2011-12-15 Messiah Program Booklet

JEFFREY THOMAS music director

2011/2012

Our Twenty Third Season

Messiah

George Frideric Handel December 15 & 16, 2011 Grace Cathedral - San Francisco

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Carols for Christmas Some titles are gift-wrapped Messiah & Brandenburg Concertos are 2 CDs each

Handel’s Messiah

Ian Howell

Take the music home for the holidays...

Welcome from the Executive Director For twenty-three years, the American Bach Soloists have presented thrilling performances of the music of Bach and his contemporaries, and this season will be no different. From an early version of Bach’s St. Matthew Passion, through Bach’s Double and Triple Concertos, to the inspired Easter Oratorio and two of his most celebrated cantatas, our all-Bach 23rd season is full of passion, excitement, and virtuosity.

Don Scott Carpenter Executive Director

During 2011 we presented our first San Francisco Bach Festival in conjunction with our summer Academy at the San Francisco Conservatory of Music, produced the west coast premiere of Antonio Lotti’s Mass for Three Choirs, performed at American Guild of Organists and Chorus America conferences, and performed to standing room only crowds at Cal Performances’ Fall Free for All. Tonight you are joining the tens of thousands who have shared in one of the most treasured of San Francisco Bay Area holiday traditions: the American Bach Soloists’ annual performances of Handel’s Messiah in the awe-inspiring architectural and acoustic magnificence of Grace Cathedral.

Over the past few years, we have all seen the unfortunate closures of many not-for-profit performing arts organizations, but ABS has been diligent in its efforts to be fiscally responsible and our Board of Directors is committed to long-term sustainability as we continue to present our programming of unparalleled performances led by artistic director Jeffrey Thomas — concerts that continue to thrill audiences throughout Northern California season after season.

AMERICAN BACH SOLOISTS 44 Page Street, Suite 504 San Francisco CA 94102-5973 Tel: (415) 621-7900 Fax: (415) 621-7920 americanbach.org info@americanbach.org twitter.com/americanbach facebook.com/americanbach American Bach Soloists are Artists-in-Residence at St. Stephen’s Church, Belvedere. © 2011 American Bach Soloists.

All rights reserved.

Reproduction in whole or in part without permission is prohibited.

At this time of the year, we take stock of our blessings and are thankful for our friends, our families, and for the things that make our lives better.

We urge you to support the arts in your community. For some, simply making plans to attend more performances can be a powerful vote of confidence in the performing arts organizations that you admire. For others, a contribution of any amount from $10 to $10,000 will help ensure the future of accessible arts programs for the next generation. Ticket sales represent only about a third of our annual income with the rest coming from corporations, foundations, and individuals like you. Every dollar counts.

For more information about this season’s remaining concerts, please visit our website at americanbach.org or read the brochure that is being distributed tonight. For more information about supporting ABS, please visit americanbach.org/giving. There you will you find complete details about our donor levels, as well as the ability to make your contribution online.

All of us at American Bach Soloists join in wishing you a joyous holiday season and a very happy New Year full of wonderful music!

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About American Bach Soloists

“Superbly musical ... wonderfully suave ... fresh, different” — Gramophone “ABS is a rare, perhaps unique, organization that does something highly specialized and quite esoteric that still involves (and delights) a general audience…the houses were full and the concerts were rich, rewarding, and well-received.” — Marin Independent Journal “Thomas’ Bach orchestra is superb!” — Goldberg Magazine

The AMERICAN BACH SOLOISTS (“ABS”) were founded in 1989 with the mission of introducing contemporary audiences to the cantatas of Johann Sebastian Bach through historically informed performances. Under the leadership of co-founder and Music Director Jeffrey Thomas, the ensemble has achieved its vision of assembling the world’s finest vocalists and period-instrument performers to bring this brilliant music to life.

For more than two decades, Jeffrey Thomas has brought thoughtful, meaningful, and informed perspectives to his performances as Artistic and Music Director of the American Bach Soloists.

Recognized worldwide as one of the foremost interpreters of the music of Bach and the Baroque, he continues to inspire audiences and performers alike through his keen insights into the passions behind musical expression. Fanfare Magazine proclaimed that “Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach performance.”

Critical acclaim has been extensive: The Wall Street Journal named ABS “the best American specialists in early music…a flawless ensemble…a level of musical finesse one rarely encounters.” San Francisco Classical Voice declared “there is nothing routine or settled about their work. Jeffrey Thomas is still pushing the musical Baroque envelope.” And the San Francisco Chronicle recently extolled the ensemble’s “divinely inspired singing.”

PERFORMANCES The American Bach Soloists present an annual Subscription Series with performances in Belvedere, Berkeley, Davis, and San Francisco.

Their annual holiday performances of Handel’s Messiah—presented each December before capacity audiences since 1992—have become a Bay Area tradition. Each season culminates with the American Bach Soloists Festival, held every summer in July in the 2

spectacular facilities of the San Francisco Conservatory of Music.

Components of the annual summer Bach Festival include the Masterworks Series, Chamber Music Series, Distinguished Artist Series, “Academy-in-Action” Series, free Lecture and Master Class Series, and public Colloquia on a variety of topics. In addition to their regular subscription season, the American Bach Soloists have been presented at some of the world’s leading early music and chamber music festivals, and have appeared worldwide from Santa Fe to Hong Kong and Singapore.

ABS has been a leader throughout the Bay Area in its commitment to artistic collaborations. Some recent examples include a collaboration with two San Francisco dance organizations, Xeno and Ultra Gypsy, at The Crucible in Oakland in 2004 and collaborations with the wellknown Mark Morris Dance Group in 2004 and 1999. To celebrate the 20th Anniversary Season, ABS joined forces with San Francisco’s Grace Cathedral and Lighting Systems Design Inc. (based in Orlando FL) in a spectacular laser show rendering of Handel’s Music for the Royal Fireworks.

HISTORY The first public concerts were given in February 1990 at St. Stephen’s Church in Belvedere, where the ensemble serves as Artists-inResidence. The debut of ABS’s first annual summer festival in Tiburon/Belvedere took place in 1993. By the fifth season, regular performances had been inaugurated in San Francisco and Berkeley, and as a result of highly successful collaborations with the Robert and Margrit Mondavi Center for the Performing Arts, ABS’ full concert seasons expanded to the Davis/Sacramento region in 2005.

As the audience increased, so the artistic direction of the ensemble expanded to include Bach’s purely instrumental and larger choral masterpieces, as well as music of his contemporaries and that of the early Classical era.

About American Bach Soloists In 1998, in conjunction with the Fifth Biennial Berkeley Festival & Exhibition, ABS established the American Bach Soloists & Henry I. Goldberg International Young Artists Competition as a way to foster emerging musicians who wish to pursue a career in early music.

The Chorus of the American Bach Soloists has shone in repertoire from the Baroque and early Classical eras. With the inception of the Choral Series in 2004, these fine singers have been featured on programs exploring over five centuries of choral music. To acknowledge this splendid work, the American Bach Soloists announced in 2006 a new name for their choral ensemble: American Bach Choir. Critics have acclaimed their “sounds of remarkable transparency and body.”

In July 2010, the American Bach Soloists inaugurated North America’s newest annual professional training program in Historically Informed Performance Practice. Drawing on their distinguished roster of performers, the AMERICAN BACH SOLOISTS ACADEMY offers unique opportunities to advanced conservatorylevel students and emerging professionals to study and perform Baroque music in a multi-disciplinary learning environment. The ACADEMY is held in the San Francisco Conservatory of Music’s exquisite new facilities in the heart of the city’s arts district.

RECORDINGS The American Bach Soloists have a discography of eighteen titles on the Koch International Classics, Delos International, and American Bach Soloists labels, including six volumes of Bach cantatas, many performed one on a part. The ensemble’s critically acclaimed disc of Bach’s Mass in B Minor has been called a benchmark recording and a

“joyous new performance” (The Washington Post). One of their most popular offerings is an historically significant version of Handel’s Messiah, recorded live during performances in 2004 at the Robert and Margrit Mondavi Center for the Performing Arts at UC Davis, and released in November 2005 on the Delos International label.

In 2007, ABS’ entire catalogue of critically acclaimed recordings of Bach’s Mass in B Minor, cantatas, and transcriptions of Italian music, Haydn Masses, choral and vocal works by Schütz, and other works was re-released on iTunes, Magnatune.com, Amazon, CDBaby, and ABS’ own excellent and resourceful web site, which features free streaming audio of most titles. The same year brought two new and much-anticipated releases: Beethoven’s Ninth Symphony and Bach’s Brandenburg Concertos. The most recent release, 1685 & The Art of Ian Howell, features the remarkable young countertenor (and recent winner of the ABS Young Artist Competition) in works by Bach, Handel, and Domenico Scarlatti. Coming soon this season will be Bach’s Violin Concertos featuring the brilliant virtuoso, Elizabeth Blumenstock.

