THIS SEASON'S CONCERTS WITH MOGENS DAHL CHAMBER CHOIR

PROGRAM Arvo Pärt: Passio Domini nostri Jesu Christi secundum Joannem (1982) MEDVIRKENDE Petter Moen, tenor Steffen Bruun, bas Eva Steinaa, obo Audun Halvorsen, fagot Teresa la Cour, violin Toke Møldrup, cello Jakob Lorentzen, orgel Mogens Dahl Kammerkor Mogens Dahl, dirigent OM PROGRAMMET Som optakt til Påsken opfører Mogens Dahl Kammerkor med solister og instrumentalister Arvo Pärts Johannespassion Palmesøndag i Holmens kirke Selve genren ”Passion” er uløseligt forbundet med Påsken, da en Passion er en musikalsk beretning om Jesu lidelse og død, i de fleste tilfælde med tekst taget fra ét af evangelierne. Genren har formodentlig sine rødder helt tilbage i sen-antikken og den tidlige middelalder, hvor musikken var den enstemmige gregorianske sang. Disse rødder vedkender Pärts Johannespassion (eller, som den rettelig hedder: Passio Domini nostri Jesu Christi secundum Joannem) tydeligvis også. Som i både de middelalderlige passionsspil og i de store passioner af Bach dramatiseres teksten i et vist omfang ved at både Jesus og Pilates synges af solister, medens den fortællende tekst formidles af ”evangelisten”, her dog ikke en solist, men en solokvartet. Koret har på klassisk vis rollen som menneskemængde, jødisk eller hedensk. Sangerne ledsages af en spartansk, nærmest nøgtern besætning på fire instrumenter (violin, cello, obo og fagot) samt orgel. Selve det musikalske sprog er langt fra barokkens Passionsmusik, som vi ellers kender det fra Bachs Matthäuspassion eller Johannespassion. Da Pärt skrev Passio i 1982, havde han forladt andre modernistiske avantgarde-kompositionsteknikker, og da han efter en længere pause med fordybelse i middelalderens og renæssancens musik igen begyndte at komponere, var det i en helt anden, enkel stil, præget af både minimalisme og kristen åndelighed. Stort set alle Pärts værker siden ca. 1976 er skrevet i denne stil, af Pärt selv kaldet ”tintinnabuli”; en kompositionsteknik, der kombinerer noget uhyre enkelt (ganske få toner, fx fra en treklang) med stram organisering af rytmer og toner til et meditativt, nærmest hypnotisk, udtryk. Resultatet har været en musikalsk produktion, der overskrider genrekonventioner og har sikret Pärt en helt enestående popularitet på tværs af generationer og grænser. Og som har vist sig at være et perfekt redskab for musik til kontemplation, fordybelse, eftertanke, fællesskab og indre ro. Johannespassion er, i al i sin strenge objektivitet, et af de smukkeste og mest bevægende af Pärts kirkelige værker.

