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� Contents

� Introduction 3

� First edition 4

� Venues 5

� Concerts 6

� Other events 10

Organized by

Actions & Réalisations pour la Démocratisation culturelle, artistique et musicale3 rue des fossés Saint-Marcel 75005 Paris, FRANCE

Association loi 1901 | APE 9003B | SIRET 539 475 178 00015 | TVA FR 43539475178

Cover : François Lemoyne, L'apothéose d'Hercule (Château de Versailles)

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� Introduction

� A baroque festival in the heart of Paris

The Festival Paris Baroque gathers a team with common values and ambitions.

– Develop baroque music concerts, its repertoire andmilieu, in the heart of Paris.

– Promote a cultural life in historical places of the city, in addition to the seasons of great music halls of the right bank.

– Give access to high culture for the youth and new audiences, with low prices and educational initiatives.

� The team

DirectorJulien Le Mauff

CoordinatorMarie-Adeline Tavares

ARDeCAMActions and Realizations for the Democratization of Culture, Art and MusicARDeCAM is a nonprofit organization dedicated to new projects which aim to enhance the access of the public to classical culture. ARDeCAM supports the Festival Paris Baroque with its expertise and its human ressources and funds.

� Contact for the press

Marie-Adeline Tavares.

Téléphone : 06 65 26 25 89Email : presse@parisbaroque.fr

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� First edition

� Defending a legacy

About 50 years ago, a revolution started in the interpretation of ancient music, from the Renaissance towards the end of the 18th century, and even further. The « Historically informed performance » movement, playing on ancient instruments, followed its pioneers Alfred Deller, Nikolaus Harnoncourt, Gustav Leonhardt, and their fellow colleagues and pupils, to rediscover an entire section of our musical history, to change its approach, to resurrect instruments and their technique.

Decade after decade, the « HIP » movement remained lively. Permanent structures were established, teaching courses, ensembles. Its musicians acquired a growing success in all Europe and beyond, reaching a public sometimes wider than other classical musicians.

Paris experienced this baroque music spree in the 1980s, and the public still remembers fondly the Matthäus Passion performed in 1980 by Philippe Herreweghe and La Chapelle Royalle, in Saint-Étienne-du-Mont, or the opera production of Atys, by Jean-Marie-Villégier and William Christie, with Les Arts Florissants. Unfortunately, since these years of revival, most baroque ensembles have settled in other French cities and baroque concerts in the capital city are not so frequent anymore. Paris, despite its rich history, its unique cultural heritage, and the extensive seasons of its concert halls, is off the life and excitement of baroque events, festivals, institutions. The public regrets this situation, as the artists do, many of them living and teaching in Paris, without frequent opportunities to perform here.

� An independent and prestigious event, committed to promoting culture !

The Festival Paris Baroque takes on the challenge of creating a new musical event in the heart of Paris, in its most historical parts and in venues which have survived since the 17th and the 18th centuries. An event wich could compare with the most prestigious european festivals of baroque music (Utrecht, Innsbruck, Ambronay...). An event allowing internationally renowned artists and ensembles to play for Parisians every year. But also an event with unique characteristics to ensure its success and give it an identity worthy of Paris.

First, this new festival is independent of all existing concert institutions, in Paris and its area, as were originally all the initiatives created by the « HIP » movement. Paris and its new festival should not be considered as an achievement for a movement contemplating its 50 years of history, but must become a new starting point, a new setting for the research to blossom in new directions. For this reason, the Festival Paris Baroque works from its first edition with young ensembles, and offers rarely performed works, or even unpublished, as the Te Deum by Colin de Blamont.

Second, the festival will offer, starting this year, concerts which will reflect the whole european baroque landscape, its different national traditions, its different periods and musical colors. In order to achieve that, we have asked for the participation of artists who benefit from a well known reputation. Some of them are experienced, and can be considered as pioneer members of this movement (Hopkinson Smith, the Academy of Ancient Music); others are younger and claim this legacy, and they want to go further in the discovery of the baroque repertoire, as Benjamin Alard or the ensemble Les Ombres.