The American Bach Soloists are recipients of major grants from Grants for the Arts/San Francisco Hotel Tax Fund, The Clarence E. Heller Charitable Foundation, The Charles Hosmer Morse Foundation, The National Endowment for the Arts, The Ann and Gordon Getty Foundation, The Bernard Osher Foundation, The Wallis Foundation, The AT&T Foundation Matching Gifts Program, The AXA Foundation Matching Gifts Program, Clorox Foundation, County of Marin, and The San Francisco Foundation. An administrative staff and Board of Trustees support ABS’ activities as a non-profit organization.

Board of Directors, Founders, Staff, & Advisory Council BOARD OF DIRECTORS

STAFF

Hugh Davies, President Marie Hogan, Vice President Jose Alonso, Treasurer Angela Hilt, Secretary Richard J. Boyer David Cates Cindy Cooper John H. Crowe (on sabbatical) Judith Flynn Jan Goldberg Blake Reinhardt

Jeffrey Thomas Artistic Director

FOUNDERS Jeffrey Thomas Jonathan Dimmock Richard H. Graff The Rev. & Mrs. Alvin S. Haag Mr. & Mrs. Robert V. Kane Dr. & Mrs. Paul C. Ogden

Don Scott Carpenter Executive Director Steven Lehning Music Administrator Jeff McMillan Executive Administrator Katherine McKee Patron Services Manager Heli Roiha Bookkeeper

Box Office Lisa May, Manager J. Jeff Badger Adrienne Fraser Leontyne Mbele-Mbong Liz Pasha Stage and House Managers Georgeanne Banker Jonathan Szin Stage Crew E. J. Chavez Writers Joseph Sargent Sam Smith

ADVISORY COUNCIL The Rt. Rev. Marc Andrus Irving Broido Karen Broido Corty Fengler Tom Flesher John Karl Hirten Corey Jamason Sandra M. Ogden Don Roth Peter Sonnen Kwei Ü Charles E. Wilts Elizabeth F. Wilts

Office Volunteers Kirsten Hiyama William Langley Wendy Brewster Moseley 3

Our Mission The American Bach Soloists engage and inspire audiences through historically informed performances, recordings, and educational programs that emphasize the music of the Baroque, Classical, and Early Romantic eras.

We Believe: • The experience of Art is a human right.

• Music is essential to our quality of life.

• Bach’s creativity and life epitomize ideals of artistic virtuosity, humanitarianism within changing worlds, and the primacy of education.

Every Arts Organization must: • educate present and future generations.

• uphold the highest aesthetic standards.

• enlighten its own and greater audiences.

• relate to the community and culture in which it thrives.

• inspire the intellects of its patrons.

• serve as a compelling model for other cultural organizations.

Arts Patrons want: • to have meaningful, memorable, and valuable experiences.

• to be empowered, knowledgeable, and informed consumers.

• to be involved as integral participants, not just observers.

The American Bach Soloists: • promote artistic excellence.

• sustain the musical heritage of historical cultures.

• value and respect the diversity of our patrons and sponsors.

• treasure the gifted instrumentalists and singers that we present.

• nurture young and emerging talent.

• support the efforts of all who endeavor to preserve history, celebrate culture, and ensure the accessibility of the Arts.

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Education & Outreach INSIGHTS Learn more about the program! One hour prior to each performance from January through May, enjoy a free and informative lecture given by ABS musicians and guest luminaries.

MASTER CLASSES Each season, ABS presents Master Classes in collaboration with the San Francisco Conservatory of Music. All Master Classes are open to the public and take place in the Conservatory’s Recital Hall. Admission is free and no tickets or advance reservations are required.

FREE CHORAL WORKSHOP Each year, ABS presents a Choral Workshop designed specifically for experienced choral singers. Within a rehearsal environment under the leadership of ABS music director Jeffrey Thomas, historically informed performance practice and aesthetics regarding Baroque vocal technique, phrasing, tempos, choral balance, and rhetoric are examined and cultivated in a musically enlightening and enriching event. The workshop is provided completely free of charge, but space is limited. For more information, visit: americanbach.org/workshop

FREE TICKETS FOR MUSIC EDUCATORS All K-12 music educators are invited to attend one of our concerts free of charge in exchange for their input regarding our educational programs.

And each educator may purchase one additional companion ticket at 50% off.

For more information, please call (415) 621-7900 or go to: americanbach.org/educators

ABS WEB SITE - americanbach.org Our excellent web site features over 200 artist biographies, links to program notes and concert repertory details, and options to listen to or purchase our celebrated series of critically acclaimed recordings. Additionally, you will find information about how you can help ABS by volunteering, providing financial support, or purchasing ads in our concert program booklets. Educational resources are available, including information about early instruments, our education and outreach programs, and links to other important organizations.

About Early Instruments

S

everal decades ago, a movement began in the classical music industry to perform music on the instruments that were used during the composer’s lifetime. Unquestionably advanced by the advent of CD recordings in the early 1980s, this marriage of scholarship and style became known as “historically informed performance practice” or “HIPP” for short.

But it encompasses more than just the proper choice of instruments for the performance of music from the Renaissance, Baroque, and Classical eras. Fine points of expression, articulation, and even the way instruments are tuned play a large role in what you are hearing tonight.

Probably for most of us it is the use of these beautiful and, in most cases, truly antique and priceless instruments that brings the most special quality to these performances. Rather than cataloguing all the well-founded and essential reasons to use period instruments for this music, it is even more compelling to consider why the use of modern instruments would cheat us of part of the experience a composer like Handel meant to give to us.

Instruments have evolved and grown over the centuries, mostly because composers would present new challenges to instrumentalists, and therefore to those who built their instruments. When a composer like Bach or Beethoven would write the most difficult passages that would tax the limits of an instrument’s responsiveness, within a decade or so instrument builders found a way to accommodate the challenges.

In the Baroque period, musical phrases were made up of strong and weak notes, falling on strong and weak beats within a bar. When a violinist would move the bow in a downward stroke across a string, the sound was stronger than when the bow would be moved in an upward direction. But eventually the lengths of musical phrases grew, and more notes were meant to be played in a connected way, leading much further down the musical line to a phrase’s focal point. Accordingly, the bows for stringed instruments were then made to

explore

create the same amount of sound whether the bow was moving up or down. And, of course, concert halls grew in size, so instruments were made to play louder. In the 20th century, some composers required sounds that acoustic instruments simply could not produce; hence the genre of electronic music.

One of the most exciting sounds we hear from these “early instruments,” however, is the inherent tension during the most climactic moments in a musical work.

If you haven’t already done so, find a recording of Beethoven’s Ninth Symphony played by an orchestra of period instruments—ABS’ own recording comes to mind!—and listen to the most dissonant or loud moments. You’ll be glad to hear the instruments being pushed to their limits, and you just might find the ease and aplomb with which modern instruments and their players perform the same passages to be lackluster by comparison.

A short note about antiques versus reproductions: While it is not uncommon to find violins and violoncellos (or ‘cellos, as they are known today) that are more than 300 years old being played in orchestras like ours, very few surviving antique wind instruments are still playable.

Consequently, period wind instruments are almost always copies of originals.

americanbach.org

tickets • CDs • free 24/7 audio player • artist bios • program notes • volunteer • support • mailing list

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American Bach Soloists Discography MASTERWORKS SERIES

Bach Brandenburg Concertos Bach Harpsichord Concertos Bach Italian Transcriptions Bach Mass in B Minor Bach Violin Concertos Beethoven Ninth Symphony Corelli Concerti Grossi Handel Messiah Haydn Masses Sch端tz Choral & Vocal Works Carols for Christmas The Art of Ian Howell

BACH CANTATA SERIES

Solo Cantatas Trauerode M端hlhausen Cantatas Cantatas for Easter Weimar Cantatas Favorite Cantatas

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Advance $28/$24 ($15 Student) Door $35/$30 ($20 Student)

855- 4Sf-bAch (855-473-2224)

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J.S. Bach Magnificat & ViValdi Gloria with Sara Duchovnay & Jennifer Paulino, soprano; Sara couden, mezzo-soprano; brian Thorsett, tenor; Randall bunnell, baritone and the Sfbc baroque Orchestra SATurdAy, MArCH 17, 8PM SundAy, MArCH 18, 4PM (free Lecture Sunday, 3PM)

calvary Presbyterian church, fillmore & Jackson, Sf

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The Musicians and Their Instruments AMERICAN BACH SOLOISTS Violins

AMERICAN BACH CHOIR Contrabasses

Sopranos

Elizabeth Blumenstock (leader) ** Andrea Guarneri, Cermona, 1660.

Steven Lehning (continuo) ** Anonymous, Austria, circa 1830.

Jennifer Brody

Tatiana Chulochnikova * Joseph Hollmayr, Freiburg, Germany, circa 1760.

Christopher Deppe Johann Neuner II & Cantius Hornsteiner, Mittenwald, circa 1880.

Tonia D’Amelio

Tekla Cunningham (principal Violin II) Sanctus Seraphin, Venice, 1746.