PROGRAM Alfvén: Som stjärnan uppå himmelen så klar Alfvén: Aftonen  Werle: Sonetto 292  Poulenc: Un soir de Neige   Petersson: Madrigal Nørgård: At tænde lys   Heise: I den frysende morgen Morales: Parce, mihi Domine Holmboe: Song at Sunset Storm: Evening Reflections Werle: Sonetto Trentacinque Ring: Se, nu stiger solen af havets skød  MEDVIRKENDE Mogens Dahl Kammerkor Mathias Heise, mundharpe Jonas Frølund, klarinet Jakob Lorentzen, orgel CPH Light Festival, lysdesign Mogens Dahl, dirigent Bemærk at der er unummererede pladser i Holmens Kirke, det anbefales derfor at komme i god tid! OM PROGRAMMET Mogens Dahl Kammerkor synger igen i år åbningskoncerten ved Copenhagen Light Festival. Koncerten er desuden et led i fejringen af 20-året for indvielsen af Mogens Dahl Koncertsal - og dermed også etableringen af Mogens Dahl Kammerkor, der hurtigt har markeret sig som ét af Nordens fremmeste vokalensembler.  Den svenske komponist Per Gunnar Petersson er aktuelt Composer in Residence ved Kammerkoret, og har skrevet flere værker til koret. Korsatsen, Madrigal, uropføres ved denne koncert.  Programmets to værker af den svenske komponist Lars-Johan Werle er korværker - med tekster af Petrarca - der veksler mellem det tonalt genkendelige og mere modernistiske (og teknisk udfordrende) i en ekspressivt kommunikerende stil.    Her i vinterens midte (få dage før Kyndelmisse) er en del af programmet centreret omkring netop vinteren, kulden, mørket og det lys, man længes efter:  Francis Poulencs Un Soir de Neige, lille kammerkantate for kor, er skrevet til Paul Éluard’s stærke tekster om vinter, der også ekkoer den eksistentielle vinter efter 1. Verdenskrig.  Per Nørgård, der døde i 2025, skrev også en stor mængde kormusik, men ved denne koncert opføres instrumentalværket At tænde lys i et arrangement for klarinet solo.  Harmonikaspilleren Mathias Heise, er en højt skattet samarbejdspartner for Mogens Dahl Kammerkor. Ved denne koncert optræder han også som komponist i værket I den frysende morgen for kor, mundharmonika og klarinet.  Vagn Holmboe efterlod sig en omfattende produktion af kormusik i en personlig og umiddelbar stil der af mange opfattes som særligt ”nordisk”, i Song at Sunset med tekst af Walt Whitman. Mogens Dahl Kammerkor har indspillet flere af Holmboes værker, og fejrer ved denne lejlighed den første release af flere..  Lyset påkaldes i den spanske renæssance komponist Christobal de Morales´ smukke og introverte Parce mihi Domine der tilføjer koncerten en tidløshed der samtidig peger mod nutiden ved mødet med  Mathias Heises akkompagnement. Et greb, saxofonisten Jan Gabarek tidligere har anvendt med stort held i mødet med tidlig musik. Herefter rundes koncerten af med en af de mest berømte danske salmer om dagens og lysets frembryden: Oluf Rings melodi til Jakob Knudsens udødelige tekst Se, nu stiger solen af havets skød.

Once again this year, Mogens Dahl Chamber Choir presents exquisite performances of Handel’s seemingly indestructible classic Messiah, in collaboration with the outstanding British ensemble, the Orchestra of the Age of Enlightenment, and a lineup of international soloists. For Mogens Dahl and his Chamber Choir, performing Messiah has, over the years, become a journey — a process of gradually drawing closer to the essence of the work. The choice of the renowned Orchestra of the Age of Enlightenment was a natural one. Since its founding in 1986, this British orchestra has been driven by a curiosity to approach music in new and more open ways. Their name reflects this spirit, inspired by the Enlightenment’s relentless desire to question, explore, and discover. The orchestra performs on period instruments, closely matching those used at the time the works were composed—an essential step toward achieving a more authentic sound. This approach is mirrored by the Chamber Choir, which performs with a far smaller ensemble than is often heard today. Historical sources suggest that just 32 singers took part in the original Dublin performance in April 1742. Even in Handel’s own lifetime, Messiah was performed in a variety of versions, shaped by circumstances and experience. As such, it is nearly impossible to know precisely what a performance would have sounded like in Handel’s day. One must let the music speak — and with this performance, Mogens Dahl Chamber Choir and the Orchestra of the Age of Enlightenment come as close as possible to an authentic Messiah. PERFORMERS International soloists Mogens Dahl Chamber Choir Orchestra of the Age of Enlightenment Conductor: Mogens Dahl

Once again this year, Mogens Dahl Chamber Choir presents exquisite performances of Handel’s seemingly indestructible classic Messiah, in collaboration with the outstanding British ensemble, the Orchestra of the Age of Enlightenment, and a lineup of international soloists. For Mogens Dahl and his Chamber Choir, performing Messiah has, over the years, become a journey — a process of gradually drawing closer to the essence of the work. The choice of the renowned Orchestra of the Age of Enlightenment was a natural one. Since its founding in 1986, this British orchestra has been driven by a curiosity to approach music in new and more open ways. Their name reflects this spirit, inspired by the Enlightenment’s relentless desire to question, explore, and discover. The orchestra performs on period instruments, closely matching those used at the time the works were composed—an essential step toward achieving a more authentic sound. This approach is mirrored by the Chamber Choir, which performs with a far smaller ensemble than is often heard today. Historical sources suggest that just 32 singers took part in the original Dublin performance in April 1742. Even in Handel’s own lifetime, Messiah was performed in a variety of versions, shaped by circumstances and experience. As such, it is nearly impossible to know precisely what a performance would have sounded like in Handel’s day. One must let the music speak — and with this performance, Mogens Dahl Chamber Choir and the Orchestra of the Age of Enlightenment come as close as possible to an authentic Messiah. PERFORMERS International soloists Mogens Dahl Chamber Choir Orchestra of the Age of Enlightenment Conductor: Mogens Dahl

