2012-02-24 St. Matthew Passion

JEFFREY THOMAS music director

2011/2012

Our Twenty Third Season

St. Matthew Passion Johann Sebastian Bach

February 24 - 27, 2012 Belvedere - Berkeley - San Francisco - Davis

American folk hymns & spirituals The Grammy-winning

Pacific Boychoir

featuring Jonathon Hampton, baritone

Friday, March 30, 2012 First Congregational Church, Berkeley 7:30 p.m.

JOHANN SEBASTIAN BACH ST. MATTHEW PASSION, BWV 244 HIGHLIGHTS

JOHANN SEBASTIAN BACH (1685-1750) Passio D. N. J. C. secundum Matthaeum

JEFFREY THOMAS music director

Catherine Bott, soprano - Judith Malafronte, alto Benjamin Butterfield, tenor - William Sharp, baritone Nathaniel Watson, baritone - James Weaver, baritone

MASTERWORKS SERIES

PASSION UNSERES HERRN JESU CHRISTI NACH DEM EVANGELISTEN MATTHÄUS JEFFREY THOMAS music director

Jeffrey Thomas music director

PASSION OF OUR LORD JESUS CHRIST ACCORDING TO ST. MATTHEW BWV 244 MASTERWORKS SERIES

“the best American specialists in early music” The Washington Post

St. Matthew Passion Highlights $10 CD 1 of 3 - I. TEIL / PART I - Nos. 1-29 Catherine Bott & Tamara Matthews, sopranos Judith Malafronte & Dana Marsh, altos Jeffrey Thomas, Benjamin Butterfield, & David Munderloh, tenors William Sharp, Nathaniel Watson, & James Weaver, basses American Bach Choir - The Paulist Boy Choristers of California

St. Matthew Passion 3 CDs $30

“the most compelling Matthew Passion that I have heard” Early Music Review also available on

Welcome from Jeffrey Thomas A willingness to look at music and its performance with fresh eyes and ears is a characteristic that defines the American Bach Soloists. The merits of any performance organization are those that are truly shared by all of its members and support systems, and at ABS we take pride in our approach to consider all aspects of a musical work—including the number of players and singers (an ongoing discourse that has involved dozens of the world’s most accomplished musicologists), tempos, pitch, rhetoric, and even modern-day function—and to offer those sometimes contrasting perspectives to our audiences as a means to more richly and more palpably experience the music of other centuries.

Jeffrey Thomas Artistic Director

This kind of musical inquisitiveness might seem ironic, considering the reasonable assumption that period performance practice could be an exercise in “right or wrong” policies based on clear-cut research into the wealth of historical data and performance implications that are available nowadays to all performers. But in many (or most) cases we either have too much or too little information to determine what would be an absolutely best set of interpretive choices for practically any given work. Even our annual performances of Handel’s Messiah and Bach’s Mass in B Minor always afford us opportunities to revisit our conclusions and find something “new” each year to perfect and further polish.

Inquiry is the essence of what we do, and providing interesting and compelling performances is our raison d’être. So when I was presented with a gift of a new edition of the early version of Bach’s St. Matthew Passion a few years ago, I was thrilled by the prospect of bringing that fascinating score, still “hot off the press,” to our audiences so that together we might share and experience yet another powerful glimpse into the way music was performed three centuries ago during Bach’s lifetime.

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. © 2012 American Bach Soloists.

All rights reserved.

Reproduction in whole or in part without permission is prohibited.

You are about to hear a dramatically different soundscape in these performances of a work that had no comparable precedent and that has had no equal since. Over the last year or two, a number of superb ensembles have presented performances of the St. Matthew Passion in almost exactly the same configuration that you are about to experience, and we are happy to bring this very special event to our audiences.

Please turn ahead to page 13 and get started on the program notes.

My colleague, musicologist John Butt, and I have collaborated to bring that information to your fingertips, and I am grateful to a host of individuals—including concert sponsors, ABS staff members, and Bay Area community early music advocates—for enabling this production.

Thank you for sharing this wonderful adventure of constant rediscovery with us. I hope you enjoy the performance!

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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

Box Office Lisa May, Manager J. Jeff Badger

Steven Lehning Music Administrator

Stage and House Managers Georgeanne Banker Kiel Curtis Jonathan Szin

Jeff McMillan Executive Administrator

Stage Crew E. J. Chavez

Katherine McKee Development Associate

Writers Joseph Sargent Sam Smith

Heli Roiha Bookkeeper

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 Elfrieda Langemann 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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Pacific Union International Proud Sponsor of the

American Bach Soloists

Turning Dreams Into Extraordinary Realities Belvedere 415.789.8686 Kentfield 415.448.1100 Larkspur 415.945.6300 Mill Valley, Downtown 415.380.6100 Mill Valley, Strawberry 415.383.1900 Ross 415.464.8686 415.461.8605 415.461.8686 www.PacUnion.com 6

A Member Of Real Living

American Bach Soloists Discography MASTERWORKS SERIES

Bach Brandenburg Concertos Bach Harpsichord Concertos Bach Italian Transcriptions Bach Mass in B Minor Bach St. Matthew Passion 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

free

Listen to ABS streaming audio

americanbach.org/player

americanbach.org/media

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

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

www.sfbach.org

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 CORO I / CHORUS I

CORO II / CHORUS II

Soprano

Clara Rottsolk, soprano Danielle Reutter-Harrah, alto Wesley Rogers, tenor Aaron Sheehan, tenor Mischa Bouvier, bass Joshua Copeland, bass

Anne-Kathryn Olsen, soprano Jay Carter, countertenor Derek Chester, tenor Robert Stafford, bass

Tonia D’Amelio

Violin

Allison Z. Lloyd

Violin Tekla Cunningham Sanctus Seraphin, Venice, 1746.

Katherine Kyme Johann Gottlob Pfretzichner, Mittenwald, 1791.

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

Flute Sandra Miller Roderick Cameron, Mendocino, CA, 1986; after Thomas Cahusac, London, 1740.

Martin Wenner, Singen, Germany 2002; after Carlo Palanca, Turin, 1760.

Janet See Martin Wenner, Singen, Germany, 2010; after Carlo Palanca, Turin, circa 1760.

Roderick Cameron, Mendocino, CA, 1986; after Peter J. Bressan (Pierre Jaillard), London, circa 1710.

Oboe / Oboe d’amore / Oboe da caccia Debra Nagy Randall Cook, Basel, 2004; after Jonathan Bradbury, London, circa 1720.

Sand Dalton, Lopez Island WA; after Johann Heinrich Eichentopf, Leipzig, circa 1720.

Piet Dhont, Utrecht, The Netherlands, 2004; after Johann Christoph Weigel, Nuremberg, circa 1715.

Stephen Bard Joel Robinson, New York, NY, 2003; after Saxon Models.

Sand Dalton, Lopez Island WA; after Johann Heinrich Eichentopf, Leipzig, circa 1720.