Daria d’Andrea Anonymous, Neapolitan school, circa 1760.

Andrew Davies Augustine Chauppy, Paris, 1749.

Rachelle Hurwitz Anonymous, Mittenwald, circa 1730.

Robert Mealy ** Jason Viseltear, New York, 2009; after Giuseppe Guarneri del Gesù, Cremona, circa 1735.

Tyler Lewis Timothy Johnson, Hewitt, TX, 2009; after Stradivari, Cremona, 18th century.

Maia Silberstein Anonymous, Milan, circa 1770.

Janet Worsley Strauss Matthias Joannes Koldiz, Munich, 1733.

David Wilson Timothy Johnson, Hewitt, TX, 2007; after Stradivari, Cremona, 18th century.

The 1660 Andrea Guarneri violin played by Elizabeth Blumenstock is made available to her though the generosity of the Philharmonia Baroque Period Instrument Trust.

Joshua Lee John Pickering, Greenmont, NH, 1783.

Harpsichord Corey Jamason * / ** Willard Martin, Bethlehem, PA, 1990; after François Blanchet, Paris, circa 1730.

Organ Steven Bailey John Brombaugh & Associates, Oregon, 1980.

Violas

Jason Pyszkowski * Jay Haide, El Cerrito, CA, 2008; after Giovanni Paolo Maggini, Brescia, circa 1580.

Clio Tilton * Eric Lourme, Le Havre, France, 2009, after Brothers Amati, 16th century.

Ondine Young Anonymous, German, 17th century.

Violoncellos Elisabeth Reed (continuo) ** Anonymous, Italy, 1685.

Shirley Edith Hunt Anonymous, Milan, circa 1706.

Hallie Pridham * Anonymous, 18th century.

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Julia Earl Elisabeth Engan Susan Judy Allison Lloyd Diana Pray Cheryl Sumsion Altos James Apgar Dan Cromeenes Elisabeth Eliassen Kevin Fox Katherine McKee Deborah Rosengaus

Oboes Debra Nagy * / ** Randall Cook, Basel, 2004; after Jonathan Bradbury, London, circa 1720.

Meg Owens Bernard Schermer, Basel, 1996; after Jonathan Bradbury, London, circa 1720.

Amelia Triest Delia Voitoff-Bauman Tenors Edward Betts Nick Burdick John Davey-Hatcher Andrew Morgan

Bassoons Aaron Westman (principal) Dmitry Badiarov, Brussels, 2003; after Antonio Bagatella, Padua, circa 1750.

Michelle Clair

Kate van Orden Peter de Koningh, The Netherlands, 1986; copy of Thierriot Prudent, Paris, circa 1770.

Charles Koster Paul Hailperin, Zell im Wiesental, Germany, circa 1990; after M. Deper, Vienna, circa 1725.

Colby Roberts John Rouse Sigmund Siegel Sam Smith Basses Johan Andreasson John Kendall Bailey

Trumpets Caleb Hudson (solo) Rainer Egger, Basel, 2009; after Johann Leonhard Ehe III, Nuremberg, 1746.

William Harvey Keevy Vanryne, London, 2003; after Johann Wilhelm Haas, Nuremberg, circa 1710-1420.

Timpani Kent Reed Anonymous, England, circa 1840.

Ryan Brandau Adam Cole Bryan Jolly Raymond Martinez Jefferson Packer Daniel Pickens-Jones Jere Torkelsen * ABS Academy Alumnus or Competition winner ** ABS Academy Faculty

Program AMERICAN BACH SOLOISTS • AMERICAN BACH CHOIR Mary Wilson, soprano • Ian Howell, countertenor Charles Blandy, tenor • Jesse Blumberg, baritone Jeffrey Thomas, conductor

Messiah

George Frideric Handel (1685-1759) Thursday December 15, 2011 and Friday December 16, 2011 Grace Cathedral, San Francisco These performances are generously sponsored by Kim & Judith Maxwell with additional support for the December 15th performance by Citi Private Bank.

• PART THE FIRST SINFONY SCENE I RECITATIVE, accompanied – Comfort ye, comfort ye my People ARIA – Ev’ry Valley shall be exalted CHORUS - And the Glory of the Lord shall be revealed SCENE II RECITATIVE, accompanied – Thus saith the Lord of Hosts ARIA – But who may abide the Day of his coming?

CHORUS - And he shall purify the Sons of Levi SCENE III RECITATIVE – Behold, a Virgin shall conceive, and bear a Son ARIA & CHORUS – O thou that tellest good Tidings to Zion RECITATIVE, accompanied – For behold, Darkness shall cover the Earth ARIA – The People that walked in Darkness have seen a great Light CHORUS - For unto us a Child is born SCENE IV PIFA RECITATIVE – There were Shepherds abiding in the Field ARIOSO – And lo, the Angel of the Lord came upon them RECITATIVE – And the Angel said unto them, Fear not RECITATIVE, accompanied – And suddenly there was with the Angel a Multitude CHORUS - Glory to God SCENE V ARIA – Rejoice greatly, O Daughter of Sion RECITATIVE – Then shall the Eyes of the Blind be open’d DUET – He shall feed his Flock like a shepherd CHORUS - His Yoke is easy —INTERMISSION— PART THE SECOND SCENE I CHORUS - Behold the Lamb of God ARIA – He was despised and rejected of Men CHORUS - Surely he hath borne our Griefs CHORUS - And with His Stripes we are healed CHORUS - All we, like Sheep, have gone astray RECITATIVE, accompanied – All they that see him laugh him to scorn CHORUS - He trusted in God, that he would deliver him

(Scene I continued) RECITATIVE, accompanied – Thy Rebuke hath broken his Heart ARIA – Behold, and see SCENE II RECITATIVE, accompanied – He was cut off out of the Land of the Living ARIA – But Thou didst not leave his Soul in Hell SCENE III SEMICHORUS - Lift up your Heads, O ye Gates SCENE IV RECITATIVE – Unto which of the Angels said He at any time CHORUS - Let all the Angels of God worship Him SCENE V ARIA – Thou art gone up on High CHORUS - The Lord gave the Word DUET & CHORUS – How beautiful are the Feet of Him…Break forth into Joy SCENE VI ARIA – Why do the Nations so furiously rage together?

CHORUS - Let us break their Bonds asunder SCENE VII RECITATIVE – He that dwelleth in Heaven shall laugh them to scorn ARIA – Thou shalt break them with a Rod of Iron CHORUS - Hallelujah!

PART THE THIRD SCENE I ARIA – I know that my Redeemer liveth CHORUS - Since by Man came Death SCENE II RECITATIVE, accompanied – Behold, I tell you a Mystery ARIA – The Trumpet shall sound SCENE III RECITATIVE – Then shall be brought to pass DUET – O Death, where is thy Sting?

CHORUS - But Thanks be to God ARIA – If God is for us, who can be against us?

SCENE IV CHORUS - Worthy is the Lamb that was slain CHORUS - Amen.

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Program Notes

H

andel composed Messiah during the three weeks between August 22 and September 14, 1741, and premiered the work in April of the following year. Prior to 1732, he had composed only operatic works in Italian for the London theatres, but the ten years that followed would prove to be a period of experimentation and change. Perhaps spurred on by new competition with a rival opera company, in 1736 he turned to the composition of an English oratorio, a setting of John Dryden’s ode for Saint Cecilia’s Day titled Alexander’s Feast; or the Power of Musique. The text of Alexander’s Feast was brought to Handel’s attention by Newburgh Hamilton, who would provide some much needed assistance to Handel with the intricacies of setting the English language to music. (Hamilton was later afforded a gift in the composer’s will for helping to “adjust the words” of his English compositions.) Hamilton wrote that Handel had “with Pleasure undertaken the task” of setting Alexander’s Feast. Indeed the experience was so successful and satisfying for Handel that, during the nine days between September 15 and 24 in 1739, he composed his setting of another of Dryden’s odes, A Song for St. Cecilia’s Day. This “Pleasure” that Handel had newly found in the composition of oratorios was something of an economic and spiritual windfall for the composer. The sad truth is that twenty years earlier, he had begun to suffer financial difficulties, and by the early 1730s his professional life was simply unraveling. He was nearly bankrupt, and had fallen very much out of the critical favor of the aristocratic public for whom he had composed his Italian operas. They were expensive to produce, and not accessible enough for new audiences. But by the time he set his pen to paper in the autumn of 1741 to compose Messiah, things had taken a turn for the better.

