Wednesday 24th July, 8.00pmBernard Foccroulle

Duomo di Ravello

Wednesday 24th July
Le note di Sigilgaita
Cathedral of Ravello, 8.00pm
Bernard Foccroulle
Music by Frescobaldi, Mendelssohn, Brahms, Bach
Free admission

Programme

Girolamo Frescobaldi
Toccata quinta for pedals

Georg Böhm
Choral Vater unser im Himmelreich

Dietrich Buxtehude
Passacaglia in D minor BuxWV 161

Johann Sebastian Bach
Prelude-choral Herr Gott, nun schleuss den Himmel auf BWV 617
Prelude-choral O Mensch, bewein dein Sünde gross, BWV 622
Passacaglia and Fugue in C minor, BWV 582

Felix Mendelssohn
Prelude and Fugue in C minor, op.37, n.1

Johannes Brahms
Prelude-choral Herzlich tut mich verlangen, op.122, n.9

Franz Liszt
Prelude and Fugue on the theme B.A.C.H. S.260

Bernard Foccroulle’s snow-white-curly shape is well known in Europe as that of one of the most experienced musicians, having been in the last thirty years General Director first of the Théâtre Royal de la Monnaie in Brussels and then of Aix en-Provence Festival. A work faced “between passion and resistance” (as its 2005 book is entitled), to prevent the elitist and museum transformation of the institutions he had directed. For this reason, he has organised an authentic artistic reception in the broad sense, encouraging active cultural exchange between the Mediterranean peoples (in the period in Aix, the creation of the Orchestra of the Mediterranean youth) and the commission of contemporary works of significant and multidisciplinary value. A former professor of musical analysis in his hometown, Liège, and then of organ at the Brussels Conservatory, Foccroulle recently returned to his predominant passion: the organ. The programme that opens the organ festival in the Cathedral of Ravello is centred on Johann Sebastian Bach, through the works of composers that the Kantor admired and by which he was influenced (Frescobaldi, Böhm, and especially Buxtehude, whom Bach listened to “in secret” in Lübeck, facing a long journey, as told by his son Carl Philipp Emanuel to the biographer Forkel). After Bach’s ascendants, there are also the spiritual ‘descendants’, those composers who have brought the living spirit of the Kantor back into their work, extraordinarily testing themselves also in the composition for the organ, such as Mendelssohn, Liszt and Brahms, brilliant re-thinkers of Bach’s forms and spirit in the nineteenth century.