At this year’s traditional All Saints’ Concert, the Mogens Dahl Chamber Choir will celebrate the light of hope that can only be seen in darkness. Classical music began in the Middle Ages as an attempt to imitate the heavenly song of angels, and the belief that eternity holds a music beyond understanding has always offered comfort and inspiration. The programme for this concert is drawn from that tradition — a musical reflection on life and death in the light of eternity. Bach’s music was a major inspiration for Johannes Brahms, who in 1877 dedicated his choral work Warum ist das Licht gegeben dem Müseligen to the great Bach scholar Philipp Spitta. The entire motet turns around the profound question: “Why?” — If God is almighty and merciful, why is there so much suffering in the world? The piece concludes with a chorale text based on Simeon’s Song of Praise, as paraphrased by Martin Luther. Here, the struggle has ended, and the weary soul finds rest and comfort in the belief that death does not have the final word. Herbert Howells composed his Requiem for unaccompanied a cappella choir (occasionally divided into double choir) in 1933 for King’s College, Cambridge. The music of the English composer Howells is far more intricate than much other choral music of the period, which still largely followed the Austro-German tradition that had dominated English music for two centuries. His long, unfolding melodies are seamlessly woven into richly layered textures. The harmonic language is modal, chromatic, and frequently dissonant; the overarching style is free, impassioned, and impressionistic — altogether giving Howells’ music a distinctly visionary quality. The concert concludes with Gabriel Fauré’s radiant Requiem in D minor from 1893: a Romantic masterpiece that gently and confidently sings of eternal peace and the song of angels, with luminous melodies and pure harmonies. PROGRAMME Johannes Brahms (1833–1897): Warum ist das Licht gegeben dem Müseligen, Op. 74 No. 1 (1878) Herbert Howells (1892–1983): Requiem (1936) G. Fauré (1845–1924): Requiem, Op. 48 (1887) Performers: Mogens Dahl Chamber Choir Organ: Jakob Lorentzen Violin: Jon Gjesme Viola: Iben Teilmann & Ida Speyer Grøn Cello: Henrik Brendstrup & Øystein Sonstad Double Bass: Katrine Øigaard Conductor: Mogens Dahl

Once again this year, Mogens Dahl Chamber Choir closes the annual Copenhagen-based Golden Days Festival. Golden Days is a cultural-historical festival that explores themes of history, science, and culture. The 2025 edition of the festival is themed “Love,” and in response to this, Mogens Dahl Chamber Choir presents a beautiful programme of love-themed music by Johannes Brahms. There are few singers who have not performed Brahms’ choral music. He was an immensely prolific composer in the genre, and his choral works are of the highest artistic quality. The two collections Sieben Lieder, opus 62 and Fünf Gesänge, opus 104, are both written for unaccompanied choir and contain some of Brahms’ most beloved choral pieces – including Waldesnacht (in opus 62). While Sieben Lieder is written in a light folk-song style—though not true folk songs—Fünf Gesänge is more complex, composed later in life when Brahms had definitively chosen a life of bachelorhood and was reflecting on lost youth, the approaching autumn of life, and its inevitable end. The Liebeslieder, opus 52, consists of 18 short movements for four voices and piano four-hands. The texts are drawn from G.F. Daumer’s collection of folk songs and love poems. This flamboyant work may have been composed during the early realisation of Brahms’ deep longing for Clara Schumann — a love that was never fulfilled. Between the three choral collections, pianists Rikke Sandberg and Kristoffer Hyldig will perform Brahms’ Waltzes, opus 39, composed during his time in Vienna. According to Brahms himself, the waltzes were written both as a tribute to the genre that was so beloved in Vienna, and while his thoughts were filled with “Vienna and pretty girls.” Here, the hope of love’s fulfilment still lives on. PROGRAMME JOHANNES BRAHMS (1833–1897): Sieben Lieder, Op. 62 (1873–74) Waltzes, Op. 39 for piano four-hands, Nos. 1–8 (1865) Fünf Gesänge, Op. 104 (1888) *** Waltzes, Op. 39 for piano four-hands, Nos. 9–16 Liebeslieder, Op. 52 (1869) Performers: Mogens Dahl Chamber Choir Piano: Rikke Sandberg and Kristoffer Hyldig Conductor: Mogens Dahl