It was a time of transition for the composer: he had already begun to explore the possibility of accepting an invitation for an extended stay in Dublin, but proceeded nonetheless to address his annual task of composing new works for his next London season. Messiah was really the idea of the librettist Charles Jennens, who wrote in July of that year: “Handel says he will do nothing next Winter, but, I hope to persuade him to set another Scripture Collection I have made for him...I hope he will lay out his whole Genius and skill upon it, that the Composition may excel all his former Compositions, as the Subject excels every other Subject. The Subject is Messiah.” Handel scored Messiah for chorus, soloists and an orchestra of only strings, continuo, two trumpets, and timpani—a rather modest combination. There are strong indications that Handel had Dublin in mind while he composed the score, and therefore the relatively small forces required for Messiah are a reflection of what Handel expected would be available to him there. Additionally, he may have taken Jennen’s recommendation that Messiah be used for a benefit performance, perhaps utilizing a smaller orchestra to economize on expenses. It was the custom, however, to have oboes double soprano voices, and bassoons double the continuo line. Had the circumstances been more lavish, Handel certainly would have done so, and indeed might have done so, even though there is no evidence to prove it.

In November, having ultimately accepted the invitation, Handel arrived in Dublin. He received a warm welcome, and performed his first concert there to a sold-out house. The first performance of Messiah took place on April 13, 1742, in the new music hall on Fishamble Street, and was a tremendous success. The review that appeared in 12

The Musick Hall, Fishamble Street circa 1800, the location of the premiere of Messiah. Wood-block after a watercolour by E Fairholt.

Foundling Hospital Chapel as drawn by Thomas Rowlandson and Augustus Pugin for Ackermann’s Microcosm of London (1808-11).

Handel’s manuscript score of the aria “I know that my Redeemer liveth.”

Program Notes Faulkner’s Dublin Journal proclaimed: “Words are wanting to express the exquisite Delight it afforded to the admiring crowded Audience.

The Sublime, the Grand, and the Tender, adapted to the most elevated, majestick and moving Words, conspired to transport and charm the ravished Heart and Ear.” But the librettist did not agree. Jennens greatly valued his text—which really amounts to a carefully chosen set of scriptural quotations—and a few years he later wrote that Handel had “made a fine Entertainment of it, tho’ not near so good as he might and ought to have done. I have with great difficulty made him correct some of the grossest faults in the composition, but he retained his overture obstinately in which there are some passages far unworthy of Handel but much more unworthy of the Messiah.” Messiah had blurred the distinctions between opera, oratorio, passion, and cantata, and perhaps Jennens found this to be a fundamental fault.

Over the course of the first few performances of the work, Handel had chosen among his soloists the actress Mrs. Susannah Cibber, who had previously suffered greatly under the clouds of scandal, and a popular comic actress named Kitty Clive. In fact, the performance history of Messiah under the composer’s direction is a wildly varied one, to say the least. The first performance in Dublin utilized only two singers of any real distinction, two Dublin cathedral choirs (from which were drawn the male voice solos), and the rather meager orchestra, as mentioned above. By a few years later, however, the orchestra had grown considerably, augmented by oboes, bassoons, and horns.

The number of vocal soloists also increased, and by 1750 the famous castrato Guadagni was among them. Its various performance venues included the Dublin Cathedral, Covent Garden, and London’s Foundling Hospital Chapel, at which location Messiah was restored to its original function as a work to benefit a charitable organization.

Like any great work, Messiah is indestructible, even when subjected to the most unorthodox performance schemes. It has survived all sorts of treatments and interpretations, but always shines brightest when graced by historically informed performance practices. It is especially then that the true splendor of Handel’s sublime eloquence triumphs.

While Messiah is certainly considered by any audience to be a “Grand Musical Entertainment”—as it was sometimes called in Handel’s day— the composer is purported to have said, “I should be sorry if I only entertained them; I wished to make them better.”

Handel (with Messiah score) by Thomas Hudson, 1756.

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© Jeffrey Thomas, 2011

Celebrate Alasdair Neale’s 10th Anniversary Season!

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Music Director Jeffrey Thomas JEFFREY THOMAS has brought thoughtful, meaningful, and informed perspectives to his performances as Artistic and Music Director of the American Bach Soloists for more than two decades.

Recognized worldwide as one of the foremost interpreters of the music of Bach and the Baroque, he continues to inspire audiences and performers alike through his keen insights into the passions behind musical expression. He has directed and conducted recordings of more than 25 cantatas, the Mass in B Minor, Musical Offering, motets, chamber music, and works by Schütz, Pergolesi, Vivaldi, Haydn, and Beethoven. Fanfare magazine has praised his series of Bach recordings, stating that “Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach performance.”

Before devoting all of his time to conducting, he was one of the first recipients of the San Francisco Opera Company’s prestigious Adler Fellowships. Cited by the Wall Street Journal as “a superstar among oratorio tenors,” Mr. Thomas’ extensive discography of vocal music includes dozens of recordings of major works for Decca, EMI, Erato, Koch International Classics, Denon, Harmonia Mundi, Smithsonian, Newport Classics, and Arabesque. Mr. Thomas is an avid exponent of contemporary music, and has conducted the premiers of new operas, including David Conte’s Gift of the Magi and Firebird Motel, and premiered song cycles of several composers, including two cycles written especially for him. He has performed lieder recitals at the Smithsonian, song recitals at various universities, and appeared with his own vocal chamber music ensemble, L’Aria Viva.

He has appeared with the Baltimore, Berkeley, Boston, Detroit, Houston, National, Rochester, Minnesota, and San Francisco symphony orchestras; with the Vienna Symphony and the New Japan Philharmonic; with virtually every American baroque orchestra; and in Austria, England, Germany, Italy, Japan, and Mexico. He has performed at the Santa Fe Chamber Music Festival, Spoleto USA Festival, Ravinia Festival, Saratoga Performing Arts Center, Berkeley Festival and Exhibition, Boston Early Music Festival, Bethlehem Bach Festival, Göttingen Festival, Tage Alte Musik Festival in Regensburg, E. Nakamichi Baroque Festival in Los Angeles, the Smithsonian Institution, and at the Brooklyn Academy of Music’s “Next Wave Festival,” and he has collaborated on several occasions as conductor with the Mark Morris Dance Group.

Educated at the Oberlin Conservatory of Music, Manhattan School of Music, and the Juilliard School of Music, with further studies in English literature at Cambridge University, he has taught at the Amherst Early Music Workshop, Oberlin College Conservatory Baroque Performance Institute, San Francisco Early Music Society, and Southern Utah Early Music Workshops, presented master classes at the New England Conservatory of Music, San Francisco Conservatory of Music, SUNY at Buffalo, Swarthmore College, and Washington University, been on the faculty of Lehigh University in Pennsylvania, and was artist-in-residence at the University of California, where he is now professor of music (Barbara K. Jackson Chair in Choral Conducting) and director of choral ensembles in the Department of Music at UC Davis. He was a UC Davis Chancellor’s Fellow from 2001 to 2006; and the Rockefeller Foundation awarded him a prestigious Residency at the Bellagio Study and Conference Center at Villa Serbelloni for April 2007, to work on his manuscript, “Handel’s Messiah: A Life of Its Own.” Mr. Thomas serves on the board of Early Music America and hosts two public radio programs on Classical KDFC. 14

“Thomas united enlightened historical performance practice with native musical intelligence.”

San Francisco Examiner “Under the dexterous leadership of Music Director Jeffrey Thomas, the choir produced sounds of remarkable transparency and body.”

San Francisco Chronicle “Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach performance.”

Fanfare Magazine

San Francisco Renaissance Voices Todd Jolly, Music Director

Renaissance Myth & Legend Season 2011-12 The deities of Greece & Rome re-emerged during the Renaissance but not as part of any religion … they were reanimated in the arts.

Enjoy our season of music for gods, goddesses & epic heroes!

The BOAR’S HEAD FESTIVAL Our annual celebration to end the holiday season this year includes more audience sing-a-long January 7 & 8, 2012

PERIOD DANCE WORKSHOP We are delighted to host the internationally-renowned period dance scholar, performer & teacher, Philippa Waite for a period dance workshop, lecture & demonstration March 17, 2012

The LEGEND of HERCULES Featuring Josquin’s “Missa Hercules dux Ferrariae” & other Herculean music by Vivaldi, Handel & Caccini March 18, 24 & 25, 2012

GODDESSES, GODDESSES, GODDESSES !!!

Our OPERA EARLY & ANCIENT series features Thomas Arnes’ “Judgment of Paris” August 11, 12, 18 & 19, 2012 Visit our website for details:

www.SFRV.org “Best Classical Music 2010” – SFWeekly

Libretto The following libretto is adapted from the printed word-book for the first London performances of Messiah in 1743, and incorporates many of Handel’s own designations of part headings, scenes, and movement headings.

•

seen upon thee. And the Gentiles shall come to thy Light, and Kings to the Brightness of thy Rising. (Isaiah 60:2-3) AIR - Bass

MESSIAH AN ORATORIO

The People that walked in Darkness have seen a great Light; And they that dwell in the Land of the Shadow of Death, upon them hath the Light shined. (Isaiah 9:2)

Set to Musick by George-Frideric Handel, Esq.

