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1. Praeludium in B minor - BWV 544

JS Bach (1685 - 1750)

One of Bach's top works for organ; virtuoso, dramatic, capricious… Two voices start from above. When the pedal is added, the music is immediately taken to a high point, after which a new second theme develops and a third further on. An extremely complex matter in which Bach once again shows himself to be the true master, far ahead of his time. A wonderful opening of these Summer Concerts!

The following three works are accompanied and played on the Rütter organ. This instrument from 1882 is a national monument and one of the few organs of the organ builder from Kevelaar.

First of all, you will hear a work by Hendrik Andriessen: a song to a text by the medieval monk and mystic Thomas à Kempis. Andriessen wrote the work in 1919 in two versions: one for orchestra and one for organ. The soloist sings about next-door love with great dramatic lines. Please note: halfway through the music comes to a standstill and then continues in a very stilled way, a wonderful moment!

Then you will hear a work by the Polish composer Surzinsky, unknown in the Netherlands but very popular in Poland. The composition is fairly simple in design: an ABA form, in which the middle part has a beautiful still character.

Fauré's Pie Jesu hardly needs any explanation. Originally 'Pie Jesu' is the last part of the sequences 'Dies Irae' in which the day of the last judgment is sung. Fauré didn't like that, but he found the last part of the sequences worth composing again; and it has become world famous

2. Magna res est amor

H. Andriessen (1892 - 1981) on text by Thomas à Kempis


Love is a matter of great value, precious above all good:

it is the only thing that makes all heavy things light;

that bears all that is unequal equally.

Nothing sweeter than love

nothing stronger, nothing higher, nothing wider, nothing more delightful,

nothing richer and better in heaven and on earth.

For love is born of God,

and she alone can rest above all creation in God.

Love is a matter of great value ...

3. Chant triste - op. 36

M. Surzynsky (1866 - 1924)

4. Pie Jesu from Requiem - op. 48

G. Fauré (1845 - 1924)


Good Jesus, give them eternal rest.

Now that the performers are going down again, I can tell you something about the continuation of this concert, the numbers 5 and 6.

First of all, Robert Schumann's 'Skizze'. 'Skizze' is German for 'Sketch', in other words a form of music that you can use in all directions. Schumann wrote 4 such 'Skizzen' and he wrote them for pedal grand piano, which was a grand piano with a pedal underneath, like an organ.

This had two advantages: an organist could practice at home and did not have to go to church (no organ trimmer needed) and the pianist now had extra options to add extra tones with his feet. Schumann saw something, unfortunately not the rest of the world, because the instrument had disappeared from the music world by the middle of the 19th century. This work, too, has three parts in the ABA form.

The composer Giulio Caccini will tell you little, but Caccini is still the link between the Renaissance and the Baroque. He, and others, invented opera, as it were, and he 'discovered' that it was also beautiful if you just played one melody with a bass and chord accompaniment. In his time everything sounded mixed up, so to speak, you will soon hear that in Bach's fugue, but Caccini, and later on we all were completely fans of the so-called 'monody', you can already hear it: one melody only. And Amarilli, published in 1602, is such a monody in which the singer's melody gets all the attention. The accompaniment plays French on a so-called 'chest organ', which is a pipe organ in which all pipes are hidden in a chest and that you can therefore move. And what is the song about? Of course about love ...

5. Skizze no. 3 in f minor from op. 58

R. Schumann (1810 - 1856)

6. Amarilli

G. Caccini (1550 - 1618)


Amarilli is my lover,

her name is written in my heart:

Amarilli is my lover!

We make another change because now the fourth organ comes into the picture, a so-called 'Pedalion', which is a harmonium with its own wind motor (you do not have to pedal) and a pedal like a normal organ. It was intended for small churches and chapels that could not afford a pipe organ or where there was no room for it. It is made in England around 1920, so it is a century old. Completely restored in 2005 by Huivenaar from Dieren. The church has it on loan from the Volckaert Foundation. Liszt's work is, according to Frans, not exactly a top work by this great composer, but you can hear which shades are possible on the instrument: from very soft to very strong!