Finally, the Festival Paris Baroque aims to initiate a new relationship with the public and to create at the end of each year, the excitement of a true festival. This is why we have decided to offer low rates, with 5 000 among 7 500 seats costing 25 euros or less. The festival will also offer other projects beside the concerts : free meetings with the artists, conferences, movie screening. There are many ideas which will certainly multiply in future years, thanks to the soppurt of the public and all its partners.

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� Venues

� Église Saint-Sulpice (Paris 6e) – 2 000 seats

Behind its neoclassical front, Saint-Sulpice remains the largest church the 17th century gave to Paris, and the largest religious building in the capital, after Notre-Dame de Paris. Designed by Gittard and Oppenord (a pupil of Mansart), its unique outline with one nave, typical of Jesuit architecture, offers the listeners a unique acoustic and visual experience.

� Église Saint-Étienne-du-Mont (Paris 5e) – 600 places

One of the most beautiful churches of Paris, built between the end of the Middle Ages and the 17th century, Saint-Étienne-du-Mont is easy to recognize, thanks to its superb jube, its Renaissance nave, and its baroque front. But it is also a legendary venue for the HIP movement, since the performance of Bach's Matthaüs Passion by Philippe Herreweghe in 1980.

� Église Saint-Louis-en-l'Île (Paris 4e) – 500 places

With its many mansions among the most beautiful in Paris, the Île Saint-Louis is a district marked by its design made in the 17th century, and its authenticity is admired and sought. Drawn by François Le Vau, the Saint-Louis church is built from 1664 and finished in the 18th century, on a Gothic plan following the italian influence. The inner decoration is modified during two centuries to strengthen a specific baoque identity which has no equivalent in Paris..

� Église des Billettes (Paris 4e) – 270 places

Finding its origins in the 13th century, and rebuilt in the 1750s under the guidance of Jacques Hardouin-Mansart de Sagonne, the church and cloisters of Les Billettes, situated at the entrance of the Marais, are assigned to Lutheran worship since 1808. The church is noted for its musical programming throughout the year, for its marvelous accoustics and its intimate atmosphere.

� Chapelle du lycée Henri-IV (Paris 4e) – 350 places

Settled in the ancient Sainte-Geneviève abbey, the Lycée Henri-IV is a high point of cultural and intellectual life in France, where concerts are frequently organized in its rooms. The current chapel occupies the ancient refectory of the abbey.

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� Concerts

� La Simphonie du Marais : « Sacred music from Richelieu to Louis XIV »Friday Nov. 23 – Église Saint-Sulpice – 8:30pm

For the opening concert of the Festival Paris Baroque, the soloists, chorus and orchestra of La Simphonie Marais, directed by Hugo Reyne, will play in the church of St. Sulpice a program entirely devoted to the masterpieces of French sacred music, among which the famous Te Deum by Marc-Antoine Charpentier, but also the equally remarkable one by Michel-Richard Delalande, and motets by Guillaume Bouzignac and Jean-Baptiste Lully. These works are representative of the reign of Louis XIII and his minister Richelieu, whose capture of La Rochelle inspired motets attributed to Bouzignac, and of the reign of Louis XIV, until its end, while the court of Versailles was dominated musically by Delalande.

Program : Bouzignac (6 motets) / Charpentier (Te Deum) / Lully (Motet de la paix) / Delalande (Te Deum)

Cast : Stéphanie Révidat (soprano) / Anne Magouët (soprano) / François-Nicolat Geslot (haute-contre) / Sébastien Obrecht (tenor) / Aimery Lefèvre (baritone) / La Simphonie du Marais / Le Chœur du Marais / Hugo Reyne (cond.)

