Choral giants which rank alongside the B minor Mass and the two Passions, Bach’s Six Motets tower above the landscape of sacred music in baroque Germany. Mathieu Romano has conceived a spatialized concert for his Aedes ensemble in the form of  a “spiritual” journey of homage to early music, based on the famous motet “Jesu, meine Freude”.

Mendelssohn, who played a large part in reviving Bach’s music, composed many religious works including a cappella motets which are regarded as masterpieces of vocal writing. In the 20th and 21st centuries, other composers were to turn to earlier geniuses for inspiration: Maurice Duruflé (Four motets on Gregorian themes) ; Sven-David Sandström (Es ist genug) ; and Knut Nystedt, whose famous choral work Immortal Bach glorifies the eternal nature of the great German composer.

Following the form of the motet, around and within the arch of its structure, the audience can listen to other treasures of sacred music which express mankind’s fervour and our yearning for eternal life.

Ensemble Aedes
Robin Pharo, viola da gamba
Mathieu Romano conductor

In the centenary year of Gabriel Fauré’s death, La Chaise-Dieu Festival pays tribute to this composer of genius, who brought a style, an era and a poetic way of looking at life to the forefront. His Requiem, a veritable “lullaby of death” as Ravel called it, is a case in point. As a mirror image, the Festival de La Chaise-Dieu has commissioned a work by Thomas Lacôte, which will here be given its world premiere, providing us with an opportunity to question the contemporary meaning of the sacred and its musical celebration.

Thomas Lacôte : Répons du baptême (Création mondiale, co-commande du Festival de La Chaise-Dieu et de l’orchestre Les Siècles)
Paschal de L’Estocart, Octonaires de la vanité du monde
Gabriel Fauré, Requiem

Roxane Chalard, soprano
Mathieu Dubroca, baritone
Ensemble Aedes
Les Siècles
Mathieu Romano, conductor

Choral giants which rank alongside the B minor Mass and the two Passions, Bach’s Six Motets tower above the landscape of sacred music in baroque Germany. Mathieu Romano has conceived a spatialized concert for his Aedes ensemble in the form of  a “spiritual” journey of homage to early music, based on the famous motet “Jesu, meine Freude”.

Mendelssohn, who played a large part in reviving Bach’s music, composed many religious works including a cappella motets which are regarded as masterpieces of vocal writing. In the 20th and 21st centuries, other composers were to turn to earlier geniuses for inspiration: Maurice Duruflé (Four motets on Gregorian themes) ; Sven-David Sandström (Es ist genug) ; and Knut Nystedt, whose famous choral work Immortal Bach glorifies the eternal nature of the great German composer.

Following the form of the motet, around and within the arch of its structure, the audience can listen to other treasures of sacred music which express mankind’s fervour and our yearning for eternal life.

Ensemble Aedes
Robin Pharo, viola da gamba
Mathieu Romano conductor

The Portulan concert invites you on multiple journeys between the past and the present, the intimate and the symbolic. It encompasses the journey that began 50 years ago with the creation of L'Itinéraire, an exploration and discovery of uncharted territories of sound, of which Tristan Murail was one of the founders. It also encompasses the journey proposed by the composer through this cycle written for eight instruments and initiated in 1999.

Portulans are ancient nautical charts, sometimes richly decorated, which helped navigators in the Middle Ages navigate at sea. Like a personal map, the twelve pieces of the cycle represent subjective stops at places, readings, and significant experiences in the composer's life. These include the Seven Lakes Drive in the United States or the garrigue near his places of residence, the correspondences of Van Gogh, Debussy, Jules Verne, André Gide, and Jorge Luis Borges... even the title of the work, which is also the title of a collection of poems by his father that left a mark on him during his adolescence. The last two pieces of Portulan, presented as world premieres, bring a final conclusion to the cycle, which is thus presented for the first time in its entirety.

The invitation is extended to follow Tristan Murail's autobiographical portulan, without a compass or GPS, in order to fully savor the charms and unexpected moments of the journey – even if one may get a little lost along the way, only to find oneself anew.