Richard Earle, London, 2004; after Johann Heinrich Eichentopf, Leipzig, circa 1724.

Lautenwerk Jeffrey Thomas Anden Houben, Birmingham, AL, 2004; after early 18th century German written descriptions.

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AMERICAN BACH CHOIR

Elizabeth Blumenstock Andrea Guarneri, Cermona, 1660.

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

Lisa Weiss Anonymous, 19th century; after Paolo Antonio Testore, Contrada, Larga di Milano, 1730s.

Julia Earl Rita Lilly

Alto Jesse Antin James Apgar Dan Cromeenes Katherine McKee

Viola Aaron Westman Dmitry Badiarov, Brussels, 2003; after Antonio Bagatella, Padua, circa 1750.

Flute Mindy Rosenfeld Martin Wenner, Singen, Germany, 2010; after Carlo Palanca, Turin, circa 1760.

Vicki Melin Rod Cameron, Mendocino, CA, 1990; after Godfridus Adrianus Rottenburgh, Brussels, circa 1745.

Tenor Edward Betts Andrew Morgan Colby Roberts Sam Smith Bass Hugh Davies Jeffrey Fields

Oboe

Richard Mix

Meg Owens Bernard Schermer, Stäfa, Switzerland, 1999, after Johann Heinrich Eichentopf, Leipzig, circa 1720.

David Varnum

Luke Conklin Randall Cook, Basel, 2010; after Jonathan Bradbury, London, circa 1720.

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PACIFIC BOYCHOIR Kevin Fox, Founding Artistic Director Johannes Aplyn

BASSO CONTINUO

Liam Cochrane

Violoncello

Neil Evans

William Skeen Anonymous, Italy, circa 1685.

Elisabeth Reed Anonymous, Italy, 1685.

Violone grosso Steven Lehning Hammond Ashley Luthiers, Seattle, WA, 1977; after 17th century models.

Organ Corey Jamason John Brombaugh & Associates, OR, 1980.

Spencer Fulweiler Julian Gandhi George Goodhead Evan Losito Nicholas Main Cameron Miya Julian Nesbitt Noah Patton Zachary Salsburg-Frank

Program AMERICAN BACH SOLOISTS • AMERICAN BACH CHOIR Jeffrey Thomas, conductor Wesley Rogers, tenor - Evangelist Joshua Copeland, baritone - Jesus Clara Rottsolk & Anne-Kathryn Olsen, sopranos Danielle Reutter-Harrah & Jay Carter, altos Aaron Sheehan & Derek Chester, tenors Mischa Bouvier & Robert Stafford, basses PACIFIC BOYCHOIR Kevin Fox, conductor

• Johann Sebastian Bach (1685-1750)

Text: Christian Friedrich Henrici (known as Picander)

PASSION UNSERES HERRN JESU CHRISTI NACH DEM EVANGELISTEN MATTHÄUS ST. MATTHEW PASSION Early Version, BWV 244b • February 24 – 27, 2012 Belvedere • Berkeley • San Francisco • Davis These performances are generously sponsored by Hugh Davies & Kaneez Munjee.

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Our Next Performances

BACH: DOUBLE CONCERTOS

Concerto for Two Harpsichords in C Major Concerto for Two Violins in D Minor Concerto for Oboe and Violin in C Minor Concerto for Three Violins in D Major Brandenburg Concerto No. 3 in G Major Friday March 30 2012 8:00 pm - St. Stephen’s Church, BELVEDERE Saturday March 31 2012 8:00 pm - First Congregational Church, BERKELEY Sunday April 1 2012 7:00 pm - St. Mark’s Lutheran Church, SAN FRANCISCO Monday April 2 2012 8:00 pm - Davis Community Church, DAVIS 11

415-262-0272 · www.calbach.org

Draw On, Sweet night

Madrigals across Europe

with Guest Conductor Amy Stuart Hunn and Jonathan Salzedo, harpsichord

March 16, 8 pm, San Francisco · March 17, 8 pm, Palo Alto St. Mark’s Lutheran Church 1111 O’Farrell St. at Franklin

All Saints’ Episcopal Church 555 Waverley St. at Hamilton

·

March 18, 4 pm, Berkeley

St. Mark’s Episcopal Church 2300 Bancroft Wy. at Ellsworth

March 9-13 Schumann’s Cello Concerto Nicholas McGegan, conductor Steven Isserlis, violoncello Mendelssohn The Fair Melusine Schumann Cello Concerto in A Minor Brahms Serenade No. 2 in A Major (415) 252-1288 12

philharmonia.org

Program Notes

W

hile a great many historical disciplines have benefited from centuries of exploration, certainly it is the field of Bach studies that has garnered the most attention from musicologists. Literally thousands of music historians have focused their efforts on accurately identifying timelines, manuscripts, contexts, and background circumstances of Bach’s music, and among them are a dozen or so giants in the field.

Yet, despite their best efforts and with all best intentions and tireless dedication to the processes of discovery, many points— some fine and some quite general—are still left in question.

The two monuments among Bach’s compositions that are universally acknowledged as the most impressive are the compilation of movements known as the Mass in B Minor and the St. Matthew Passion. Although the extant manuscript version of the Mass in B Minor reveals details of its derivation from nearly 35 years of Bach’s music, the only autograph manuscript of the St. Matthew Passion dates from what was probably its third performance, given nearly a decade after the first.

Not unlike the easy-going assumption of most performers that the version of Handel’s Messiah, as offered by current day publishers, reflects well enough Handel’s intentions, performers and audiences alike have casually accepted the large-scale, amplified renderings of the St. Matthew Passion that were set in motion through Felix Mendelssohn’s important and influential resuscitation of the work in 1829. But the autograph score of Bach’s St. Matthew Passion from 1736, which forms the basis of modern-day editions and performances, barely reveals its true original scale when compared to a score of the first or “early” version that has been handed down to us through the centuries via a somewhat complex and circuitous route.

The genre of the Passion settings that Bach would produce in Leipzig was relatively new to their audiences. In fact, John Butt points out that we, now in the twenty-first century, are more familiar with the format than Bach’s congregations were. Such is one of the advantages of looking backward and carefully studying, through typically annual performances of the works, those great and towering examples of rhetoric that have tremendous power and effectiveness. In any event, it was Bach’s immediate predecessor, Johann Kuhnau, who introduced the idea of annual presentations of biblical oratorio Passions on Good Friday, 1721. Within the decades leading up to Bach’s composition of Passion settings, most other composers wrote for rather limited forces, usually for four or five voices with only as many instruments. Significantly, earlier forms of Passion settings began as chant-recitations of the Passion text initially sung by one person intoning all roles. Gradually, additional singers and chorus were added, followed by the incorporation of contrapuntal textures and independent instrumental material, and eventually including non-biblical texts in the forms of poetic interpolations sung as arias and chorales.