� Hopkinson Smith : « From Renaissance to Baroque »Saturday Nov. 24 – Chapelle du lycée Henri-IV – 8:30pm

Hopkinson Smith is acknowledged since the 1970s as the most influential master of the lute and the guitar from the Renaissance and Baroque, a tireless pioneer of a whole underestimated repertoire, and co-founder of Hespèrion XX with Jordi Savall! This recital, presented for the first edition of the Festival Paris Baroque, will explore the evolution of the lute repertoire from the lively colors of the European Renaissance with Francesco Da Milano and Anthony Holborne, until the first years of the Baroque, with John Dowland and Johannes Kapsberger.

Program : Francesco da Milano / Holborne / Dowland / Kapsberger

Cast : Hopkinson Smith (lute)

� Elizabeth Wallfisch trio : « Un Grand concours »Monday, Nov. 26 – Chapelle du lycée Henri-IV – 8:30pm

No source proves it, but it is said that in 1728, in Kassel, the two greatest european figures of the european violin would have played a musical duel during the same concert. It is also said that the French Jean-Marie Leclair would have played "like an angel" and his rival Pietro Antonio Locatelli "like the Devil" - at least according to their contemporary, the organist Johann Wilhelm Lustig.This meeting has captured the imagination of generations of performers and now serves as a pretext for Elizabeth Wallfisch, for the present program to be played at the Festival Paris Baroque. The great baroque violinist and her companions Albert-Jan Roelofs and Jaap ter Linden will make composers on both sides of the Alps dialogue, more than compete.

Program : Uccellini (sonata La luciminia contenta) / Louis Couperin (Prélude in A minor) / Marini (La bergamasca) / François Couperin (3rd Concert royal) / Geminiani (sonata op. 5-6) / Leclair (sonata op. 5-4) / Locatelli (sonata op. 6-12)

Cast : Elizabeth Wallfisch (violin) / Jaap ter Linden (cello) / Albert-Jan Roelofs (harpsichord)

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� Béatrice Martin : Bach, Variations GoldbergWednesday Nov. 28 – Église des Billettes – 8:30pm

Renowned as a continuist for Les Arts Florissants, Les Talens Lyriques, Le Concert Spirituel and other iconic ensembles, Béatrice Martin frequently plays as a soloist and with the ensemble Les Folies Françoises, she founded with Patrick Cohën-Akenine. Béatrice Martin offers to the public of the Festival Paris Baroque her reading of the Goldberg Variations by Johann Sebastian Bach, published in 1741, a monumental work, essential to the whole harpsichord repertoire.

Programme : Bach (Goldberg Variations)

Cast : Béatrice Martin (harpsichord)

� Cantus Cölln meet Benjamin AlardJeudi 29/11 - Église Saint-Louis-en-l'Île – 9pm

The vocal and instrumental ensemble Cantus Cölln has established itself as a reference for the German baroque repertoire until J.S. Bach. In Saint-Louis en l'Ile, singers and musicians conducted by Konrad Junghanel will dialogue with the Bernard Aubertin organ, and its titular Benjamin Alard, for a program entirely devoted to the musical genealogy of Bach. This exchange will culminate with the cantata Christ lag in Todesbanden(BWV 4) composed by the young Bach for Easter, probably in 1707, shortly after his epic journey to visit Buxtehude in Lübeck, and before taking up his duties as an organist in Mühlhausen.

Programme : Johann Christoph Bach (cantatas) / Johann Michael Bach (organ works) / Johann Sebastian Bach (organ works & cantata Christ lag in Todesbanden BWV 4)

Cast : Cantus Cölln : Monika Mauch (soprano), Elisabeth Popien (alto), Hans Jörg Mammel (tenor), Wolf Matthias Friedrich (bass), Konrad Junghänel (cond.) / Benjamin Alard (Aubertin organ of St. Louis)

� Stéphanie d'Oustrac & Amarillis : « Ferveur et extase »Vendredi 30/11 - Église Saint-Louis-en-l'Île – 8:30pm

This program was conceived as a result of the desire that Stéphanie d'Oustrac, who has been a partner of Amarillis for years, embodies two female characters symbolic of the baroque sensitivity: the Virgin Mary, and Dido Queen of Carthage. The musical illustration, in the italian 17th century, of Dido's love for Æneas and of Mary's love for her son reveals two vulnerable and deeply moving figures who deal with the most essentials of human passions.

