Festival Musical de l’Abbaye de La Lucerne

Aurélie VOISIN-WIART, flute – Alain HERVÉ, oboe – Gilles LEYRONNAS, clarinet – Clément BONNAY, bassoon – Arthur HEINTZ, horn. Musicians have always indulged in the subtle and intoxicating art of transcription, adorning their works – or those of other composers – with new and sometimes unexpected colors. For this concert, carte blanche was given to the five wind instrumentalists of the Orchestre Régional de Normandie. Their eclectic program, spanning three centuries of music, will take listeners from W.A. Mozart’s sumptuous Serenade in C minor to B. Bartók’s Romanian Dances. Bartók’s Romanian dances, to the voluble, virtuosic pages of S. Barber’s “Summer Music” and R. Schumann’s Études en canon (Transcriptions by D. Walter and A. Mabit).

Christel Boiron, vocals – Vivabiancaluna Biffi, bowed fiddle, vocals – Lior Leibovici, vocals – Michaël Grébil, lute, cistres, vocals – Brigitte Lesne, harp-psalteryon, percussion, vocals, direction. During the troubled period between the burning of the Talmud (1242-1244) and the great expulsion of 1306, Jews shared the same daily life and language as Christians. They also share a taste for books, monuments, the sounds of the city and fairs, joie de vivre and popular songs. This program resurrects a whole cultural universe where the langue d’oïl and the Hebrew language are intimately intertwined. Just as, in the early 13th century, Gautier de Coinci adapted his chansons à la Vierge to pre-existing melodies, so, at the end of the same century, Jewish communities living in the north of France were able to adapt their songs to Hebrew.At the end of the same century, Jewish communities living in northern France used the “traveling” melodies of famous trouvères who had preceded them, or who were contemporaries…

Clémence Faber, mezzo – Lauriane Le Prev, contralto – Julie Azoulay, contralto – Lila Hajosi, conductor. Traveling between the Western Middle Ages, Byzantine heritage and Eastern Christian tradition, the Irini Vocal Ensemble highlights the different figures of the Virgin Mary and her cult, which finds a particular resonance in the Mediterranean. From the almost erotic celebration of the Blossoming Maiden, reminiscent of ancient pagan rites, to the lamentation of the Mother, from the earthly woman confronted with the death of her only child to the praise of the Queen of the Caves. the praise of the Queen of Heaven, the universal Mother interceding for mankind, the epiclesis of Mary reveals an image of woman that is both one and many.

Tim Mead, countertenor – Elsa Frank, oboe & recorder – Sophie Iwamura, viola alto – Josef Zak, violin – Etienne Floutier, viola da gamba – Anaëlle Blanc, violin – Mathieu Dupouy, organ & harpsichord – François Lazarevitch, flutes, musette & direction. Les Musiciens de Saint-Julien, already guided by François Lazarevitch’s virtuoso flute under the skies of Ireland and Scotland, sing here with countertenor Tim Mead the land of England. An essentially secular program, dedicated to Henry Purcell, varying climates in the alternation of instrumental dances and sung arias. The common thread, dear to the Musiciens de Saint-Julien, is that of popular music embedded in learned music, a melting pot of origins, practices and repertoires. It’s easy to recognize the scotch and Irish tunes that Purcell incorporates into his jigs, hornpipes and chaconnes.

Elsa Grether, violin – Ferenc Vizi, piano This program was born of a genuine love affair with Ernest Bloch’s Sonatas, for their humanism and profound, deeply moving sincerity. The sense of universality that permeates the “Mystical Poem” – the title of one of these two sonatas – underpins the entire program, even giving it its name. For, over and above the great differences in style and language of the composers featured in the concert – from Johann Sebastian Bach to Fahrad Poupel, the exiled Iranian composer, via works by Franz Liszt, Fahrad Poupel and Fahrad Poupel – the program’s main theme is the “Mystical Poem”.works by Franz Liszt, Olivier Messiaen and Maurice Ravel (Kaddish) – Arvo Pärt’s work (Fratres) symbolizes the same humanity.

Olivier Salandini (Orléans Cathedral), organ. This concert will feature works by German composers of the Baroque period: Georg Muffat, Johann Sebastian Bach and Georg Friedrich Haendel, as well as French composers of the same period: Louis Couperin, Jean-Philippe Rameau and Michel Corrette. By highlighting similarities and differences, we’ll get to the heart of European Baroque aesthetics.European Baroque aesthetics – whether in dance, counterpoint, melody or harmony – is made up of the singularities of a culture, but also of the great lines of force that transcend their national belonging. As part of the European Heritage Days.