But Bach alone would perfect this multi-faceted and multilayered method of powerfully reminding his congregation (and audience) of the message of the Gospel text by imbuing those poetic interpolations—the arias that are sung by solo voices at various points within the Passion drama—with a

“collective” voice, so that the emotional “soliloquies” became the assertions of each and every member of the congregation.

Finally, the use of chorales, which were as familiar to Bach’s listeners as nursery rhymes are to school children, would firmly establish ownership of the Gospel text—its meaning and its illumination through the arias—as that of the congregants.

The Gospel text—the most revered dogma that had been (in pre-Reformation times) the property of the church and not of the people due to its lack of availability in the native languages of the masses—was brought closer to individual ownership through the voice of contemporary observers (the aria singers), lending their perspectives as 18th-century believers. And those perspectives, in turn, were confirmed through the great Lutheran mechanism of right of possession which would take place throughout the Passion setting: the singing of chorales.

When Bach took on his new position in Leipzig as the Cantor of St. Thomas Church, he immediately set out to dazzle the community with his inarguably extraordinary skills as a composer and as a teacher of theology through his apparently divinely inspired music. Christmas in 1723 was a splendid affair, including the Sanctus that would become a part of the Mass in B Minor. During his first year, he composed some extremely difficult cantatas and performed his St. John Passion in 1724. But within that first year, he became painfully aware of a situation that would significantly affect his compositional plans. He discovered that the boy sopranos were simply not able to perform his difficult and complex music. This was a problem that could not be remedied in any less than several years of more proper training (something that Bach did not want to do!), so, probably quite dismayed, he began to compose easier music for the treble voices, leaving the more challenging material to altos, tenors, and basses, all of whom would have had many more years of qualifying experience.

Even though there are indications that he had planned to perform the St. Matthew Passion in 1725, he did not finish the setting until at least two years later. We can see from the cantatas composed between 1724 and 1725 that he asked his boy sopranos to sing very little more than simple chorales, even in the context of grand opening movements of cantatas. The other voices would sing the complicated “figural” music, always leading up to the intonation of a simple chorale melody to be sung by the trebles. Whereas the music for the sopranos in the St. Matthew Passion is certainly as difficult as is the music for the other vocal parts, we can understand why he slowed down his pace with the St. Matthew—in light of his dissatisfaction with the skill sets of the young singers at the St. Thomas School— and opted instead to reprise the St. John Passion for a second performance in 1725, albeit with a few modifications to make the remounting less obvious. After all, for better or for worse, they had already learned the St. John Passion. It would not be until 1727, at the earliest, that Bach would first perform the St. Matthew Passion, but in a version that is compellingly different in proportion than what is generally known to most of us.

This brings us to a good opportunity to review the ongoing deliberations about the number of musicians that Bach would use for his cantata performances. Ironically, one single 13

Program Notes document—a letter that Bach sent to the Leipzig town council in 1730, in which he complains about the lack of enough qualified musicians to satisfactorily carry out his responsibilities—is used by both sides of the argument. Just as “beauty is in the eye of the beholder,” the conclusions of historians as to the implications of the letter change quite radically from one camp to the other. What is certain, though, and stated literally, is that only a very few boy sopranos were qualified to sing difficult music, and this had been the case for several years. With only a handful of qualified trebles, it is even more clear that Bach’s assignments of the good voices for figural music, and the rest for easier motet and chorale singing, makes sense and should be applied to the performance of Bach’s music in sweeping terms.

This is not to say that this principle must be applied to all modern-day renderings. We have grown quite fond of our large-scale performances.

The establishment of choral societies that began as early as the second half of the eighteenth century, and their rapid growth both in size and number, led to concert hall stages and houses being filled to the brim for performances of oratorio and concertized liturgical works.

That is well and good, but we have the opportunity to experience firsthand a “new” version of the St. Matthew Passion by restoring Bach’s first plans as recorded in a score that has a remarkable pedigree.

From Bach’s 1736 manuscript: the last notes of the recitative before the aria “Erbarme dich” followed by Bach’s indications: Aria Violin concert[ato] due Violine e Viola col Alto Chori Primi.

Note the bracket that groups all parts into Orchestra I.

One of Bach’s copyists (and sons-in-law), named Johann Christoph Altnickol, apparently had a copy of the score from the late 1720s, and in the 1750s, after Bach’s death, Altnickol had one of his students, named Johann Christoph Farlau, prepare a copy, which has survived. There are some fascinating differences between this so-called “early” version and the later version from 1736. For example, in the early version: •

Each orchestra does not have its own continuo or bass section; one central continuo section plays for both orchestras. In the later version, two completely distinct orchestras are used, each with its own bass section. The early version utilizes a practice called basso seguente that dates from more than a century before.

•

Some arias are assigned to different singers or instruments.

•

The chorale/chorus “O Mensch, bewein dein Sünde groß” that ends Part I in the later version does not yet appear.

In its place is a simple chorale to close Part I.

•

The solo violin parts in the arias “Ebarme dich” and “Gebt mir mein Jesus wieder” appear in the opposite orchestras! In other words, while the alto and accompanimental strings for “Ebarme dich” are placed in Orchestra/Coro I, the solo violin part appears in Orchestra/Coro II. The same is true, inversely, for the bass aria “Gebt mir mein Jesus wieder.” That inescapably indicates only one thing: there were not two first violinists in either orchestra. (See illustrations at right.)

This last point is rather jaw-dropping in terms of how clearly it shows that, at least in the 1720s, Bach wrote the work for one-per-part forces. As we already know, there are no vocal parts that do not include the respective solo arias; the only ripieno singers were those who sang the opening chorale—establishing (and requiring) a third group of performers—accompanied by the swallow’s nest organ that rested on the east wall of St. Thomas Church. A quick recalling of the definition of ripieno throws this into further relief: Bach used the word “ripieno” in only one context in the St. Matthew Passion, when referring to those singers who would intone the chorale in the opening chorus. The word refers to the body of musicians who accompany the concertino (or solo) 14

From the Altnickol/Farlau 1750s manuscript (a copy of Bach’s 1720s version): the aria “Erbarme dich” indicating: Violino I solo 2d. Chor.

Viol[in] I, Viol[in] 2, Viola, Cont[inuo] Chorus I

Detail: note the bracket that groups the lower four lines in Orchestra I, but does not include the top violin solo line from Orchestra II.

Program Notes instruments or voices that otherwise perform the core of the musical material. That highly specific relationship provides no ambiguity. Ripienists do not have further ripienists, therefore the performers of the music that is not marked ripieno are soloists. Besides, if Bach had barely enough qualified singers to satisfactorily perform cantatas on a weekly basis up until the early 1730s, he certainly did not have twice as many to perform an extremely difficult “double-chorus” work such as this. One more point of disambiguation can be made by considering the term “Coro” that Bach used to indicate each half of the combined performing forces. Whereas the Italian word ”coro” means, literally, “chorus,” its original usages did not make any implication as to the number of performers. Bach drew upon the Italian tradition of cori spezzati (separated choirs) for the St. Matthew Passion, but, in this context, coro means a body or group of musicians (instrumentalists and/or singers) that would perform many different parts, not many musicians per part.