CHORUS

PART THE FIRST SINFONY SCENE I RECITATIVE, accompanied - Tenor Comfort ye, comfort ye my People, saith your God; speak ye comfortably to Jerusalem, and cry unto her, that her Warfare is accomplish’d, that her Iniquity is pardon’d. The Voice of him that crieth in the Wilderness, prepare ye the Way of the Lord, make straight in the Desert a Highway for our God. (Isaiah 40:1-3) AIR - Tenor Ev’ry Valley shall be exalted, and ev’ry Mountain and Hill made low, the Crooked straight, and the rough Places plain. (Isaiah 40:4) CHORUS And the Glory of the Lord shall be revealed, and all Flesh shall see it together; for the Mouth of the Lord hath spoken it. (Isaiah 40:5) SCENE II RECITATIVE, accompanied - Bass Thus saith the Lord of Hosts; Yet once a little while, and I will shake the Heav’ns and the Earth; the Sea and the dry Land: And I will shake all Nations; and the Desire of all Nations shall come. (Haggai 2:6-7) The Lord whom ye seek shall suddenly come to his Temple, ev’n the Messenger of the Covenant, whom ye delight in: Behold He shall come, saith the Lord of Hosts. (Malachi 3:1) AIR – Countertenor But who may abide the Day of his coming? And who shall stand when He appeareth? For He is like a Refiner’s Fire. (Malachi 3:2) CHORUS And he shall purify the Sons of Levi, that they may offer unto the Lord an Offering in Righteousness. (Malachi 3:3)

For unto us a Child is born, unto us a Son is given; and the Government shall be upon his Shoulder; and His Name shall be called Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace. (Isaiah 9:6) SCENE IV PIFA RECITATIVE - Soprano There were Shepherds abiding in the Field, keeping Watch over their Flock by Night. (Luke 2:8) ARIOSO - Soprano And lo, the Angel of the Lord came upon them, and the Glory of the Lord shone round about them, and they were sore afraid. (Luke 2:9) RECITATIVE - Soprano And the Angel said unto them, Fear not; for behold, I bring you good Tidings of great Joy, which shall be to all People. For unto you is born this Day, in the City of David, a Saviour, which is Christ the Lord.

(Luke 2:10-11) RECITATIVE, accompanied - Soprano And suddenly there was with the Angel a Multitude of the heav’nly Host, praising God, and saying ... (Luke 2:13) CHORUS Glory to God in the Highest, and Peace on Earth, Good Will towards Men. (Luke 2:14) SCENE V AIR - Soprano Rejoice greatly, O Daughter of Sion, shout, O Daughter of Jerusalem; behold, thy King cometh unto thee: He is the righteous Saviour; and He shall speak Peace unto the Heathen. (Zechariah 9:9-10)

SCENE III

RECITATIVE - Soprano

RECITATIVE - Countertenor

Then shall the Eyes of the Blind be open’d, and the Ears of the Deaf unstopped; then shall the lame Man leap as an Hart, and the Tongue of the Dumb shall sing. (Zechariah 35:5-6)

Behold, a Virgin shall conceive, and bear a Son, and shall call his Name Emmanuel, GOD WITH US. (Isaiah 7:14; Matthew 1:23) AIR - Countertenor & CHORUS O thou that tellest good Tidings to Zion, get thee up into the high Mountain: O thou that tellest good Tidings to Jerusalem, lift up thy Voice with Strength; lift it up, be not afraid: Say unto the Cities of Judah, Behold your God. O thou that tellest good Tidings to Zion, Arise, shine, for thy Light is come, and the Glory of the Lord is risen upon thee. (Isaiah 40:9; Isaiah 60:1) RECITATIVE, accompanied - Bass For behold, Darkness shall cover the Earth, and gross Darkness the People: but the Lord shall arise upon thee, and his Glory shall be

DUET – Soprano & Countertenor He shall feed his Flock like a shepherd: and He shall gather the Lambs with his Arm, and carry them in his Bosom, and gently lead those that are with young. Come unto Him all ye that labour, come unto Him all ye that are heavy laden, and He will give you Rest. Take his Yoke upon you and learn of Him; for He is meek and lowly of Heart: and ye shall find Rest unto your souls.

(Isaiah 40:11; Matthew 11:28-29) CHORUS His Yoke is easy, his Burthen is light. (Matthew 11:30) —INTERMISSION— 15

Libretto PART THE SECOND SCENE I CHORUS Behold the Lamb of God, that taketh away the Sin of the World.

(John 1:29) AIR - Countertenor He was despised and rejected of Men, a Man of Sorrows, and acquainted with Grief. He gave his Back to the Smiters, and his Cheeks to them that plucked off the Hair: He hid not his Face from Shame and Spitting. (Isaiah 53:3; Isaiah 50:6) CHORUS Surely he hath borne our Griefs and carried our Sorrows: He was wounded for our Transgressions, He was bruised for our Iniquities; the Chastisement of our Peace was upon Him. (Isaiah 53:4-5) CHORUS And with His Stripes we are healed. (Isaiah 53:5) CHORUS All we, like Sheep, have gone astray, we have turned ev’ry one to his own Way, and the Lord hath laid on Him the Iniquity of us all.

(Isaiah 53:6) RECITATIVE, accompanied - Tenor All they that see him laugh him to scorn; they shoot out their Lips, and shake their Heads, saying ... (Psalm 22:7) CHORUS He trusted in God, that he would deliver him: let him deliver him, if he delight in him. (Psalm 22:8) RECITATIVE, accompanied - Tenor Thy Rebuke hath broken his Heart; He is full of Heaviness: He looked for some to have Pity on him, but there was no Man, neither found he any to comfort him. (Psalm 69:21) AIR - Tenor Behold, and see, if there be any Sorrow like unto his Sorrow!

(Lamentations 1:12) SCENE II RECITATIVE, accompanied - Tenor He was cut off out of the Land of the Living: For the Transgression of thy People was He stricken. (Isaiah 53:8) AIR - Tenor But Thou didst not leave his Soul in Hell, nor didst Thou suffer thy Holy One to see Corruption. (Psalm 16:10)

SCENE IV RECITATIVE - Tenor Unto which of the Angels said He at any time, Thou art my Son, this Day have I begotten thee? (Hebrews 1:5) CHORUS Let all the Angels of God worship Him. (Hebrews 1:6) SCENE V AIR - Bass Thou art gone up on High; Thou has led Captivity captive, and received Gifts for Men, yea, even for thine Enemies, that the Lord God might dwell among them. (Psalm 68:18) CHORUS The Lord gave the Word: Great was the Company of the Preachers.

(Psalm 68:11) DUET - Soprano & Countertenor - & CHORUS How beautiful are the Feet of him that bringeth glad Tidings, Tidings of Salvation, that saith unto Sion: Thy God reigneth! Break forth into joy! (Isaiah 52:7 and 9) SCENE VI AIR - Bass Why do the Nations so furiously rage together? and why do the People imagine a vain Thing? The Kings of the Earth rise up, and the Rulers take Counsel together against the Lord and against his Anointed. (Psalm 2:1-2) CHORUS Let us break their Bonds asunder, and cast away their Yokes from us.

(Psalm 2:3) SCENE VII RECITATIVE - Tenor He that dwelleth in Heaven shall laugh them to scorn; the Lord shall have them in Derision. (Psalm 2:4) AIR - Tenor Thou shalt break them with a Rod of Iron; thou shalt dash them in pieces like a Potter’s Vessel. (Psalm 2:9)

SCENE III

CHORUS

SEMICHORUS

Hallelujah! for the Lord God Omnipotent reigneth. The Kingdom of this World is become the Kingdom of our Lord and of his Christ; and He shall reign for ever and ever, King of Kings, and Lord of Lords.

Hallelujah! (Revelation 19:6; 11:15; 19:16)

Lift up your Heads, O ye Gates, and be ye lift up, ye everlasting Doors, and the King of Glory shall come in. Who is this King of Glory?

The Lord Strong and Mighty; the Lord Mighty in Battle. Lift up your 16

Heads, O ye Gates, and be ye lift up, ye everlasting Doors, and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts: he is the King of Glory. (Psalm 24:7-10)

Libretto PART THE THIRD

Handel’s Hallelujah Chorus: To Stand or Not To Stand…

Perhaps the best-known and widely accepted concert “tradition” is standing for the Hallelujah chorus.

Legend has it that King George II leapt to his feet when he heard it during one of the work’s first performances in London. Because no person could remain seated while the King stood, the entire audience rose with him.

Some credit this anecdote as the origin of the “standing ovation”.

But a closer look at the facts reveals that there is no evidence that the King ever attended such a performance. The first written account of the story appeared in 1780, more than 35 years after the cited performance, and it was written by someone who admits to not having witnessed the King’s presence himself.

However, the King was known to attend such events incognito. So he, in fact, at least might have been there.

If he was in attendance, there is much speculation as to why he stood at all. Theories range from the reverent to the simply unflattering: he might have been stretching his legs, relieving his gout, leaving for the bathroom, or suddenly awakened by the chorus’ forte entrance. But the general opinion is that his own sense of obeisance compelled him to stand upon hearing the majestic and undeniably enthralling music of the Hallelujah chorus.