L’Itinéraire
Mathieu Romano, conductor

Tristan Murail,
Portulan (world premiere)

La Chambre des cartes
Seven Lakes Drive
Feuilles à travers les cloches
Dernières nouvelles du vent d’ouest
Une lettre de Vincent
Garrigue
Paludes
…les jours heureux…
Les Ruines circulaires
I would prefer not to…
ῥοδοδάκτυλος Ἠώς (L’aurore aux doigts de rose)*
Nouvelle œuvre*
*créations mondiales,
co-commandes L’Itinéraire / Festival Messiaen au Pays de la Meije

Work of scandal and success, for the church or for concert halls, Trois Petites Liturgies de la Présence Divine (Three Small Liturgies of the Divine Presence) are among Messiaen's most popular works. While the piece captured the audience of La Pléiade concerts at its premiere in 1945 with its shimmering music and melodic themes, some critics protested against this music, considering it too flashy and too easy.

Bringing together a unique ensemble - women's choir, piano and Ondes Martenot, percussion, and string orchestra - the Trois Petites Liturgies are for its composer a "religious concert work," but above all a true act of faith and a liturgical act transposing "a kind of office, a kind of organized praise in the concert hall." The text, written by the composer himself, is sprinkled with Bible quotations; the luminous music, as always with Messiaen, summons a myriad of colors: "blues, reds, blues striped with red, purples and grays splashed with orange" or even "blues studded with green and encircled with gold" - a dazzling array of colors intended by Messiaen to express the ineffable presence of the divine.

L’Itinéraire
Spirito, choir
Students of Institut d’Enseignement Supérieur de la Musique d’Aix-en-Provence and of Pôle Supérieur Paris Boulogne-Billancourt
David Chevalier, piano
Nathalie Forget, ondes Martenot
Mathieu Romano, conductor

Gérard Grisey, Stèle
Philippe Leroux, Un Lieu verdoyant – tribute to Gérard Grisey
Michaël Levinas, Froissement d’ailes
Claude Debussy, Mélodies (voice and piano)
Olivier Messiaen, Trois Petites Liturgies de la Présence Divine

The Itinéraire is one of those ensembles that have undeniably left their mark and shaped the landscape of contemporary music in France. At fifty years old, this collective of composers and performers still displays an incredible vitality and a thirst for exploring the sonic phenomenon in all its forms. The five associated composers, closely or loosely connected to its foundation (Tristan Murail, Roger Tessier, Gérard Grisey, Michaël Levinas, and Hugues Dufourt), most of whom emerged from Olivier Messiaen's class, have chosen to find a distinct path that starts from the acoustic properties of sound. As Gérard Grisey summarizes regarding his cycle "Espaces acoustiques," from which "Périodes," the oldest piece in the program, originates, it is about "no longer composing with notes, but with sounds."

From Grisey to the creation of Michaël Levinas' Trio, passing through Hugues Dufourt's The Watery Star, Tristan Murail's Cloches d'adieu et un sourire composed as a tribute to Messiaen, and Roger Tessier's Comme un écho de mémoire enfouie the concert of the "Founders" returns to the sources and splendidly opens the portrait dedicated to L’Itinéraire and the different generations of composers stemming from this spectral school, which, far from summoning the ghosts of the past, remains very much alive.

L’Itinéraire
Mathieu Romano, conductor

Hugues Dufourt, The Watery Star
Roger Tessier, Comme un écho de mémoire enfouie
Tristan Murail, Cloches d’adieu, et un sourire… In Memoriam Olivier Messiaen
Michaël Levinas, Trio (World premiere, commissioned by Festival Messiaen au Pays de la Meije)
Gérard Grisey, Périodes

The Pierre Boulez Symphonic Hall hosts the final concert of Chants Libres, a choral art festival organized by the Fondation Bettencourt Schueller, for an unforgettable time of sharing and solidarity that celebrates the universal benefits of music. 