The Ave Maria that Luisa will be singing in a moment fits nicely with this pedalion and the music of Francesco Paolo Tosti, an Italian who was very successful in England, is on the same level as Liszt's composition, a bit sentimental and sugary sweet, but oh so beautiful!

7. Andante maestoso

Fr. Liszt (1811 - 1886)

to the hymn 'Slavimo, slavno, Slaveni!'

8. Ave Maria

Fr. P. Tosti (1846 - 1916)

Translation (free):

The melody of the organ resounds against the golden domes;

the day was slowly drawing to a close; a cloud of incense curled toward the sky, and softly I murmured, Ave Maria.

In the darkness of that hour, the paradisiacal peace,

an angel appeared to me, who looked like a knight and

I cried in vain to you: Ave Maria.

A hand stretched out from the azure sky

and saved me from my misery,

have mercy on me: Ave Maria.

After this delicious bon-bons we go back to the boiled potatoes: firm and healthy! Bach's fugue, which belongs to the prelude with which we started this concert, is of a high level. Fugues are a kind of canons: the voices start one after the other and the simple theme consists of quiet notes that go up 5 notes and then down again (French, play it for a moment).

Then you will be taken along in a carousel of Bach music for 7 minutes and it is up to the listener to hear that theme again and again; then again in the high notes, then again low in the pedal or tucked away somewhere in the middle. In short, a feast of music, but you have to know how it works! Fortunately, everything comes together at the end in a beautiful B major final chord!

9. Fugue in B minor - BWV 544

JS Bach

from 'Praeludium et Fuge' (see no. 1)

To conclude this afternoon the Ave Maria by the Italian composer Luigi Luzzi, composer of a lot of vocal music and famous for only one work: this Ave Maria.

10. Ave Maria

L. Luzzi (1824 - 1876)


Hail Mary, full of grace ...

Program & explanation 19-07-2020
Luisa Kop.jpg
Luisa Kop

Luisa Kop (1997, Oosterhout) started singing at the age of fifteen in the church choir of the St. Jansbasliek in Oosterhout under Jan Willems. She soon took singing lessons with Bas Ramselaar and then went to study at the conservatory in Tilburg, where she is currently doing her bachelor's with Margriet van Reisen and Sinan Vural. She also regularly receives singing lessons from great-aunt and opera singer Silvana Ferraro in Rome.

Luisa sings both choral and soloist in Kamerkoor Zuid conducted by Rick Muselaers and is also regularly active in concerts in the region. She participated in Bernstein's opera “A Quiet Place” by Opera Zuid under conductor Karel Deseure, and in 2019 sang the soprano solos of the Carmina Burana conducted by Marcella van der Heijde.

Frans Bullens

studied organ with Maurice Pirenne at the Brabant Conservatory (graduation in 1978) and electronic keyboards-light music at the same institute (graduation in 1996).

From 1970 to 1980, Frans was an organist at the St. Lambertus Church in Veghel. In his working life he was associated with the foundation 'Het KunstPodium' - Dongen, Gilze & Rijen and the foundation 'H 19'-art education in Oosterhout as a teacher of organ, keyboards, piano and choir formation.

At the moment, Frans Bullens is still active as choirmaster-organist in the Parish of Dongen and as such associated with the St. Laurentius Church, where, in addition to organ playing, he also directs the Mixed Choir St. the Gregorian Choir. He is also choirmaster at the Basilica of St. Jan in Oosterhout and in the parish St. Elisabeth in Raamsdonk and Raamsdonksveer.

He is a board member of the Ned. St. Gregory Association of the diocese of Breda, board member of the Dutch Gregorian Festival and advisor to the Ludens Foundation and the Mattheus-Passion Foundation, both in Oosterhout. On occasion, Frans Bullens is also a concert organist, composer and editor of much instrumental and vocal (church) music.

Many of his answer psalms are published in the Sunday Masses of Gooi & Sticht and the Abbey of Berne. For the diocese of Breda he wrote the 'Mass vd H. Geest' and four answer psalms for the Vormselliturgie. For the order of the Montfortians he composed two series of Canticles by Montfort in a translation by A. Govaart, both of which were released on CD. He also composed 6 songs for the collection Franciscan Songs which was published in 2019.

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