So, following all implications of the early version score, our production will be one-per-part all around. We should remind ourselves that we are quite comfortable with the concertato concept of baroque vocal and instrumental works, whereby an ensemble of soloists would perform “concerted” music one-perpart, and it was really not until the Mendelssohn production of the St. Matthew Passion, which was quite large, that the performance of this work in particular, having been out of the repertory for more than 75 years, first gained the context of being a rather gigantic affair, transforming what was originally the voice of one individual Evangelist (and performed by one voice) into the voices of potentially hundreds of performers.

For example, let’s consider the individual characters within any of the Passions: in their original contexts, their words were relayed to us through the voice of the Evangelist (Matthew, John, etc.), much as a storyteller recites the words of all the characters within a story. Nowadays, we are used to hearing the ten or so smaller “roles” sung by as many singers, often from within the chorus, and usually listed as “cast members” in a program booklet. This individualization of those parts distracts us from the fact that their words are, in fact, reported to us through the single perspective of the Evangelist—Matthew, in our case tonight—who, himself, is telling us what others said. Whereas Bach’s original parts indicate that the parts for all characters within the drama were separately distributed among his singers (except for the Evangelist, whose part is included in all the music for Chorus I tenor), all sources indicate that Bach had only two or three tenors and as many basses on hand, so any individual singer from Bach’s resources would have sung several roles.

This practice in no small way hearkens back to the origins of Passion performance, when the entirety of the Passion text was sung by only one voice, later expanding to just a handful of singers. Instead, we tend to think of these parts in 19thcentury operatic terms, rather than remembering that, of all the scriptural text, there is but one voice, and one interpretation, not multiple voices of many independently rendered characters.

Ironically, the intensity that can be generated by more compact forces can easily surpass the potential fervency of a much larger ensemble. Our compliance to all of these

compelling indications will include two possibly willful exceptions: While scholars have their differing opinions about this, I cannot bring myself to believe that it would have been possible to keep the congregation silent during the singing of chorales. They had learned them in their childhoods and, while many were otherwise illiterate, the melodies and words of the chorales were as familiar to them all as the backs of their hands (as the saying goes). Besides, the chorales represent the third, and most colloquial, level of perspective in the Passions: the Gospel texts are the most distant and venerated; the recitative/aria pairings represent contemporary relationships to the drama and implications of the Gospel texts (not the reactions of individuals “at the scene” as there simply weren’t other individuals in many of them); and the chorales represent the most accessible, comfortable, and confident ownership of the theological messages (they are the property of the congregation). So, we will utilize 16 additional singers to render the chorales, creating a representation of that relationship to Bach’s congregations, as well as creating a palpable link to our own audiences. To add intuition to the mix, knowing full well that every chorale in the St. Matthew Passion would have been known by all of Bach’s less able choristers, and that it was for the singing of chorale melodies specifically that Bach employed them during the years between 1724 and 1726, it is easy to imagine that just such a solution would have naturally occurred in Bach’s day.

Secondly, and without any specific historical justification, we will have the additional 16 join in the opening and closing choruses. The global perspectives that those movements provide—framing what lies between them like two ornate pilasters—seem to justify, in our modern-day performances and contexts, a greater body of singers. After all, the opening chorus is exactly about worlds of believers, people, and cultures joining each other across millennia, as they are exhorted to witness the Passion story as it is about to unfold.

The manuscript of this early version was published in 2004 as part of the Neue Bach-Ausgabe (New Bach Edition), which is the second complete edition of the music of Johann Sebastian Bach, produced by the German publishing company, Bärenreiter. Extensive research went into the preparation of the volume, so much so that this version is now considered to be one of the most important recent developments in Bach musicology. From the pen of Altnickol’s student, Farlau, the manuscript eventually fell into the possession of Carl Friedrich Zelter (1758-1832), a German conductor and composer, who had among his students the young Felix Mendelssohn. It seems that, in 1823, young Mendelssohn wished to have a copy of Bach’s Saint Matthew Passion. Zelter had the Farlau manuscript and, although he was at first reluctant to share it, he gave permission to Eduard Rietz, Mendelssohn’s friend, to make the copy as a belated Christmas present from Mendelssohn’s grandmother.

A few years later, Rietz would be the concertmaster in the legendary 1829 performance of the St. Matthew Passion that would be the first since Bach’s death, and which would mark the beginning of the great revival of Bach’s music. © 2012 Jeffrey Thomas 15

Program Notes

T

he tradition of singing one of the four Gospel Passion narratives on Good Friday and Palm Sunday stretches back to the beginnings of the formalized Christian liturgy.

Like the other Gospel readings, it was originally chanted by a single deacon but, in the course of time, he began to alter his tessitura and style according to his role as the Evangelist, Jesus, or the other characters and crowd. These three roles were eventually taken over by separate singers together with a choir to recite the crowd scenes. It was basically this format that the Lutheran Reformers inherited in the sixteenth century, and early Lutheran settings (such as Johann Walter’s) were still chanted within the Eucharistic celebrations on Good Friday and Palm Sunday in Bach’s era. What is especially interesting is the fact that the Passion story had a musicaldramatic tradition well before the invention of opera and oratorio. It was only a matter of time before these later dramatic genres would cross-fertilize with the church tradition.

Towards the end of the seventeenth century several more elaborate versions of the Passion were developed, involving independent instrumental parts, introducing free poetry around the biblical narrative (Oratorio Passions) or presenting entirely free elaborations of the Passion story. These latter were designed for spiritual concerts rather than for Holy Week liturgies and are thus termed Passion Oratorios. Most of these genres incorporated the most up-to-date musical forms and devices from Italian opera, capitalizing, as it were, on the conventions that congregations would have learned in the world of secular entertainment. However, the Oratorio Passion did not arrive in Leipzig until 1717 (at the modish Neue-Kirche), and the Cantorate of the Thomasschule, under the aging Johann Kuhnau, did not perform its first Oratorio Passion until 1721, shortly before Bach himself came to Leipzig (1723). Thus one of the greatest ironies about Bach’s Passions is that their original audiences were far less familiar with the genre than we are; moreover—as is the case with all Bach’s most celebrated music—we have often heard it many more times than did the original performers or even Bach himself.

Bach’s Passions were performed during the afternoon Vesper service on Good Friday, their two parts replacing the cantata and Magnificat which were normally sung on either side of the sermon. With a hymn opening and closing the liturgy, the entire service was thus symmetrical, with its central axis falling on the sermon. Like Bach’s cantatas, the Passions adopt something of the sermon’s function since the free poetry of the arias, ariosos, and framing choruses provide both a commentary and an emotional interpretation of the biblical text, one that is designed to effect an actual change of mood and attitude on the part of the believer.