Ensemble Aedes
Membres du chœur d’adultes professionnels EVE (CAPE)
Maîtrise de Sainte-Anne d'Auray
Maîtrise de l'Opéra de Lyon
Maîtrise Populaire de l'Opéra Comique
Mathieu Romano , artistic conducting
Christine Bonneton ,

Of all Stravinsky’s works, Les Noces has undergone the most transformations. The composer reworked the orchestration for nearly ten years and produced three versions. It is the little-known 1919 version which is performed here by the Ensemble Aedes and Les Siècles, directed by Mathieu Romano.
Reputedly the composer’s favourite version, it is scored for harmonium, two cimbaloms, pianola, chorus and four soloists, and is considered the best reflection of the prosody and the work’s folk spirit.

Ensemble Aedes
Les Siècles (harmonium, cymbalums, percussions)
Mathieu Romano direction

Breaking the Waves is an opera in three acts by Missy Mazzoli with a libretto by Royce Vavrek. It is based on the 1996 film of the same name by Danish auteur Lars von Trier. The opera was first performed on September 22, 2016, by Opera Philadelphia.

Mathieu Romano, conductor
Tom Morris, stage director

With Sydney Mancasola, Jarrett Ott, Wallis Giunta, Susan Bullock, Elgan Llŷr Thomas

Ensemble Aedes
Orchestre de chambre de Paris

Breaking the Waves is an opera in three acts by Missy Mazzoli with a libretto by Royce Vavrek. It is based on the 1996 film of the same name by Danish auteur Lars von Trier. The opera was first performed on September 22, 2016, by Opera Philadelphia.

Mathieu Romano, conductor
Tom Morris, stage director

With Sydney Mancasola, Jarrett Ott, Wallis Giunta, Susan Bullock, Elgan Llŷr Thomas

Ensemble Aedes
Orchestre de chambre de Paris

Breaking the Waves is an opera in three acts by Missy Mazzoli with a libretto by Royce Vavrek. It is based on the 1996 film of the same name by Danish auteur Lars von Trier. The opera was first performed on September 22, 2016, by Opera Philadelphia.

Mathieu Romano, conductor
Tom Morris, stage director

With Sydney Mancasola, Jarrett Ott, Wallis Giunta, Susan Bullock, Elgan Llŷr Thomas

Ensemble Aedes
Orchestre de chambre de Paris

Broken Chord by choreographer Gregory Maqoma, a show that moves between concert, dance and performance, is a powerfully expressive retelling of the story of the first African choir which, in the late 19th century, performed in Great Britain and the United States.

Gregory Maqoma , chorégraphie, chant, danse
Thuthuka Sibisi , direction musicale
Ensemble Aedes
Mathieu Romano , choirmaster
Xolisile Bongwana , chant, danse
Zandile Hlatshwayo , chant, danse
Tshegofatso Khunwane , chant, danse
Lubabalo Velebayi , song, danse
Shanell Winlock , dramaturge

Broken Chord by choreographer Gregory Maqoma, a show that moves between concert, dance and performance, is a powerfully expressive retelling of the story of the first African choir which, in the late 19th century, performed in Great Britain and the United States.

Gregory Maqoma , chorégraphie, chant, danse
Thuthuka Sibisi , direction musicale
Ensemble Aedes
Mathieu Romano , choirmaster
Xolisile Bongwana , chant, danse
Zandile Hlatshwayo , chant, danse
Tshegofatso Khunwane , chant, danse
Lubabalo Velebayi , song, danse
Shanell Winlock , dramaturge

Broken Chord by choreographer Gregory Maqoma, a show that moves between concert, dance and performance, is a powerfully expressive retelling of the story of the first African choir which, in the late 19th century, performed in Great Britain and the United States.

Gregory Maqoma , chorégraphie, chant, danse
Thuthuka Sibisi , direction musicale
Ensemble Aedes
Mathieu Romano , choirmaster
Xolisile Bongwana , chant, danse
Zandile Hlatshwayo , chant, danse
Tshegofatso Khunwane , chant, danse
Lubabalo Velebayi , song, danse
Shanell Winlock , dramaturge

The NFM Choir, under the baton of the French conductor Mathieu Romano, will perform works by composers representing various styles. This evening, we will hear pieces by Franz Schubert and Johannes Brahms, but also by Samuel Barber and Benjamin Britten. Michał Rot will accompany the singers the piano.