The desperate love of Didon for the Trojan king Æneas, and her grief after he abandons her, meets the fervour and the virtue of Mary, thanks to a few musical scores which are given for the first time since their original creation in this program (airs from the opera La Didone delirante by Alessandro Scarlatti, a cantata by the Napolitan composer Faggioli), and to a few better known works (Il pianto della Madonna by Monteverdi, and the lamento from Francesco Cavalli's La Didone). Texte : Héloïse Gaillard

Programme : Cavalli (extr. Musiche Sacrae & Didone) / Strozzi (O Maria) / Marini (extr. op. 22) / Monteverdi (Il pianto della Madonna) / A. Scarlatti (extr. La Didone delirante & concertos) / Faggioli (Didone abbandonata da Enea) / Falconieri (Passacaglia) / Luigi Rossi (extr. Orfeo)

Cast : Stéphanie d'Oustrac (mezzo-soprano) / Amarillis / Héloïse Gaillard & Violaine Cochard (cond.)

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� Jan van Elsacker & La Fenice : « Weihnhachts Mysterien »Dimanche 2/12 - Église Saint-Louis-en-l'Île – 4:30pm

For the first edition of the Festival Paris Baroque, La Fenice offers a special program in early December, dedicated to a generation of "fathers of German music" whose works were known, or copied by Johann Sebastian Bach.

The first part will be devoted to the psalms of David, through very diverse expressions, as in the Psalms of contrition (De Profundis), and the Psalms of jubilation (Jubilate Deo omnis terra ). The second part will be a reenactment of a "Weihnachts-Historie" or story of the Nativity, in the remembrance of the five "Joyful Mysteries" that precede and succeed the festivities of Christmas. Composers still known today alternate with those whose names have been forgotten during history, but they show a common insterest for a musical quality and an emotional force that centuries have not eroded.

The voice and stage presence of Jan Van Elsacker will be supported by strings and winds of La Fenice. Two recordings of this repertoire by La Fenice (for the Alpha label) received a unanimous and enthusiastic welcome from the critics.

Program : Rosenmüller / Sommer / Förtsch / Weckmann / Buxtehude / Bruhns / Biber / Schein / Schütz / Schmelzer / Bernhard (vocal and instrumental works)

Cast : Jan van Elsacker (tenor) / La Fenice / Jean Tubéry (cond.)

� Trio Elisabeth Joyé : « Marin Marais in Sainte-Geneviève »Lundi 3/12 - Chapelle du lycée Henri-IV – 8:30pm

Founded by Clovis, the abbey of St. Genevieve-du-Mont sat on the mountain of the same name, in Paris, until the Revolution. Its chimes well known to Parisians, played from its bell tower (today called the Clovis tower), inspired one of the most famous works of Marin Marais, who grew up on the mountainside.

The church was demolished in the nineteenth century, but the abbey premises were converted to a famous school, and became the Lycée Henri-IV. The trio formed by Elisabeth Joyé, Simon Heyerick and Christine Plubeau will devote an entire program to Marin Marais, in the chapel of the Lycée, and former refectory of the abbey. The famous Sonnerie will be played of course, along with La Gamme, a daring harmonic exploration imitating the shape of an opera, which aroused the admiration of Marais' contemporaries.

Program : Marin Marais (Sonnerie de Sainte-Geneviève-du-Mont / harpsichord works from Alcide / Les Folies

d'Espagne / La Gamme)

Cast : Elisabeth Joyé (harpsichord) / Simon Heyerick (violin) / Christine Plubeau (viola da gamba)

� Academy of Ancient Music : « Christmas with Vivaldi »Mercredi 5/12 – Église Saint-Sulpice – 8:30pm

For the Festival Paris Baroque, in Saint-Sulpice, the Academy of Ancient Music offers two of the most famous works of Vivaldi under the direction of Music Director Richard Egarr. The Dixit DominusRV 594 and GloriaRV 589 are indeed two masterpieces of sacred music composed for choir and orchestra in the bright key of D major, and were quick to acquire a privileged status for the audience after their rediscovery in the 1920s. An exciting program by one of the most iconic ensembles of the historically-informed performance movement in Britain, who celebrates its 40th anniversary in 2012-2013!