Moreover, the symmetrical structure of the liturgy finds its analogue in Bach’s musical pacing of the Passion. This is most evident when Bach wishes to highlight the importance or irony of a particular event or concept. For instance, the point at which Peter swears that he will not deny Christ is surrounded by two verses of the Passion Chorale, the second (“Ich will hier bei dir stehen”) a semitone below the first (“Erkenne mich, mein Hüter”). This therefore functions as a musical metaphor of descent or depression, alluding to the frailty of human promises.

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The aria “Aus Liebe will mein Heiland sterben” is perhaps the most important of all since it underlines one of the central themes of the Matthew Passion—that Christ died for the love of humankind—and this is the focal point falling between the two matching choruses, “Laß ihn Kreuzigen”. These—depicting the crowd’s desire to crucify Christ—provide a vivid antithesis to Christ’s love, but, given the fact that the second chorus (coming directly after “Aus Liebe”) is a tone higher, there is a sense that Christ’s supreme act of love has changed things in an upward, positive direction: we recognize it as precisely the same music, yet every note is different. Thus the music could act as a metaphor for the mystery of our own spiritual development: we remain exactly the same beings yet we are profoundly changed.

It is not difficult to understand some of the complaints that members of the congregation voiced in Bach’s time; the Passions do, after all, borrow liberally from secular conventions such as dance and, particularly, opera. However, the Matthew Passion also draws heavily from the long traditions of spiritual meditation by which the story is interspersed with the regular breaks (fifteen in all) provided by the paired ariosos and arias.

These force the implied listener into personal contemplation; the chorales moreover engender the sense of a community response to the biblical events. The whole thus has something of the character of a Lutheran Stations of the Cross. The free text follows Luther’s own meditations on the Passion which require the believer first to acknowledge his own guilt and show remorse, then to recognize that Christ has suffered on our behalf—that his love will conquer all—and, finally, to experience reconciliation with Christ and to imitate his example (most movingly captured in the final aria “Mache dich”). According to Luther, this ambition to imitate Christ could not be fulfilled without our having gone through these earlier stages.

Particularly subtle in the construction of the free poetry (by the Leipzig poet, Picander) and Bach’s musical setting is the emphasis on dialogue form, necessitating the performing format of double chorus and orchestra. This rhetorical device allows for contrasting or even opposing points of view to be presented simultaneously (e.g. “So ist mein Jesus nun gefangen” / ”Laßt ihn, haltet, bindet nicht!”), complimentary points (“Ach, nun ist mein Jesu hin” / ”Wo ist denn dein Freund hingegangen”), or a dialogue between a single speaker and a group (“Ich will bei meinem Jesu wachen” / ”So schlafen unsre Sünden ein”). All of these devices serve to personify the various voices within a single listener, acting out one’s reactions and conflicts.

The most impressive of the dialogue numbers is the opening chorus, which could be considered the Exordium (the traditional opening section of an oration). This is a dialogue between Christian believers and the Old Testament figures, the Daughters of Zion (from the Song of Songs). The theme of love in the Song of Songs is recast in a Christian context with Christ as the loving bridegroom and the church as his bride. A third element is introduced with the German chorale on the Agnus Dei, “O Lamm Gottes, unschuldig,” sung by ripieno sopranos (often boys’ voices today, in a tradition that dates back to the nineteenth century).

Program Notes An understanding of the rhetoric of the Lutheran sermon as both persuasive and cunningly ornamental sheds a significant light on the role of music in the liturgy of Bach’s era.

With its unfolding levels of symbolism, theological interpretation and—most striking of all—psychological insight, the Matthew Passion is perhaps the most challenging and ambitious Christian artwork. It is thus not entirely surprising that Bach seems to have spent considerable time and care in preparing the work. He probably began writing it in 1725 but did not finish or perfect it in time for the Good Friday performance; the earlier John Passion was performed on this occasion, only a year after its premiere and containing a substitute chorale fantasia (“O Mensch, bewein”) that eventually became part of the Matthew Passion. Bach did not present the latter work until 1727 and refined it again during the 1730s.

During the last few years of his life he went to great trouble to repair the autograph score, sewing in new patches of paper that are designed to be barely perceptible to the casual reader.

This could hardly have been necessitated by the performing demands of the time and points to the special status Bach seems to have afforded the work, a status that was not a general conceptual possibility until the early nineteenth century. It is not surprising that the work became an immediate “masterwork” at the time of its revival by Mendelssohn in 1829; this was precisely the period when such a concept was developed.

Detail from Bach’s autograph copy of the Soprano in Ripieno part.

This would have had particular significance for members of Bach’s congregation since they would have heard this hymn at the conclusion of the morning Eucharistic liturgy. Christ is thus portrayed as an innocent sacrificial lamb, an image that points towards the Apocalypse when Christ as a lamb rules the New Jerusalem, a bridegroom to the community of all believers. In Bach’s time this melody would have sounded out loudly from the second organ at the east of the church, a graphic depiction of the direction of Christ’s throne in the New Jerusalem. In all, then, this chorus sets up three temporal levels, the ancient Daughters of Zion in dialogue with the Christians of the New Testament, both pointing forward to the future union with the Lamb, achieved through his ultimate love (of which we are about to hear). We may also note that the chorale is the only element of the chorus in the major mode, a vision of the celestial city that, at this time, is still subservient to the earthly tonic of e minor.

The analogy between the Bach-Picander Matthew Passion and a sermon is thus not to be taken lightly. Moreover, for about half the aria texts Picander drew from a series of Passion sermons by the theologian Heinrich Müller (published in 1681). Given that Bach himself possessed these, he may have instigated the borrowing. This not only shows that both were thinking along the lines of sermon composition but also that the sermon was an important poetic genre of the time, as much artistic elaboration as stern preaching.

Bach shared something of the encyclopedic urge of his age, and in the Matthew Passion compiled virtually every possible musical form available for an oratorio: recitatives (accompanied and secco), arioso, aria (several types which include dance and concerto elements), chorales, chorale settings, choruses, and motets. Together with two elements unusual in Bach works—the doubled forces and the “string halo” for Christ’s utterances—these elements render it far more ambitious than any opera of the age and something which works on rather more levels than the more brutally effective John Passion.

