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  • (c) Pierre Boulez Saal -Barenboim-Said Akademie gGmbH
    © Pierre Boulez Saal ‐Barenboim‐Said Akademie gGmbH
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    © Pierre Boulez Saal ‐Barenboim‐Said Akademie gGmbH
  • (c) Pierre Boulez Saal -Barenboim-Said Akademie gGmbH
    © Pierre Boulez Saal ‐Barenboim‐Said Akademie gGmbH
  • (c) Pierre Boulez Saal -Barenboim-Said Akademie gGmbH
    © Pierre Boulez Saal ‐Barenboim‐Said Akademie gGmbH

The Tallis Scholars & Peter Phillips at Pierre Boulez Saal

About the Event

Experience classical music like never before in this astonishing performance of masterworks by des Prez at Berlin's remarkable Pierre Boulez Saal.

Jossequin Lebloitte, dit Desprez, died on 27 August 1521 in Condé-sur‐l'Escaut in France. His contemporaries already revered the most important composer of the early European Renaissance under the simple, emblematic first name Josquin. Through his mastery and innovative development of the compositional techniques of his time, he helped French‐Flemish vocal polyphony achieve unprecedented depth and breathtaking beauty. More than any other ensemble, the Tallis Scholars and their musical director Peter Phillips have set standards in the interpretation and performance of Josquin's music. Last year they completed the multi‐award‐winning recording of his complete masses after more than three decades.

With a concert project originally planned for the 500th anniversary of the composer's death in August 2021, they can now also be experienced in the Pierre Boulez Hall: For four days at the end of the season, the musicians will perform all of Josquin's masses — beginning with what are probably his two oldest settings of the mass text, written in France around 1475.

Pierre Boulez Saal


The Pierre Boulez Hall is the hall of the Barenboim‐Said Academy. Designed by Frank O. Geary, the hall opened in March 2017 in Berlin, Germany. The hall was named in tribute to French conductor and composer Pierre Boulez, a name suggested by the Argentinian‐Israeli pianist and conductor Daniel Barenboim. Despite being essentially a chamber venue, the structure has a cuboid shape that can accommodate medium‐sized orchestras, and up to 682 visitors. Architect and musicians alike seek to offer a 360 degree perspective on music, combining styles, cultures and viewpoints in the space.

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