Program : Vivaldi (Concerto Il riposo RV 270, Dixit Dominus RV 594, Introduzioni RV 640 & 642, Gloria RV 589)

Cast : Elizabeth Watts (soprano) / Daniella Lehner (mezzo-soprano) / Chœur de l'AAM / Academy of Ancient Music / Richard Egarr (direction)

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� Skip Sempé : « Le clavecin français »Vendredi 7/12 - Église des Billettes – 8:30pm

Virtuoso harpsichordist, conductor and founder of Capriccio Stravagante, Skip Sempé is at the moment one of the most admired musicians who dedicated their work to the music of the Renaissance and Baroque era. Skip Sempé grew up in New Orleans, he studied music, musicology, organology and art history in the United States at the Oberlin Conservatory, and completed his training in Europe with Gustav Leonhardt, in Amsterdam.

Known for his interpretations of the French baroque harpsichord music, Skip Sempé will offer in Les Billettes a program dedicated to its greatest representatives of the first half of the 18th century, especially the two rivals Louis Marchand and Francois Couperin, and their contemporaries.

Program : Louis Marchand / Antoine Forqueray / Armand-Louis Couperin / Gaspard Le Roux / Claude Bénigne Balbastre / François Couperin

Cast : Skip Sempé (harpsichord)

� Les Ombres : Charpentier, Colin de BlamontDimanche 9/12 - Église Saint-Étienne-du-Mont – 8:30pm

Concerts in Versailles were taking place in various places: gardens, galleries, private and public Royal rooms, the "Grandes Eaux", the Royal Opera. However, the gorgeous Royal Chapel remained the privileged center of musical creation during the reign of Louis XIV and Louis XV. It was used as a magnificent venue for the liturgical ordinary and for the celebration of different events affecting the Royal family and France (baptisms, funerals, weddings, military victories). For all these circumstances many pieces were produced.

"Marc-Antoine Charpentier was as learned as the Italians and has supremely mastered the art of joining words and music in the more adequate way: we are speaking of his latin music". Trévoux's homage in his Journalstates it clearly: Charpentier was the greatest master of sacred music during his times. The Magnificatand the Misererefound in the Mélanges autographesreflect his skillful spirituality. Paced as the opening piece of this program, the very original Sonata for eight parts is a rare evidence of the instrumental works by Charpentier. Like the Concert for 4 viols, it brings in a subtle way the conjunction of French and Italian taste, called the "goûts réunis" and glorified by François Couperin in 1724.

A few years later, François Colin de Blamont, surintendant for music under Louis XV, wrote a Te Deumhonouring the victory at Philippsburg on July 18th, 1734, after a siege that lasted 63 days. Hymn in praise of the Lord, the piece shows virtuosity, colours and outspoken modernity. Distancing himself from Lully, Colin de Blamont takes part in the renewal of French sacred music during the 18th century.

Texte : Margaux Blanchard & Sylvain Sartre

Programm: Charpentier (Sonate à 8, Magnificat H.73, Miserere H.157), Colin de Blamont (Te Deum)

Cast : Eugénie Warnier (dessus) / Mélodie Ruvio (bas dessus) / Erwin Aros (haute-contre) / Carl Ghazarossian (taille) / Lisandro Abadie (basse-taille) / Virgile Ancely (bass) / Les Ombres / Margaux Blanchard & Sylvain Sartre (artistic direction)

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� Other events

� Days of excitement around baroque arts and music

In addition to concerts, other events are currently prepared for the festival :

– free meetings between musicians and the public ;

– masterclasses with musicians invited for the festival ;

– guided tour of a parisien district, on a musical theme ;

– conference on a musical work, a composer ;

– cinema projection ;

– introductory workshop to baroque dancing.

This supplementary programming will be announced in the fall.

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