Bach obviously saw all excellent earthly things as capable of serving the highest purpose; it is precisely this religious conception of music and of the world as a whole that lies at the heart of most disputes concerning church music. To some—then as now—nothing does religion a finer service than Bach’s music; to others, sumptuous music undermines a transcendent view of the Godly and spiritual, which are to be kept somewhat apart from the world. While it is obvious that our contemporary horizon is very different from that of Bach’s time and, consequently, many meanings and implications in the work are lost, we have gained many more dimensions and modes of appreciation. Bach spun a dialogue between Old and New Testaments, between both these elements and the Lutheran tradition (especially with the traditional chorales) and between all these and the believer of his own time (all together pointing towards the Apocalypse); to these we can add a rich history of reception (with both its insights and mystifications) and our own particular standpoint, within or without the Christian tradition. © 2012 John Butt 17

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Bach’s MASS IN B MINOR Rameau’s PIGMALION Purcell’s DIDO & AENEAS THE LEIPZIG MASTERS Distinguished Artist Series Chamber Music Series Academy-in-Action Series Free Public Lectures & Master Classes Colloquium: “Invitation to the Dance”

San Francisco’s Summer Bach Festival

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FESTIVAL EVENTS

THURSDAY JULY 12 5:00 p.m. Opening Night Gala Dinner 8:00 p.m. Chamber Series: Music by J. S. Bach • Sonata in A Major for Violin & Harpsichord • Ich habe genug, cantata 82 • Sonata in D Major for Viola da gamba & Harps • Brandenburg Concerto No. 6 in B-flat Major

Masterworks Series

Annual performances of Bach’s Mass in B Minor, large-scale instrumental and vocal works, and concert performances of Baroque oratorio and opera.

Jeffrey Thomas conducts the American Bach Soloists Academy Orchestra and soloists, joined by the American Bach Choir and Festival Chorus. ($18 to $50)

FRIDAY JULY 13 8:00 p.m. Chamber Series: Parisian Baroque • Couperin: Sonata “La Sultane” & La Paix du Par • Leclair: Flute Sonata No. 2 in E Minor • Clerambault: Chaconne in D Major • Rameau: IIIe Pièce de Clavecin en Concert

Chamber Series

Virtuoso performances by the American Bach Soloists of both favorite and lesser-known masterpieces by Bach and his contemporaries. ($18 to $40)

SATURDAY JULY 14 2:30 p.m. Public Colloquium: “Invitation to the 8:00 p.m. Masterworks Series: The Leipzig Mas • Kuhnau: Ihr Himmel jubilirt von Oben • Graupner: Magnificat in C Major • Telemann: La Bourse (Paris Stock Exchange) • Bach: Orchestral Suite No. 3 in D Major

Distinguished Artist Series

New for 2012, these concerts feature performances by acclaimed early music specialists. Within the framework of an intimate recital, instrumentalists and singers will present solo works with accompaniment, in programs built around themes of cultures, places, or events in history. ($18 to $40)

SUNDAY JULY 15 2:00 p.m. Masterworks Series: Mass in B Minor

MONDAY JULY 16 3:00 p.m. Master Class: Harpsichord 5:00 p.m. Lecture: Jeffrey Thomas - The Evolution 8:00 p.m. Academy-in-Action • Bach Cantatas and works by Baroque masters

Academy-in-Action Series

These performances feature ABS Academy participants— the next generation of early music virtuosi—as they perform Bach cantatas conducted by Academy co-director Corey Jamason, and chamber music by masters of the Baroque. ($10)

TUESDAY JULY 17 3:00 p.m. Master Class: Violin & Viola 5:00 p.m. Lecture: Corey Jamason - A Day in the Li 8:00 p.m. Academy-in-Action • Bach Cantatas and works by Baroque masters

Public Colloquium

Engaging forums for performers, presenters, and audience members alike explore a variety of topics including arts collaborations, education, community outreach, and trends in arts programming. (Free)

WEDNESDAY JULY 18 3:00 p.m. Master Class: Voice 5:00 p.m. Lecture: Steven Lehning - Purcell’s Orch 8:00 p.m. Academy-in-Action • Bach Cantatas and works by Baroque masters

Lecture Series

THURSDAY JULY 19 3:00 p.m. Master Class: ‘Cello/Viola da gamba/Vio 5:00 p.m. Lecture: Debra Nagy - Rameau the Rev

Join the members of the American Bach Soloists Academy for a series of enlightening and informative public lectures presented by the Academy faculty and guest speakers. (Free)

FRIDAY JULY 20 3:00 p.m. Master Class: Winds & Brass 5:00 p.m. Lecture: Robert Mealy - Rameau & the Me of the Baroque 8:00 p.m. Masterworks Series: Pigmalion and D

Master Class Series

The ABS Academy opens its doors to the public to witness the artistic transformations that make Master Classes so tremendously exciting. You’ll take with you knowledge and insights usually known only to performers and their master teachers. (Free)

American Bach Soloists Academy

In July 2010, ABS inaugurated North America’s newest annual professional training program in Historically Informed Performance Practice. The American Bach Soloists Academy—the educational component of the ABS Summer Bach Festival—offers advanced conservatory-level students and emerging professionals unique opportunities to study and perform Baroque music in a multi-disciplinary learning environment.

Elizabeth Blumenstock violin & viola

Ian Howell

countertenor

Corey Jamason harpsichord

Steven Lehning violone

Judith Malafronte alto

Michael McCraw bassoon

Robert Mealy violin & viola

SATURDAY JULY 21 4:30 p.m. Lecture: Robert Commanday A Millennium in 50 Years...The Discovery of Early M 8:00 p.m. Distinguished Artist Series: Ian Howe • Songs and Consort Music by William Byrd and • J.C. Bach: Ach, daß ich Wassers gnug hätte • Hoffmann: Schlage doch, gewünschte Stunde • J.S. Bach: Gott soll allein mein Herze haben, cant SUNDAY JULY 22 2:00 p.m. Masterworks Series: Mass in B Minor

Program and Artists subject to change

All events at the San Francisco Conservatory

americanbach.org (4

2012 FESTIVAL HIGHLIGHTS • Bach & Leipzig’s St. Thomas Church • • Renaissance & Restoration London • • Parisian Baroque Composers •

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The American Bach Soloists FESTIVAL & ACADEMY is held at the

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Bach’s Mass in B Minor

The composition that many call the greatest musical work of all time will be performed by the ABS Academy Orchestra, the American Bach Choir, and soloists from the Academy, conducted by ABS Music Director Jeffrey Thomas.

Fanfare Magazine wrote that “Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach performance.”

Rameau’s PIGMALION & Purcell’s DIDO & AENEAS

In this double-bill of Baroque operas, love brings life to a statue and sorrowful death to a queen. Rameau’s protagonist, the sculptor Pigmalion, faithfully entreats Venus to turn his artistry into a beautiful (singing) creature. In Purcell’s tragedy, the ambitious Trojan Prince, Aeneas, leaves his betrothed Queen of Carthage abandoned and resigned to a lovelorn death. Vocalists and instrumentalists from the 2012 ABS Academy will be joined by the American Bach Choir in this evening about the magical and mortal powers of love.

n of Bach’s Cantatas

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ife of a Parisian Musician

Bach, Graupner, Kuhnau, and Telemann: THE LEIPZIG MASTERS

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Johann Sebastian Bach succeeded Johann Kuhnau as cantor of the Thomaskirche (St. Thomas Church) in Leipzig. But Bach was the Leipzig town council’s third choice! This program of masterful compositions presents the music of Kuhnau and Bach, along with masterpieces by Christoph Graupner and Georg Philipp Telemann - the first and second choice candidates for the job.