The custom is common in English speaking countries, but essentially unknown in all others. Many have objected, in more contemporary eras, to the distastefully imperialistic implications of following the King’s lead in this manner. After all, the general audience only stood because they had to do so. But others are quick and well justified to point out that Handel’s Messiah is certainly the most well known and universally enjoyed major work in the Baroque oratorio genre—if not among all “classical” music works—and that standing as a group, in the name of tradition, unites the audience with the performers for a few minutes in a most energizing way.

No matter how convincingly some can argue that this “tradition” is rooted in untrustworthy hearsay, you have only to look at the performers when you stand at that wondrous, thrilling moment: you will see their smiles and their spirits lifted even higher, knowing that millions upon millions of people have stood at that very same moment in music, and in virtually every corner of the world. Even Haydn stood with the crowd at a performance in Westminster Abbey. It is said that he wept and proclaimed of George Frideric Handel, “He is the master of us all.”

SCENE I AIR - Soprano I know that my Redeemer liveth, and that He shall stand at the latter Day upon the Earth: And tho’ Worms destroy this Body, yet in my Flesh shall I see God. For now is Christ risen from the Dead, the FirstFruits of them that sleep. (Job 19:25-26; 1 Corinthians 15:20) CHORUS Since by Man came Death, by Man came also the Resurrection of the Dead. For as in Adam all die, even so in Christ shall all be made alive.

(1 Corinthians 15:21-22) SCENE II RECITATIVE, accompanied - Bass Behold, I tell you a Mystery: We shall not all sleep, but we shall all be chang’d, in a Moment, in the Twinkling of an Eye, at the last Trumpet.

(1 Corinthians 15:51-52) AIR - Bass The Trumpet shall sound, and the Dead shall be rais’d incorruptible, and We shall be chang’d. For this corruptible must put on Incorruption, and this Mortal must put on Immortality.

(1 Corinthians 15:52-54) SCENE III RECITATIVE - Alto Then shall be brought to pass the Saying that is written; Death is swallow’d up in Victory. (1 Corinthians 15:54) DUET - Countertenor & Tenor O Death, where is thy Sting? O Grave, where is thy Victory?

The Sting of Death is Sin, and the Strength of Sin is the Law. (1 Corinthians 15:55-56) CHORUS But Thanks be to God, who giveth Us the Victory through our Lord Jesus Christ. (1 Corinthians 15:57) AIR - Soprano If God is for us, who can be against us? Who shall lay anything to the Charge of God’s Elect? It is God that justifieth; Who is he that condemneth? It is Christ that died, yea, rather that is risen again; who is at the Right Hand of God, who maketh intercession for us.

(Romans 8:31 and 33-34) SCENE IV CHORUS Worthy is the Lamb that was slain, and hath redeemed us to God by His Blood, to receive Power, and Riches, and Wisdom, and Strength, and Honour, and Glory, and Blessing. Blessing and Honour, Glory and Pow’r be unto Him that sitteth upon the Throne, and unto the Lamb, for ever and ever. (Revelation 5:12-14) CHORUS Amen.

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Artist Profiles MARY WILSON (soprano) is acknowledged as one of today’s most exciting young artists.

Cultivating a wide-ranging career singing chamber music, oratorio, and operatic repertoire; her “bright soprano seems to know no terrors, wrapping itself seductively around every phrase” (Dallas Morning News). Receiving consistent critical acclaim from coast to coast, “she proves why many in the opera world are heralding her as an emerging star. She is simply amazing, with a voice that induces goose bumps and a stage presence that is mesmerizing. She literally stole the spotlight…” (Arizona Daily Star).

An exciting interpreter of Baroque repertoire, especially Handel, she has appeared with the American Bach Soloists, Bach Society of St. Louis, Baltimore Handel Choir, Boston Baroque, Brooklyn Academy of Music, Musica Angelica, Philharmonia Baroque, the Carmel Bach Festival, the Casals Festival, Florida Bach Festival, and the Grand Rapids Bach Festival.

In high demand on the concert stage, she has most recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Buffalo Philharmonic, Dayton Philharmonic, VocalEssence, and at the Hollywood Bowl. She has worked with conductors including Jeffrey Thomas, Bernard Labadie, Martin Pearlman, Martin Haselböck, Nicholas McGegan, JoAnn Falletta, and Leonard Slatkin.

On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susanna in Le Nozze di Figaro, and Gilda in Rigoletto. She has created leading roles in North American and World premiere performances of Dove’s Flight, Glass’ Galileo Galilei, and Petitgirard’s Joseph Merrick dit L’Elephant Man. She has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Mississippi Opera, Brooklyn Academy of Music and the Goodman Theatre. With the IRIS Chamber Orchestra, she sang the world premiere of the song cycle “Songs Old and New” written especially for her by Ned Rorem.

An accomplished pianist, Ms. Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota, and Washington University in St. Louis, Missouri. She was named an Emerging Artist by Symphony Magazine in 2004 in the publication’s first ever presentation of promising classical soloists on the rise. She currently resides in Memphis, Tennessee, with her husband and son.

IAN HOWELL (countertenor) has been praised by The New York Times for his “clear voice and attractive timbre,” by San Francisco Classical Voice for the “heart at the core of his soulful sound,” and by Classical Voice of North Carolina for his “lovely, supple, and crystal clear” voice. A GRAMMY award winner, he sings with a warm and seamless tone rarely heard from countertenors.

In 2006, Mr. Howell won First Prize at The American Bach Soloists International Solo Competition with an acclaimed performance of Bach’s Cantata BWV 170, Vergnügte Ruh, and Third Prize at the Oratorio Society of New York’s Vocal Competition.

Ian Howell’s debut solo CD, 1685 and the Art of Ian Howell with American Bach Soloists was released in March 2009 and features repertory by D. Scarlatti, J. S. Bach, and Handel. He can also be heard with Chanticleer on one DVD and eight CDs. Equally at home on opera and concert stages, Mr. Howell’s 2011-2012 season includes performances of Messiah with both American Bach Soloists and the Choir of St Thomas Fifth Ave (NYC), a featured concert for the American Bach Soloists Summer Bach Festival, and Handel’s Giulio Cesare (Tolomeo) with Florentine Opera. Mr. Howell’s 2010-11 season included debut performances with Florentine Opera of Blow’s Venus & Adonis (Cupid) and Purcell’s Dido & Aeneas (Spirit), Pergolesi’s Stabat Mater with Seattle Baroque, and Bach’s Weinachts Oratorium with the New Mexico Symphony. He returned for engagements with Chatham Baroque in Bach’s St. John Passion, New York’s St. Ignatius Loyola’s presentation of Handel’s Jephtha (Hamor), and the UC Davis University Chorus singing in Bernstein’s Missa Brevis and Chichester Psalms, and in a new work by Pablo Ortiz under the baton of Jeffrey Thomas.

In his 2009-2010 season, Mr. Howell debuted with Canada’s Orchestra London/Opera London as Tolomeo in Handel’s Giulio Cesare, for which critics called his portrayal “chilling,” “remarkable,” and “heartrending,” and noted that he “handled the intricacies of Handel’s vocal writing with ease.” Mr. Howell also debuted as a featured soloist on the Ravinia Festival’s Rising Stars Series, with the St. Louis Symphony singing in P.D.Q. Bach’s Iphigenia in Brooklyn, Messiah with The Handel Choir of Baltimore, Handel’s Susanna (Joachim) with The Hudson Valley Singers, Chatham Baroque’s performances of Pergolesi’s Stabat Mater and J.C. Bach’s Lamento, Musica Angelica performance of Bach’s St. John Passion, and in recital with the Columbus (Ohio) Guitar Society in their “The New Music: 1602 – Present” series. Ian Howell holds a Master of Music Degree in Voice conferred jointly by the Yale Institute of Sacred Music and the Yale School of Music.

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Artist Profiles CHARLES BLANDY (tenor) has performed a wide repertoire, from works of Mozart and Bach to the most challenging contemporary music. The Boston Globe praised his performance of Tom Rakewell in Stravinsky’s The Rake’s Progress at Emmanuel Music in Boston, where he has also sung Tamino in Mozart’s Magic Flute and Lurcanio in Handel’s Ariodante. He recently performed the role of Almaviva in Boston Lyric Opera’s family performances of Barber of Seville. Opera News and The Boston Globe praised his performances as Francis Flute in Britten’s Midsummer Night’s Dream. At Tanglewood, he appeared in the world premiere of Osvaldo Golijov’s Ainadamar, starring Dawn Upshaw and conducted by Robert Spano, later reprised at Walt Disney Concert Hall in Los Angeles.

Last year he made his Lincoln Center debut in the Mozart Requiem and Haydn Paukenmesse with the National Chorale at Avery Fisher Hall in New York, where he returned in November to sing Handel’s Alexander’s Feast. He recently performed as the Evangelist in Bach’s St. John and St. Matthew Passions with Emmanuel Music, and with the Bethlehem Bach Choir in their Christmas concert of Bach and Haydn.