P. Hersant Poèmes chinois du VIIIe siècle: I. De loin en loin
H. Howells Requiem: III. Requiem aeternam (I)
J. Brahms Ballade in G minor op. 118 no. 3
H. Wolf Sechs geistliche Lieder: I. Aufblick
S. Barber Sure on this Shining Night  op. 13 no. 3
P. Hersant Poèmes chinois du VIIIe siècle: III. La ville de pierres
F. Schubert Des Tages Weihe op. 146, D 763
H. Howells Requiem: V. Requiem aeternam (II)
A. Schönberg Friede auf Erden op. 13
J. Brahms Waldesnacht op. 62 no. 3
H. Howells Requiem: I. Salvator mundi
J. Brahms Intermezzo in A major op. 118 no. 2
P. Hersant Poèmes chinois du VIIIe siècle: V. Papillon de nuit; VIII. Méandres sans fin

NFM Choir
Mathieu Romano – conductor
Michał Rot – piano 

Centred around Brahms’ famous Liebeslieder Waltzes for choir and piano four hands, this programme evokes the passion of love by looking at the affiliation of three great German Romantic composers.
For the poetic material in this programme, we have chosen works setting the most beautiful love poetry of Romantic poets such as Goethe, Heine, Eichendorff and Mörike, whose words are transfigured by the music.
The programme seeks to point out the links between the three composers who form part of a musical continuum, inheriting the philosophy of their elders and inspiring the next generation in their turn.

Félix Mendelssohn, Lieder for a cappella choir
Robert Schumann, Romances et Ballades for a cappella choir
Franz Liszt, paraphrases
Johannes Brahms, Liebeslieder-Walzer for a cappella choir and piano four hands

Ensemble Aedes
Yoan Héreau and Tanguy de Williencourt, piano four hands
Mathieu Romano, conductor

The Ensemble Aedes’ guest for this programme is Rocío Márquez, the most famous flamenco cantaora of her generation. Together we explore the most intimate of emotions on a journey which takes us beyond the limitations of culture or genre into a universal human language of cries and prayers.

DESOLATION
Jean-Philippe RAMEAU - Ah! loin de rire
Rocío MÁRQUEZ - Taranta de la Siega
Johann HERMANN SCHEIN - Da Jakob vollendet hatte (tiré d’Israelsbrüennlein)
Fabien TOUCHARD - Una canción de guerra (commande de l’Ensemble Aedes)
Rocío MÁRQUEZ - Bambera Moribunda (arrangement de Stéphane Mège)
Einojuhani RAUTAVAARA - Suite de Lorca
Iannis XENAKIS - Nuits
Rocío MÁRQUEZ - Seguiriya (pièce traditionnelle de flamenco)

CONTEMPLATION
Gregorio ALLEGRI - Miserere (extraits)
Rocío MÁRQUEZ - Llegar a la meta
Samuel BARBER - Agnus Dei

TORMENT
Johannes Hieronymus KAPSBERGER - Passacaille en La
Claudio MONTEVERDI - Lamento della Ninfa
Rocío MÁRQUEZ - El Último Organito
Kurt BIKKEMBERGS - Historietas del viento II
Stefano LANDI - Passacaglia della vita
Rocío MÁRQUEZ - Tierra y Centro (arrangement de Stéphane Mège)

• Ensemble Aedes

• Rocío Márquez, voice

• Robin Pharo, viola da gamba

• Manuel De Grange, theorbo

• Mathieu Romano, conductor

• Nolwenn Delcamp-Risse, light

The Ensemble Aedes’ guest for this programme is Rocío Márquez, the most famous flamenco cantaora of her generation. Together we explore the most intimate of emotions on a journey which takes us beyond the limitations of culture or genre into a universal human language of cries and prayers.

