Collegium Vocale - Listening session: Hohe Messe (Bach)

Beleef de Hohe Messe van Bach like never before. A unique listening session in Club Wintercircus, in collaboration with Collegium Vocale Gent and Evil Penguin. Steven Maes, specialist in immersive sound production and internationally known within classical music, remixed the Hohe Messe based on the original multitracks especially for Club Wintercircus. The recording was made from the beginning with immersive sound in mind, and finds its ultimate destination here. Expect no orchestra in the middle of the hall, but an incomparable feeling of spatial sound to swim through. An emotion you can never experience in a traditional concert hall. Here, centuries-old musical tradition meets contemporary technology: Collegium Vocale Gent enters into a dialogue with the internationally innovative immersive sound system of Club Wintercircus. A new total experience of one of Bach's most appreciated compositions, by world-class local heroes. Over Collegium Vocale Gent Collegium Vocale Gent, founded in 1970 by Philippe Herreweghe, was at the cradle of a revolutionary approach to baroque music, where authenticity and textual depth were central. Within a few years, the ensemble gained world fame and entered the most prestigious stages and festivals, from Europe to the Verenigde Staten, from Russia to Japan. With unparalleled flexibility and a broad repertoire, Collegium Vocale Gent has developed into a leading ensemble within the international music scene, from solo renaissance performances to the vocal works of Bach to large-scale symphonic oratorio productions. With more than 100 recordings, the discography testifies to unbridled artistic freedom. Thanks to the support of the Vlaamse Gemeenschap, the city of Ghent, and the Nationale Loterij, Collegium Vocale Gent remains a beacon of musical excellence and artistic innovation.   Over Hohe Messe De Hohe Mass is simply considered the synthesis of Bach's musical thinking and an absolute highlight of Western classical music.  This masterpiece is the result of a long creative process. Johann Sebastian Bach ‘composed’ the Missa in B minor during the last years of his life, but most of the music was older. Het Sanctus dates back to 1724, just after his appointment as cantor in Leipzig. Bach wrote the Kyrie and Gloria in 1733 as a Lutheran missa brevis for the Dresden court, and in other parts, he parodies his own cantatas. Only the Credo contains newly written music, intended to finish the mass as a missa tota. Fortunately, the reputation of the Hohe Messe has never suffered from this history of origin. It remains a benchmark for innovation.