He was a finalist in the Oratorio Society of New York solo competition, singing in Weill Recital Hall. He performed Handel’s Messiah and Britten’s Cantata Misericordium with the Charlotte Symphony; Britten’s St. Nicolas with conductor Raymond Leppard in Indianapolis; and Mozart’s Requiem with the Boston Landmarks Orchestra, performed outdoors on the Esplanade in Boston. He has appeared with the Handel and Haydn Society, Boston Baroque, Cantata Singers, Berkshire Choral Festival, Pittsburgh Bach and Baroque, and the Bloomington Early Music Festival.

At Tanglewood, on four days notice he took over a tricky tenor part in Berio’s Sinfonia under conductor Robert Spano. He recently appeared with the Boston Modern Orchestra Project in music of Ronald Perera and Scott Wheeler. His performance of Jorge Liderman’s Song of Songs with the San Francisco Contemporary Music Players (which became a Bridge Records CD) was called “sterling” by the San Francisco Chronicle, and he appears on a critically praised Naxos CD of Scott Wheeler’s opera Construction of Boston. He gave the US premiere of Einojuhani Rautavaara’s song cycle for voice and strings Die Liebenden with Chameleon Arts Ensemble, in a performance that The Boston Globe called “marvelous.”

With a wide repertoire in art song, his recital of Janacek’s Diary of One Who Disappeared was profiled in The Boston Globe. He previously gave a recital of songs by Rachmaninoff, Liszt, and Szymanowski at Tufts University -- called “one of the most engrossing concerts in ages” by reviewer Caldwell Titcomb. Mr. Blandy teaches in Harvard University’s Holden Voice Program and at Tufts University. He was a fellow at the Tanglewood Music Center, where he was awarded the Grace B. Jackson prize. He received his Master’s Degree from Indiana University, and has studied at the Britten-Pears School in Aldeburgh, England. He is a native of Troy, NY, and graduated from Oberlin College with a BA in religion.

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JESSE BLUMBERG (baritone) is an artist equally at home on opera, concert, and recital stages. His recent engagements include Niobe, Regina di Tebe at Boston Early Music Festival, Bernstein’s Mass at London’s Royal Festival Hall, and performances with the New York Festival of Song. In 2007 he created the role of Connie Rivers in The Grapes of Wrath (recorded

by P.S. Classics) at the Minnesota Opera, and later made his Utah and Pittsburgh Opera debuts in the same production. Since then, he has made debuts in leading and featured roles at Boston Lyric Opera, Annapolis Opera, Opera Delaware, Opera Vivente, and the Boston Early Music Festival.

In concert, Mr. Blumberg has been a featured soloist with American Bach Soloists, Los Angeles Master Chorale, Charlotte Symphony, Clarion Society, and the Berkshire Choral Festival. He has also given the world premieres of two important chamber works: Ricky Ian Gordon’s Green Sneakers (recorded by Blue Griffin Recording) and Lisa Bielawa’s The Lay of the Love and Death, the former at the Vail Valley Music Festival, and the latter at Alice Tully Hall. He has toured with the Mark Morris Dance Group and the Waverly Consort, and given recitals for the Marilyn Horne Foundation. Last season, he and pianist Martin Katz performed Schubert’s two monumental song cycles, Die schöne Müllerin and Winterreise, over one weekend at Bargemusic in New York City, and will soon repeat this pairing in Chicago. Mr. Blumberg has been recognized in many song and opera competitions, and in 2008 was awarded Third Prize at the International Robert Schumann Competition in Zwickau, becoming its first American prizewinner in over thirty years.

His 2011-2012 engagements include song recitals in New York, Boston, and Paris, performances with New York Festival of Song, Green Mountain Project, and Apollo’s Fire, and debuts at Anchorage Opera and Urban Arias in Washington, D.C. He received a Master of Music degree from the University of Cincinnati College-Conservatory of Music and undergraduate degrees in History and Music from the University of Michigan. Mr. Blumberg is also the founder and artistic director of Five Boroughs Music Festival in New York City.

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MAIL: ABS • 44 Page Street, Suite 504 • San Francisco, CA 94102-5973 PHONE: 415-621-7900 • FAX: 415-621-7920 ONLINE: use our secure server: americanbach.org/support 21

Contributors & Acknowledgments The American Bach Soloists gratefully acknowledge the generous support received from

Clarence E. Heller Charitable Foundation Nakamichi Foundation

This list represents contributions received between December 1, 2010 and December 1, 2011. We sincerely regret any errors or omissions.

CORPORATE, GOVERNMENT, AND FOUNDATION SUPPORT $20,000 and above Grants for the Arts/San Francisco Hotel Tax Fund Clarence E. Heller Charitable Foundation $10,000-$19,999 Charles Hosmer Morse Foundation Goatee Foundation

$5,000-$9,999 Ann and Gordon Getty Foundation The Bernard Osher Foundation E. Nakamichi Foundation Wallis Foundation

Up to $2,499 AXA Foundation Matching Gifts Program The McNally Family Trust Mechanics Bank Wells-Fargo Bank

$2,500-$4,999 Citi Private Bank The Michael J. Weller Trust

MEDIA SUPPORT Bay Area News Group KDFC

The New Fillmore San Francisco Classical Voice

San Francisco Chronicle San Francisco Examiner

John & Lois Crowe Marie Hogan & Douglas Lutgen Milton & Carol Hollenberg Lamar Leland Jim & Jennifer Steelquist

David & Judy Covin Silvia Davidson Colin & Rebecca Drake Richard G. Fabian Thomas & Phyllis Farver Richard Forde Alfred & Irene M. Glassgold Kevin & Peggy Harrington John F. Heil Joan Intrator Robert & Kathleen Kaiser Valerie & Dan King Norman T. Larson The John Lee Fund Steve Lehning Jeanette & Olaf Leifson Sandra Miller Paul & Sandra Ogden Ann Preston Robert Ripps & Steven Spector Geerat & Edith Vermeij Richard & Shipley Walters

SOLOISTS CIRCLE Benefactor ($20,000 and above) Dan & Lee Drake Jan Goldberg Fraser & Helen Muirhead Royal Patrons ($10,000-$19,999) Anonymous Jose & Carol Alonso Hugh Davies & Kaneez Munjee Bach Family Circle ($5,000-$9,999) Judith Flynn James Meehan Angela Hilt & Blake Reinhardt Patricia & George Locke Kim & Judith Maxwell Kwei & Michele Ăœ Patron ($2,500-$4,999) Richard & Sharon Boyer Wendy Buchen David Cates & Cheryl Sumsion 22

Capellmeister ($1,500-$2,499) Eunice Childs Tom Flesher & Adam Verret Connie Harden & Chuck O’Neill Blair Martin Martin & Elizabeth Secker Peter & Asiye Sonnen Jeffrey Thomas Cantor ($1,000-$1,499) Anonymous Peter Brodigan John & Jane Buffington Lisa Capaldini Don Scott Carpenter Cynthia Cooper

Contributors & Acknowledgments INDIVIDUAL SUPPORT Chorister ($500-$999) Gretchen Brosius Peter & Susan Browne Donna Chazen Uni Cordoba Joseph & Judy Craig Mag Dimond Kathryn Hobart Ken Hoffman Hallie & Gil Holtzman Susan & Stafford Keegin Susan Mann Krista Muirhead & Barry Grossman Michael & Elfrieda O’Neill Frank Pajerski Charles Quesenberry, Jr. David & Mary Raub Colby & Katherine Roberts Gary Schilling & Stefan Hastrup Edward Towne Delia Voitoff-Bauman & Steve Bauman Charles & Elizabeth Wilts Stadtpfeifer ($250-$499) Anonymous (2) Peter & Margaret Armstrong Cheryl Arnold & John Frykman Edward Betts & Elena Snegova Eric Collier & Joseph Newell Ian & Natalie Davis-Tremayne Lester Dropkin Bob & Margaret Eldred Barbara Thomas Fexa Cynthia Foster A. John & Paula Gambs David & Dorli Hanchette Philip & Ruth Hicks Mary Kimball William and Gretchen Kimball Fund Norman & Rae Leaper John & Kathleen Leones Jennifer Lindsay William Lokke Malcolm & Natalie Mackenzie Noreen Mazelis Marian Metson Debra Nagy Steven Peterson & Peter Jaret Nancy Quinn & Tom Driscoll Harvey & Nancy Rogers Cynthia Sawtell Benjamin C Sanchez Judd & Sherry Smith Scott Sochar Michael & Karen Traynor Robert Walker & Ernie Feeney Thomas & Ann Watrous Foster & Betty Wright Steward ($100-$249) Anonymous (3) Mr. Robert Allgeyer Phyllis & Tom Baer Jeff Bartak Johanna & Tom Baruch Robert Berman Al Bernstein Borden & Betty Bloom