DESOLATION
Jean-Philippe RAMEAU - Ah! loin de rire
Rocío MÁRQUEZ - Taranta de la Siega
Johann HERMANN SCHEIN - Da Jakob vollendet hatte (tiré d’Israelsbrüennlein)
Fabien TOUCHARD - Una canción de guerra (commande de l’Ensemble Aedes)
Rocío MÁRQUEZ - Bambera Moribunda (arrangement de Stéphane Mège)
Einojuhani RAUTAVAARA - Suite de Lorca
Iannis XENAKIS - Nuits
Rocío MÁRQUEZ - Seguiriya (pièce traditionnelle de flamenco)

CONTEMPLATION
Gregorio ALLEGRI - Miserere (extraits)
Rocío MÁRQUEZ - Llegar a la meta
Samuel BARBER - Agnus Dei

TORMENT
Johannes Hieronymus KAPSBERGER - Passacaille en La
Claudio MONTEVERDI - Lamento della Ninfa
Rocío MÁRQUEZ - El Último Organito
Kurt BIKKEMBERGS - Historietas del viento II
Stefano LANDI - Passacaglia della vita
Rocío MÁRQUEZ - Tierra y Centro (arrangement de Stéphane Mège)

• Ensemble Aedes

• Rocío Márquez, voice

• Robin Pharo, viola da gamba

• Manuel De Grange, theorbo

• Mathieu Romano, conductor

• Nolwenn Delcamp-Risse, light

Centred around Brahms’ famous Liebeslieder Waltzes for choir and piano four hands, this programme evokes the passion of love by looking at the affiliation of three great German Romantic composers.
For the poetic material in this programme, we have chosen works setting the most beautiful love poetry of Romantic poets such as Goethe, Heine, Eichendorff and Mörike, whose words are transfigured by the music.
The programme seeks to point out the links between the three composers who form part of a musical continuum, inheriting the philosophy of their elders and inspiring the next generation in their turn.

Félix Mendelssohn, Lieder for a cappella choir
Robert Schumann, Romances et Ballades for a cappella choir
Franz Liszt, paraphrases
Johannes Brahms, Liebeslieder-Walzer for a cappella choir and piano four hands

Ensemble Aedes
Yoan Héreau and Tanguy de Williencourt, piano four hands
Mathieu Romano, conductor

Aedes joins up with the musicians of Les Siècles to perform this masterpiece of sacred music by the composer who has been their inspiration since the birth of the ensemble : Poulenc’s Stabat Mater. As he grapples with this huge musical fresco for choir, soprano solo and orchestra, Mathieu Romano seeks go beyond the image of the grieving Mother of God in order to connect with the message of hope which underlies the work.

The first part of the programme is a kind of journey of faith : Hope with Janequin ; desolation with Gesualdo ; confirmation with Pärt ; The Unanswered Question with Ives ; fervour with Messiaen. This gives way to the voice of Mary grieving over the death of her Son whilst still nurturing hope for the future. The audience enters into the music of this Stabat Mater in the spirit of the grieving Mother reaffirming her faith and illustrating the mystical ways in which God reveals Himself to mankind.

Clément JANEQUIN - O doulx regard, o parler ( a cappella)
Rodion SHCHEDRIN - The sealed angel, first movement (choir and flute)
André JOLIVET - 5 Incantations - N°4, Pour une communion sereine de l'être avec le monde (solo flute)
Carlo GESUALDO - Sparge la morte al mio signor (Book IV madragli, a cappella)
Arvo PÄRT - The deer’s cry (a cappella)
Charles IVES - The unanswered question (orchestra)
Olivier MESSIAEN - Poèmes pour Mi : L’épouse (soprano solo and orchestra)
Olivier MESSIAEN – l’Ascension, 1st movement (orchestra)
Francis POULENC - Stabat Mater (soprano solo, choir et orchestra)

Les Siècles
Ensemble Aedes
Marianne Croux, soprano
Mathieu Romano, conductor

Aedes joins up with the musicians of Les Siècles to perform this masterpiece of sacred music by the composer who has been their inspiration since the birth of the ensemble : Poulenc’s Stabat Mater. As he grapples with this huge musical fresco for choir, soprano solo and orchestra, Mathieu Romano seeks go beyond the image of the grieving Mother of God in order to connect with the message of hope which underlies the work.