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Distinguished Artist Series: IAN HOWELL - VOICE & VIOLS

Praised by San Francisco Classical Voice for the “heart at the core of his soulful sound,” countertenor Ian Howell will present a recital accompanied by members of ABS and a viol consort drawn from the 2012 Academy. The performance will feature J.S. Bach’s solo cantata “Gott soll allein,” and music by William Byrd, Henry Purcell, Johann Christoph Bach, Georg Melchior Hoffman, and Franz Tunder.

olone volutionary

etamorphosis

Public Colloquium: “Invitation to the Dance”

Sandra Miller

Join Academy faculty and participants in an exploration of the dances that provide the foundation and framework of Baroque music. Guest artist Sandra Noll Hammond will give an informative presentation and lead Academy members in a Baroque Dance workshop.

Debra Nagy

An Afternoon with Robert Commanday

Dido & Aeneas

Music ell - Voice & Viols d Henry Purcell

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y of Music, 50 Oak Street.

415) 621-7900

flauto traverso

oboe & recorder

Elisabeth Reed

violoncello & viola da gamba

William Sharp baritone

Jeffrey Thomas conductor

John Thiessen trumpet

Tanya Tomkins violoncello

Robert Commanday, celebrated music critic, conductor, and founding editor of San Francisco Classical Voice, will give a lecture titled “A Millennium in 50 Years: The Discovery of Early Music,” about the rich history of the early music movement in the San Francisco Bay Area and beyond. Following the lecture and joined by his colleagues and associates, Mr. Commanday’s outstanding contributions to the cultural life of Northern California will be celebrated at this special tribute.

The Festival Colloquium, Lectures, and Public Master Classes are free events.

For more information visit: SFBACHFESTIVAL.org

Text & Translation Passio Domini nostri J. C. secundum Evangelistam Matthaeum MATTHÄUS-PASSION BWV 244b

I. Teil / Part I CORI Kommt, ihr Töchter, helft mir klagen, Sehet—Wen?—den Bräutigam Seht ihn—Wie?—als wie ein Lamm!

Sehet,—Was?—seht die Geduld, Seht—Wohin?—auf unsre Schuld; Sehet ihn aus Lieb und Huld Holz zum Kreuze selber tragen!

CHORAL O Lamm Gottes, unschuldig Am Stamm des Kreuzes geschlachtet, Allzeit erfunden geduldig, Wiewohl du warest verachtet.

All Sünd hast du getragen, Sonst müßten wir verzagen.

Erbarm dich unser, oh Jesu !

Come, you daughters, help me lament, See—Whom?—the bridegroom, See him—How?—like a lamb!

See—What?—the patience, See—Where?—upon our guilt; See him with love and favor Carrying the wooden cross himself!

Oh Lamb of God unspotted Slaughtered on the stem of the cross, Always found patient, Even as you are scorned.

You have borne all sin, Otherwise would we despair.

Have mercy on us, oh Jesus!

Dearest Jesus, what have you done wrong, That such a cruel sentence has been spoken?

What is your guilt, into what misdeeds Have you gotten?

EVANGELISTA Da versammleten sich die Hohenpriester und Schriftgelehrten und die Ältesten im Volk in dem Palast des Hohenpriesters, der da hieß Kaiphas, und hielten Rat, wie sie Jesum mit Listen griffen und töteten. Sie sprachen aber: Then the chief priests and the elders of the people gathered in the palace of the high priest, who was called Caiaphas, and took counsel together in order to arrest Jesus by stealth and kill him. But they said, CORI Ja nicht auf das Fest, auf daß nicht ein Aufruhr werde im Volk.

“Not during the feast, lest there be a tumult among the people.”

EVANGELISTA Da nun Jesus war zu Bethanien, im Hause Simonis des Aussätzigen, trat zu ihm ein Weib, die hatte ein Glas mit köstlichem Wasser und goß es auf sein Haupt, da er zu Tische saß. Da das seine Jünger sahen, wurden sie unwillig und sprachen: Now when Jesus was at Bethany in the house of Simon the leper, a woman came up to him with an alabaster flask of very expensive ointment, and she poured it on his head, as he sat at table. But when the disciples saw it, they were indignant, saying,

“Why do you trouble the woman? For she has done a beautiful thing to me. For you always have the poor with you, but you will not always have me. In pouring this ointment on my body she has done it to prepare me for burial. Truly, I say to you, wherever this gospel is preached in the whole world, what she has done will be told in memory of her.”

RECITATIVO – ALTO I Du lieber Heiland du, Wenn deine Jünger töricht streiten, Daß dieses fromme Weib Mit Salben deinen Leib Zum Grabe will bereiten, So lasse mir inzwischen zu, Von meiner Augen Tränenflüssen Ein Wasser auf dein Haupt zu gießen!

You dear Savior, you, When your disciples foolishly quarrel, Because this loyal woman With oils would make Your body ready to bury, So in the meantime grant me this, That from my eyes streams of tears could be Water to pour upon your head!

ARIA – ALTO I Buß und Reu Knirscht das Sündenherz entzwei, Daß die Tropfen meiner Zähren Angenehme Spezerei, Treuer Jesu, dir gebären.

Penance and remorse Grind the sinful heart in two, That the drops of my tears Be a pleasing ointment, Faithful Jesus, offered to you.

CORO I Wozu dienet dieser Unrat? Dieses Wasser hie mögen teuer verkauft und den Armen gegeben werden.

EVANGELISTA Da ging hin der Zwölfen einer, mit Namen Judas Ischarioth, zu den Hohenpriestern und sprach:

“Why this waste? For this ointment might have been sold for a large sum, and given to the poor.”

Then one of the twelve, who was called Judas Iscariot, went to the chief priests and said,

JESUS Ihr wisset, daß nach zweien Tagen Ostern wird, und des Menschen Sohn wird überantwortet werden, daß er gekreuziget werde.

EVANGELISTA Da das Jesus merkete, sprach er zu ihnen:

JUDAS Was wollt ihr mir geben? Ich will ihn euch verraten.

“You know that after two days the Passover is coming, and the Son of man will be delivered up to be crucified.”

JESUS Was bekümmert ihr das Weib? Sie hat ein gut Werk an mir getan. Ihr habet allezeit Arme bei euch, mich aber habt ihr nicht allezeit.

Daß sie dies Wasser hat auf meinen Leib gegossen, hat sie getan, daß man mich begraben wird. Wahrlich, ich sage euch Wo dies Evangelium geprediget wird in der ganzen Welt, da wird man auch sagen zu ihrem Gedächtnis, was sie getan hat.

EVANGELISTA Da Jesus diese Rede vollendet hatte, sprach er zu seinen Jüngern: When Jesus had finished all these sayings, he said to his disciples,

CHORAL Herzliebster Jesu, was hast du verbrochen, Daß man ein solch scharf Urteil hat gesprochen?