Jesse Blumberg & Rita Donahue Matthew Bobinski Roberta Brokaw Penn & Nancy Butler Robert & Lynn Campbell Lynne Carmichael Lynne Carr Barbara Casey & Richard Siggins Michael Chappell Ann Cheng Gary Chock Julie Coffin Mendel Cohen & Julia Vestal Robert Cook & Blanca Haendler Bim Coyle & Pat Cannell Coyle Lynne Crowell Garniss Curtis Caroline Damsky Jacqueline Desoer Chauncey & Emily DiLaura Nancy Dubois Steven Edwards Philip Eisenberg Lowell & Nancy Froker Margaret Fuerst Margaret Garms Jim & Laura Gregory Darrow & Gwen Haagensen Allen Hackett Benjamin & Lynette Hart Donna Heinle Ingeborg Henderson Daniel Hersh James & Joan Kelly David G. King, M.D. Andrew Kives Joseph & Jeanne Klems Thomas Koster Ronald & Sharon Krauss Norman La Force Jane Lang William & Emily Leider Deana Logan & Joseph C. Najpaver Bennett Markel & Karen Stella Pierre Martin Janice Masterton Jo Maxon & Karl Ruppenthal Lee & Hannelore McCrumb John McKnight Sharon Menke Guy & Wende Williams Micco Abigail Millikan-States Sue Milliron George Morgan Carol Mowbray Paul Nettelman Tom Nord Mary Belle O’Brien & Georgia Heid Virginia Patterson Kay Pepitone Mark & Katherine Perl K. Rathke & D. Rogers Penelope Rink & Frederick Toth Mr. & Mrs. Ned Rowe Walter & Ellen Sanford Lisa Schaefer Janine Schiess William Senecal & Karen Roseland

Ellen Sherman Clem & Sharie Shute Edith Simonson Aline Soules Bob & Betsy Stafford David Stein & William Stewart Mariana Steinberg Gerald & Sandra Swafford Kenneth Taylor Karl & Marianne Thon Dean & Jeanice Tipps Rick Trautner Rob & Susan Vanneman Kurt Von Meier Debra & Donald Wanamaker Effie Westervelt Richard White Muriel F. Wilson Jerri Witt Rick Yoshimoto & Tamara Trussell Friend ($25-$99) Anonymous (4) Cindy Albers Shirley Armor Adrienne Austin-Shapiro Schuyler & Susie Bailey Judith Barker & Linda Mitteness Roger Barlow Charles Beadle Merry Benard Ernst & Hannah Biberstein Robert Blumen Felix Braendel Mary Brayton Irving & Karen Broido Ms. Deborah Brown Leslie Brown Lori Ellen Brown Sarah Chase Roger & Ana Chretien Richard & Evelyn Clair William Craig JP Crametz & T. Ravid Marcella Fasso Julia Faucett Tom & Cherielyn Ferguson Cassandra Forth Shellie Garrett Victor & Linda Gavenda Judge & Mrs. Ronald M. George Basil Guy David Hammer Margaret Harding Lauri Harper Robert Herriot & Patricia Landman John Karl Hirten Elizaabeth Hoelter Ned Hopkins Charles M. & Nellie Hungerford Peter Huson Cary & Elaine James Julie Jeffry Ann Jensen Karl & Carol Keener George Knudson Natalie Krawczyk William Langley 23

Contributors & Acknowledgments Robert Levin Catherine Lewis Lirong Li Malcom Litwiller & Teri Dowling Laura Louis George Marchand Ray & Carol McDevitt Stepheny McGraw Hugh & Katherine McLean Susan Meister Minako Miyazaki Barbara Molloy Diane & John Musgrave June Nadler Eleanor Norris Joan Norton Crystal Olson Arie Perry J. William Pezick Sam Price Thomas Ramos Eugene & Libby Renkin Meredith Riekse Gail Riley & Moira Little Thomas Robinson Julius Otto Schindler Norman Schlossberg Marcelle Scholl Lawrence Severino David Sheehan Harold Skilbred & Rochelle Matonich Alan Smith Sam W. Smith Richard Soehren Robert & Ellen Spaethling Mason & Sandra Stober Christine Telleen Ms. April Tilles Robert Visser Mr. Curtis Vose Li-Hsia Wang George & Bay Westlake Michael Weston Ron & Marlene Wizelman Carolyn Yee Suzanne Young Bach Kids Sharon & Richard Boyer in honor of: Jake D. Sutter Keira N. Sutter Alexander J. Sutter Leah G. Sutter Jan Goldberg in honor of: Cameron Gremmels Michael Goldberg Alexander Goldberg Dorli & David Hanchette in honor of: Kevin Wottrich Meaghan Wottrich Sandy Ogden in honor of: Sarah Sterling Ogden Katherine Lanier Ogden Matthew Currier Ogden Ashley Katrine Ogden 24

Tributes Anonymous in honor of Noreen Mazelis Phyllis & Thomas Baer in honor of Katherine McKee Roberts Sharon & Richard Boyer in memory of Mamie F. Vercelli in memory of Edward T. Smithburn in memory of Rosemary Pollastrini Cynthia Foster in honor of Andrew Morgan and Katherine McKee Joan Intrator in Memory of Pat Wolf Janice Masterton in honor of Jim & Jennifer Steelquist in memory of Larry Masterton Sandy Ogden in memory of Michael Barcun in memory of Patricia Wolf in honor of Mr. & Mrs. Charles C. Ogden in honor of Dr. & Mrs. David L. Ogden Tia Pollastrini in appreciation of Mom Sher Libby & Gene Renkin in honor of Harriet & Bill Lovitt Robert Ripps & Steven Spector in honor of Don Scott Carpenter Colby & Katherine Roberts in memory of Patricia Wolf Norman Schlossberg in memory of Henry Goldberg Karen & Michael Traynor in honor of Dr. Garniss H. Curtiss IN-KIND SUPPORT Businesses and Organizations American Conservatory Theater Anchor Brewing Company Ballanico Restaurant & Wine Bar Banana Blossom Thai Berkeley Repertory Theatre Bistro Ginolina Chabot Space & Science Center Claremont Hotel & Spa de Luna Jewelry Delicious! Catering Grgich Hills Estate Heart O’ The Mountain Winery Kermit Lynch Wine Merchant Lark Theater Left Bank Brasserie Marin Symphony Marin Theatre Marzano on Park Meeker Vineyard Merola Opera Program Musica Pacifica Musical Offering Oakland A’s restaurant paul k Pezzi King Vineyards Rock Wall Wines Sam’s Anchor Cafe San Francisco Giants San Francisco Opera Smith-Rafael Film Center Stone Tree Cellars Trumer Brauerei

Twisted Silver Wildfox Restaurant Community Individuals Carol Alonso Sharon Boyer Christine Brandes Jonathan Dimmock Cynthia Foster Marilyn Greenblat Benjamin & Lynette Hart Ken Hoffman Elfrieda Langemann Judith Linsenberg Raymond Martinez Andrew Morgan Paul Morin David Morris Helen Drake Muirhead Kaneez Munjee Katherine Roberts Perl Diana Pray Nancy Quinn & Tom Driscoll Colby Roberts Harvey Rogers David Taylor & Hanneke van Proosdij Millicent Tomkins Tanya Tomkins Michele Ü Heidi Waterman David Wilson Rick Yoshimoto ACKNOWLEDGMENTS St. Stephen’s Episcopal Church Vestry, Staff, and Parishioners The Rev. Robert Gieselmann, Rector John Karl Hirten, Organist Instrument Loan UC Davis Department of Music Housing and Hospitality Linda Brewer Richard Fabian Jan Goldberg & Ken Hoffman Kevin & Peggy Harrington Arthur & Martha Luehrmann David Mealy & Barbara Stevenson Fraser & Helen Muirhead Andrew Luchansky & Elisabeth Reed Ken & Marjorie Sauer Jean Spencer Tanya Tomkins & Eric Zivian Kwei & Michele Ü Dennis Wolframski Ushers & Volunteers Anne Avereill Sheila Brooke David Dehner Susan Ford Sara Frucht Sandra Greene Tina Haner Carole Kalous Alice Ko Julie Sperber Julia Taylor Valerie Taylor Dan Yelen

Historical

Performance Program Faculty Artist Recital Elizabeth Blumenstock violin Elisabeth Reed viola da gamba Corey Jamason harpsichord Music of Johann Sebastian Bach Monday, January 23, 8:00 p.m.

Conservatory Baroque Ensemble Corey Jamason and Elisabeth Reed co-directors Handel’s Agrippina (concert version) Saturday, March 10, 7:30 p.m.

Sunday, March 11, 2:00 p.m.

FREE admission | reservations required 415.503.6275 | 50 Oak Street San Francisco Where it all begins

Season sponsor

Introducing...

KDFC’s Baroque by the Bay a new program with Jeffrey Thomas

Sunday Mornings from 9 to 11 on 89.9 I 90.3 (licensed to USF) I kdfc.com