The first part of the programme is a kind of journey of faith : Hope with Janequin ; desolation with Gesualdo ; confirmation with Pärt ; The Unanswered Question with Ives ; fervour with Messiaen. This gives way to the voice of Mary grieving over the death of her Son whilst still nurturing hope for the future. The audience enters into the music of this Stabat Mater in the spirit of the grieving Mother reaffirming her faith and illustrating the mystical ways in which God reveals Himself to mankind.

Clément JANEQUIN - O doulx regard, o parler ( a cappella)
Rodion SHCHEDRIN - The sealed angel, first movement (choir and flute)
André JOLIVET - 5 Incantations - N°4, Pour une communion sereine de l'être avec le monde (solo flute)
Carlo GESUALDO - Sparge la morte al mio signor (Book IV madragli, a cappella)
Arvo PÄRT - The deer’s cry (a cappella)
Charles IVES - The unanswered question (orchestra)
Olivier MESSIAEN - Poèmes pour Mi : L’épouse (soprano solo and orchestra)
Olivier MESSIAEN – l’Ascension, 1st movement (orchestra)
Francis POULENC - Stabat Mater (soprano solo, choir et orchestra)

Les Siècles
Ensemble Aedes
Marianne Croux, soprano
Mathieu Romano, conductor

Aedes joins up with the musicians of Les Siècles to perform this masterpiece of sacred music by the composer who has been their inspiration since the birth of the ensemble : Poulenc’s Stabat Mater. As he grapples with this huge musical fresco for choir, soprano solo and orchestra, Mathieu Romano seeks go beyond the image of the grieving Mother of God in order to connect with the message of hope which underlies the work.

The first part of the programme is a kind of journey of faith : Hope with Janequin ; desolation with Gesualdo ; confirmation with Pärt ; The Unanswered Question with Ives ; fervour with Messiaen. This gives way to the voice of Mary grieving over the death of her Son whilst still nurturing hope for the future. The audience enters into the music of this Stabat Mater in the spirit of the grieving Mother reaffirming her faith and illustrating the mystical ways in which God reveals Himself to mankind.

Clément JANEQUIN - O doulx regard, o parler ( a cappella)
Rodion SHCHEDRIN - The sealed angel, first movement (choir and flute)
André JOLIVET - 5 Incantations - N°4, Pour une communion sereine de l'être avec le monde (solo flute)
Carlo GESUALDO - Sparge la morte al mio signor (Book IV madragli, a cappella)
Arvo PÄRT - The deer’s cry (a cappella)
Charles IVES - The unanswered question (orchestra)
Olivier MESSIAEN - Poèmes pour Mi : L’épouse (soprano solo and orchestra)
Olivier MESSIAEN – l’Ascension, 1st movement (orchestra)
Francis POULENC - Stabat Mater (soprano solo, choir et orchestra)

Les Siècles
Ensemble Aedes
Marianne Croux, soprano
Mathieu Romano, conductor

Aedes joins up with the musicians of Les Siècles to perform this masterpiece of sacred music by the composer who has been their inspiration since the birth of the ensemble : Poulenc’s Stabat Mater. As he grapples with this huge musical fresco for choir, soprano solo and orchestra, Mathieu Romano seeks go beyond the image of the grieving Mother of God in order to connect with the message of hope which underlies the work.

The first part of the programme is a kind of journey of faith : Hope with Janequin ; desolation with Gesualdo ; confirmation with Pärt ; The Unanswered Question with Ives ; fervour with Messiaen. This gives way to the voice of Mary grieving over the death of her Son whilst still nurturing hope for the future. The audience enters into the music of this Stabat Mater in the spirit of the grieving Mother reaffirming her faith and illustrating the mystical ways in which God reveals Himself to mankind.

