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The ensemble is a select company of professional singers, soloists and instrumentalists, each an ambassador for baroque music in an authentic and — importantly — powerful way. Ad Mosam can perform in a variety of combinations as choir, orchestra, solo ensemble or consort. The orchestral players are almost without exception members of famous ensembles. A distinguishing characteristic of Ad Mosam is that the vocal soloists also sing the choir parts, as was often the case in the Baroque.
Alongside the great works such as the Bach passions, the Lutheran Masses, the Maria Vespers of Monteverdi and the Missa Salisburgensis of Biber, thematically-based programs are often presented. This approach has led to concerts in combination with jazz musicians, poets and dancers. The ensemble is also subsidised by the council of Sittard-Geleen, where the group is based, and enjoys partnerships with a number of sponsors.
He must have received his initial musical training from his father Johannes, for 30 years organist at the Saint Olau Church in Helsingor.
After his study in Copenhagen — we know very little of his musical education — he should, by tradition, have succeeded his father in Helsingor, but it seems the young man had greater ambition.
Alongside organist, he was also Werkmeister, an administrative church post that included responsibility for training organists and the organisation and direction of secular concerts, but stopped short of directing the larger choral performances in the church — a task that belonged to the Cantor.
He had more faith in the generosity of the wealthy burgers than the travelling merchants. He was remembered only as an organist 25 years after his death, and almost forgotten 25 years later still. The result is unmistakenly recognisable in some of his cantatas, as, for example, in the fragile opening sonata of the Actus Tragicus BWV , but also in the larger, celebratory works.
Befiehl dem Engel， dass er komm’ in A Minor， BuxWV 10