeiten auchan der Nordseite in Angriff, im aus dem 16. Jahr-hundert stammenden Teil, an dem die Via delle Fon-damenta n der Nähe der Basilika entlangläuft. Die-se Restaurierungsarbeiten werden eine Fläche voncirca 6.800 qm betreffen. Im Jahre 2014 begonnen,werden die Restaurierungsarbeiten im Laufe des ak-tuellen Heiligen Jahres der Barmherzigkeit 2016 ab-geschlossen sein.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).

Basilika S. PietroDetail derWestfassade

Basilika S. PietroSüdfassade nachder Restaurierung

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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. Em. Kardinal Francesco Marchisano, damalsErzpriester der Basilika St. Peter im Vatikan, für sei-

nen Einsatz für die Erhaltung und Restaurierung sa-kraler Kunst in seiner Funktion als Präsident derPäpstlichen Kommission für die Kunstschätze derKirche (März 1993 - Oktober 2003) und Präsidentder Permanenten Kommission für den Schutz hi-storischer und künstlerischer Monumente des Hei-ligen 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 Pro-tonotar und Domkapellmeister im Ruhestand, in An-erkennung seiner besonderen Verdienste um die Mu-sica Sacra und in Würdigung seines Lebenswerkes,da er sich in herausragender Weise über 30 Jahrehinweg mit großer Hingabe um die Kirchenmusik amRegensburger Dom und in der Welt verdient gemachthat (2010);Prälat Prof. Domenico Bartolucci, Maestro Perpetuodes Päpstlichen Chores „Cappella Sistina”, in An-


Bei der Preisverleihung

2010

105

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-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 Mons. 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;Prof. Dr. Dr. Herbert Batliner, Großkreuzritter mit Dia-manten des Fürstentums Liechtenstein, für seine Ver-dienste als Mäzen und Förderer der sakralen Musikund Kunst;Maestro Prof. Dr. Nikolaus Harnoncourt, Dirigent, fürseine großen Verdienste um die Musica Sacra;

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.

Bei der Preisverleihung2014

Bei derPreisverleihung2010

106

GRUSSWORT DESFÖRDERVEREINS DERFREUNDE DER FONDAZIONEPRO 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., Vice PresidentGovernmental Affairs Magna Europe, MAGNAInternational (Germany) GmbH

Kurt Bodewig Bundesminister a. D., Chairman of the Board Baltic Sea Forum e.V., Präsident Deutsche Verkehrswacht e.V.Dr. Hans-Albert Courtial 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 Staatsminister a. D., VorstandsvorsitzenderInstitute for European AffairsStefan Prinz von und zu Liechtenstein Botschafter des Fürstentums Liechtenstein in DeutschlandDr. Peter Marx Geschäftsführer der HVM - HamburgerVersicherungsmakler GmbH / ARTUS GRUPPE,Verbindungsrepräsentant des Institute forEuropean Affairs zur Katholischen KircheS.E. Mons. Dr. Mieczysław Mokrzycki Erzbischof von Lemberg (Lateiner) / UkraineDr. Franz-Josef Overbeck Bischof von EssenDr. Eero Rantala Handelsminister a. D.Prof. Dr. Klaus Ring Präsident der Goethe Universität Frankfurt 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 UnionSusanne Zeidler Vorstand Deutsche Beteiligungs AG, Frankfurt a.M.


107

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 ProMusica e Arte Sacra e.V. dankt allen Freunden und

Förderern 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

29. Okt. 2014BasilikaS. Ignaziodi Loyola

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

Le Pubblicazioni

LE PUBBLICAZIONI

Copertina catalogo 2002 Copertina catalogo 2003



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�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 2016

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

Date Signature

____________________ ______________ _____________ ___ ___

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 2016

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

Datum Unterschrift

____________________ ______________ _____________ ___ ___

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, IhnenInformationen über 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 oderkorrigieren lassen, sowie alle anderen Rechte ausüben, die Art. 7 des D.Lgs. 196/2003 vorsieht, indem Sie eine E-Mail [email protected] schreiben.

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.

Unterschrift _______________________________ Datum ______________________

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 ______________________

a r s a l’arte salva l’arte - fondazionepro musica … · l’arte salva l’arte xv festival...

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