Clément JANEQUIN - O doulx regard, o parler ( a cappella)
Rodion SHCHEDRIN - The sealed angel, first movement (choir and flute)
André JOLIVET - 5 Incantations - N°4, Pour une communion sereine de l'être avec le monde (solo flute)
Carlo GESUALDO - Sparge la morte al mio signor (Book IV madragli, a cappella)
Arvo PÄRT - The deer’s cry (a cappella)
Charles IVES - The unanswered question (orchestra)
Olivier MESSIAEN - Poèmes pour Mi : L’épouse (soprano solo and orchestra)
Olivier MESSIAEN – l’Ascension, 1st movement (orchestra)
Francis POULENC - Stabat Mater (soprano solo, choir et orchestra)

Les Siècles
Ensemble Aedes
Marianne Croux, soprano
Mathieu Romano, conductor

Aedes joins up with the musicians of Les Siècles to perform this masterpiece of sacred music by the composer who has been their inspiration since the birth of the ensemble : Poulenc’s Stabat Mater. As he grapples with this huge musical fresco for choir, soprano solo and orchestra, Mathieu Romano seeks go beyond the image of the grieving Mother of God in order to connect with the message of hope which underlies the work.

The first part of the programme is a kind of journey of faith : Hope with Janequin ; desolation with Gesualdo ; confirmation with Pärt ; The Unanswered Question with Ives ; fervour with Messiaen. This gives way to the voice of Mary grieving over the death of her Son whilst still nurturing hope for the future. The audience enters into the music of this Stabat Mater in the spirit of the grieving Mother reaffirming her faith and illustrating the mystical ways in which God reveals Himself to mankind.

Clément JANEQUIN - O doulx regard, o parler ( a cappella)
Rodion SHCHEDRIN - The sealed angel, first movement (choir and flute)
André JOLIVET - 5 Incantations - N°4, Pour une communion sereine de l'être avec le monde (solo flute)
Carlo GESUALDO - Sparge la morte al mio signor (Book IV madragli, a cappella)
Arvo PÄRT - The deer’s cry (a cappella)
Charles IVES - The unanswered question (orchestra)
Olivier MESSIAEN - Poèmes pour Mi : L’épouse (soprano solo and orchestra)
Olivier MESSIAEN – l’Ascension, 1st movement (orchestra)
Francis POULENC - Stabat Mater (soprano solo, choir et orchestra)

Les Siècles
Ensemble Aedes
Marianne Croux, soprano
Mathieu Romano, conductor

The first drafts of Brahms’ requiem were composed around 1954, when he was facing up to the insanity, then the death of his friend Robert Schumann: the finishing touches were made in 1865, as he was getting over the death of his mother. As he conducts his Ensemble Aedes and the historic instruments of Les Siècles, Mathieu Romano endeavours to convey the deeply personal feeling and the profound humanity underlying this, the greatest requiem of the Romantic Period.

Wolfgang Rihm, Mit geschlossenem Mund, for a cappella choir
Gustav Mahler, Ich bin der Welt abhanden gekommen (transcription by Franck Krawczyk), for soprano and orchestra
Johannes Brahms, Ein deutsches Requiem, op.45 (arrangement by Joachim Linckelmann)

Les Siècles
Ensemble Aedes
Axelle Fanyo, soprano
Juline Van Mellearts, baritone
Mathieu Romano : conductor

The first drafts of Brahms’ requiem were composed around 1954, when he was facing up to the insanity, then the death of his friend Robert Schumann: the finishing touches were made in 1865, as he was getting over the death of his mother. As he conducts his Ensemble Aedes and the historic instruments of Les Siècles, Mathieu Romano endeavours to convey the deeply personal feeling and the profound humanity underlying this, the greatest requiem of the Romantic Period.

Wolfgang Rihm, Mit geschlossenem Mund, for a cappella choir
Gustav Mahler, Ich bin der Welt abhanden gekommen (transcription by Franck Krawczyk), for soprano and orchestra
Johannes Brahms, Ein deutsches Requiem, op.45 (arrangement by Joachim Linckelmann)

Les Siècles
Ensemble Aedes
Axelle Fanyo, soprano
Juline Van Mellearts, baritone
Mathieu Romano : conductor

The first drafts of Brahms’ requiem were composed around 1954, when he was facing up to the insanity, then the death of his friend Robert Schumann: the finishing touches were made in 1865, as he was getting over the death of his mother. As he conducts his Ensemble Aedes and the historic instruments of Les Siècles, Mathieu Romano endeavours to convey the deeply personal feeling and the profound humanity underlying this, the greatest requiem of the Romantic Period.

