Abendmusiken - Akadêmia


  • Dietrich Buxtehude (1637-1707)
    Jesu, meines Lebens Leben
  • Franz Tunder (1614-1667)
    Ach Herr, lass deine lieben Engelein
  • Matthias Weckmann (1619-1674)
    Zion spricht
  • Christoph Bernhard (1627-1692)
    Was betrübst du mich , meine Seele
  • Nicolaus Bruhns (1665-1697)
    Hemmt eure Tränenflut

The economic activity in the Hanseatic towns encouraged the emergence of public concerts like those organised by Tunder at Lübeck; they were originally designed to amuse and instruct businessmen while they waited for the Bourse to open… Tunder’s son-in-law Buxtehude was to continue and considerably develop the tradition, presenting concerts with a large group of musicians, which were performed under his supervision on the last two Sundays after Pentecost and on the 2nd, 3rd and 4th Sundays of Advent. Bruhns, who was settled in Denmark, was a student of Buxtehude’s, and was also influenced by him.

Weckmann adopted the same approach; in 1660, alongside his activity as a cantor at the Jacobikirche in Hamburg, he created a Collegium Musicum — with as many as 50 members — that performed weekly concerts at the cathedral.

Like Weckmann, Bernhard had studied under Heinz Schütz. At the time when musical life in Dresden was under Italian control, he left for Hamburg where he occupied the position of cantor at the Johanneum, while actively participating in the Collegium Musicum’s activities.

4 singers
8 instrumentalists

Françoise Lasserre, conductor


  • Les Dernières Nouvelles d'Alsace (18/11/05)
  • Les Dernières Nouvelles d'Alsace (18/11/05)

    30 years of the l’AMIA (Amis de la Musique sur Instruments Anciens), Strasbourg

    “The instrumental concert, with musicians brought together by Françoise Lasserre, in which one or two violins sketch pious arabesques against a darkly meditative background, the balance and complicity she creates between the violin and the twelve singers, establishes a marvellously meditative atmosphere throughout the eight cantatas that make up this anthology.

    We would like to mention everything, from the deep notes of the viola trio to the theorbo’s sweet arpeggios. But we will at least mention the vocal soli, the freshness of the emotion communicated by the sopranos Cécile Kempanaers and Céline Vieslet, Damien Guillon’s splendid modulations, Jan van Elsacker’s wonderful persuasiveness, the bass, Philippe Roche’s intense presence. Not forgetting Françoise Lasserre’s warm humanity, whose very French talent has so strongly incorporated the most Germanic fervour”.Chritiant Fruchart

    Les Dernières Nouvelles d’Alsace (18/11/05)