The bass is the foundation of music, and in the Baroque period that foundation developed into an almost indispensable accompaniment battery of one or more string instruments, an organ or harpsichord, and sometimes also a lute and a wind instrument. This ‘basso continuo’ played along, the bass itself written out, above which free improvisation within the rules of art. The continuo has been of great significance in the development of music and provided more emphasis on text and personal expression. In ‘To Be Continued’ the VUKK presents some highlights from Baroque choral literature, but we also ask the question about the later function and influence of the basso continuo.

Northern composers such as Schütz, Schein and Sweelinck were inspired by the Italian origins of Viadana, Cavalieri and Monteverdi. Central to the program is Jesu Meine Freude, a motet by J.S. Bach. Finally, we look at what became of the basso continuo after the Baroque period, first in the Classical period with Michael Haydn (brother of), later by Hugo Distler, who was inspired by the Baroque text handling and, as the icing on the cake, wrote a brand new composition y Daan Manneke, written especially for the VU Chamber Choir.

Programme

L. da Viadana – Cento concerti ecclesiastici
E. de Cavalieri – Rappresentatione di anima et di corpo
C. Monteverdi – X Psalm ‘Laudi Jerusalem’ (from Mariavespers)

J.H. Schein – Israëlsbrünnlein
H. Schütz – Davidspsalmen
J. Bach – Unser Leben is ein Schatten
J.S. Bach – Jesu Meine Freude
J.Pzn. Sweelinck – Cantiones Sacrae

M. Haydn – Responsoria ad quatuor Evangelia in Solemnitate Sanctissimi Corporis Christi
H. Distler (1908–1942) – Singet dem Herrn ein neues Lied
H. Distler (1908–1942) – Vorspruch
D. Manneke – Motet, Ach wie flüchtig, ach wie nichtig