Wolfgang Rihm, Mit geschlossenem Mund, for a cappella choir
Gustav Mahler, Ich bin der Welt abhanden gekommen (transcription by Franck Krawczyk), for soprano and orchestra
Johannes Brahms, Ein deutsches Requiem, op.45 (arrangement by Joachim Linckelmann)

Les Siècles
Ensemble Aedes
Axelle Fanyo, soprano
Juline Van Mellearts, baritone
Mathieu Romano : conductor

From Duke Ellington to Samuel Barber, from Billy Joel to Steve Reich, this programme is a choral panorama full of energy, poetry and swing. The Ensemble Aedes’ renditions of great hits from West Side Story and Mary Poppins are made even greater by Jean-Michel Fournereau’s staging.

Leonard Bernstein, Warm up (extract from Mass)
Leonard Bernstein, The Lark
Samuel Barber, Sure on this shining night, Heaven-Haven, Under the willow tree
Morten Lauridsen, Sure on this shining night
Georges Gershwin, 3 Préludes (piano solo)
Steve Reich, Clapping music
Sherman Brothers, Mary Poppins (Chim-Chim Cher-ee / A spoonful of sugar / Feed the birds / Supercalifragilisticexplialidocious)
Moses Hogan, The Battle of Jericho
John Cage, Story
Eric Whitacre, A boy and a girl
Leonard Bernstein, Extraits de West Side Story (America / Officer Krupke / Something’s coming / Tonight)
Billy Joel (arr. Bob Chilcott), And so it goes
Jerome Kern (arr. Ward Swingle), All the things you are
Duke Ellington / Irving Mills (arr. Deke Sharon), It don’t mean a thing

Ensemble Aedes
Yoan Héreau : piano
Mathieu Romano : conductor
Jean-Michel Fournereau : staging
Gilles Fournereau : lighting

From Duke Ellington to Samuel Barber, from Billy Joel to Steve Reich, this programme is a choral panorama full of energy, poetry and swing. The Ensemble Aedes’ renditions of great hits from West Side Story and Mary Poppins are made even greater by Jean-Michel Fournereau’s staging.

Leonard Bernstein, Warm up (extract from Mass)
Leonard Bernstein, The Lark
Samuel Barber, Sure on this shining night, Heaven-Haven, Under the willow tree
Morten Lauridsen, Sure on this shining night
Georges Gershwin, 3 Préludes (piano solo)
Steve Reich, Clapping music
Sherman Brothers, Mary Poppins (Chim-Chim Cher-ee / A spoonful of sugar / Feed the birds / Supercalifragilisticexplialidocious)
Moses Hogan, The Battle of Jericho
John Cage, Story
Eric Whitacre, A boy and a girl
Leonard Bernstein, Extraits de West Side Story (America / Officer Krupke / Something’s coming / Tonight)
Billy Joel (arr. Bob Chilcott), And so it goes
Jerome Kern (arr. Ward Swingle), All the things you are
Duke Ellington / Irving Mills (arr. Deke Sharon), It don’t mean a thing

Ensemble Aedes
Yoan Héreau : piano
Mathieu Romano : conductor
Jean-Michel Fournereau : staging
Gilles Fournereau : lighting

The first drafts of Brahms’ requiem were composed around 1954, when he was facing up to the insanity, then the death of his friend Robert Schumann: the finishing touches were made in 1865, as he was getting over the death of his mother. As he conducts his Ensemble Aedes and the historic instruments of Les Siècles, Mathieu Romano endeavours to convey the deeply personal feeling and the profound humanity underlying this, the greatest requiem of the Romantic Period.

Wolfgang Rihm, Mit geschlossenem Mund, for a cappella choir
Gustav Mahler, Ich bin der Welt abhanden gekommen (transcription by Franck Krawczyk), for soprano and orchestra
Johannes Brahms, Ein deutsches Requiem, op.45 (arrangement by Joachim Linckelmann)

Les Siècles
Ensemble Aedes
Axelle Fanyo, soprano
Juline Van Mellearts, baritone
Mathieu Romano : conductor