Was ist die Schuld, in was für Missetaten Bist du geraten?

22

But Jesus, aware of this, said to them,

“What will you give me if I deliver him to you?”

EVANGELISTA Und sie boten ihm dreißig Silberlinge. Und von dem an suchte er Gelegenheit, daß er ihn verriete.

And they paid him thirty pieces of silver.

And from that moment he sought an opportunity to betray him.

Text & Translation ARIA – SOPRANO II Blute nur, du liebes Herz!

Ach! ein Kind, das du erzogen, Das an deiner Brust gesogen, Droht den Pfleger zu ermorden, Denn es ist zur Schlange worden.

Bleed, oh dear heart!

Ah! a child that you have nurtured, Which has suckled at your breast, Threatens to murder its nurse, For it has become a serpent.

EVANGELISTA Aber am ersten Tage der süßen Brot traten die Jünger zu Jesu und sprachen zu ihm: Now on the first day of Unleavened Bread the disciples came to Jesus, saying, CORO I Wo willst du, daß wir dir bereiten, das Osterlamm zu essen?

“Where will you have us prepare for you to eat the Passover?”

EVANGELISTA Er sprach: He said, JESUS Gehet hin in die Stadt zu einem und sprecht zu ihm: Der Meister laßt dir sagen: Meine Zeit ist hier, ich will bei dir die Ostern halten mit meinen Jüngern.

“Go into the city to a certain one, and say to him, `The Teacher says, My time is at hand; I will keep the Passover at your house with my disciples.’”

EVANGELISTA Und die Jünger täten, wie ihnen Jesus befohlen hatte, und bereiteten das Osterlamm. Und am Abend satzte er sich zu Tische mit den Zwölfen. Und da sie aßen, sprach er: And the disciples did as Jesus had directed them, and they prepared the Passover.

When it was evening, he sat at table with the twelve disciples; and as they were eating, he said, JESUS Wahrlich, ich sage euch: Einer unter euch wird mich verraten.

“Truly, I say to you, one of you will betray me.”

EVANGELISTA Und sie wurden sehr betrübt und huben an, ein jeglicher unter ihnen, und sagten zu ihm: And they were very sorrowful, and began to say to him one after another,

CORO I Herr, bin ich’s?

“Lord, is it I?” CHORAL Ich bin’s, ich sollte büßen, An Händen und an Füßen Gebunden in der Höll.

Die Geißeln und die Banden Und was du ausgestanden, Das hat verdienet meine Seel.

It is I, I must atone, With hands and feet Bound in Hell.

The scourges and fetters And that which you have suffered; This, my soul deserves.

EVANGELISTA Er antwortete und sprach: He answered, JESUS Der mit der Hand mit mir in die Schüssel tauchet, der wird mich verraten. Des Menschen Sohn gehet zwar dahin, wie von ihm geschrieben stehet; doch wehe dem Menschen, durch welchen des Menschen Sohn verraten wird! Es wäre ihm besser, daß derselbige Mensch noch nie geboren wäre.

“He who has dipped his hand in the dish with me, will betray me. The Son of man goes as it is written of him, but woe to that man by whom the Son of man is betrayed!

It would have been better for that man if he had not been born.”

EVANGELISTA Da antwortete Judas, der ihn verriet, und sprach: Judas, who betrayed him, said, JUDAS Bin ich’s, Rabbi?

“Is it I, Master?”

EVANGELISTA Er sprach zu ihm: He said to him, JESUS Du sagest’s.

“You have said so.”

EVANGELISTA Da sie aber aßen, nahm Jesus das Brot, dankete und brach’s und gab’s den Jüngern und sprach:

Now as they were eating, Jesus took bread, and blessed, and broke it, and gave it to the disciples and said, JESUS Nehmet, esset, das ist mein Leib.

“Take, eat; this is my body.”

EVANGELISTA Und er nahm den Kelch und dankte, gab ihnen den und sprach: And he took a cup, and when he had given thanks he gave it to them, saying, JESUS Trinket alle daraus; das ist mein Blut des neuen Testaments, welches vergossen wird für viele zur Vergebung der Sünden. Ich sage euch: Ich werde hinfort nicht mehr von diesem Gewächs des Weinstocks trinken bis an den Tag, da ich’s neu trinken werde mit euch in meines Vaters Reich.

“Drink of it, all of you; for this is my blood of the covenant, which is poured out for many for the forgiveness of sins. I tell you I shall not drink again of this fruit of the vine until that day when I drink it new with you in my Father’s kingdom.”

RECITATIVO – SOPRANO I Wiewohl mein Herz in Tränen schwimmt, Daß Jesus von mir Abschied nimmt, So macht mich doch sein Testament erfreut: Sein Fleisch und Blut, o Kostbarkeit, Vermacht er mir in meine Hände.

Wie er es auf der Welt mit denen Seinen Nicht böse können meinen, So liebt er sie bis an das Ende.

My heart swims in tears, Because Jesus takes his departure, But I rejoice in his Testament: His flesh and blood, a treasure Bequeathed into my own hands.

As he, in the world with his own Would never be capable of doing evil, He loves us to the end of time.

ARIA – SOPRANO I Ich will dir mein Herze schenken, Senke dich, mein Heil, hinein!

Ich will mich in dir versenken; Ist dir gleich die Welt zu klein, Ei, so sollst du mir allein Mehr als Welt und Himmel sein.

I want to give you my heart, Sink into it for my salvation!

I will immerse myself in you; If for you the world is too small, Oh, then in me alone you shall be More than earth and heaven.

23

Text & Translation EVANGELISTA Und da sie den Lobgesang gesprochen hatten, gingen sie hinaus an den Ölberg. Da sprach Jesus zu ihnen:

EVANGELISTA Petrus sprach zu ihm:

And when they had sung a hymn, they went out to the Mount of Olives. Then Jesus said to them,

PETRUS Und wenn ich mit dir sterben müßte, so will ich dich nicht verleugnen.

JESUS In dieser Nacht werdet ihr euch alle ärgern an mir. Denn es stehet geschrieben: Ich werde den Hirten schlagen, und die Schafe der Herde werden sich zerstreuen. Wenn ich aber auferstehe, will ich vor euch hingehen in Galiläam.

“Even if I must die with you, I will not deny you.”

“You will all fall away because of me this night; for it is written, ‘I will strike the shepherd, and the sheep of the flock will be scattered.’ But after I am raised up, I will go before you to Galilee.”

CHORAL Es dient zu meinen Freuden, Und kömmt mir herzlich wohl, Wenn ich in deinem Leiden, Mein Heil, mich finden soll.

Ach möcht ich, o mein Leben, An deinem Kreuze hier, Mein Leben von mir geben, Wie sohl geschähe mir!

CHORAL Erkenne mich, mein Hüter, Mein Hirte, nimm mich an!

Von dir, Quell aller Güter, Ist mir viel Guts getan.

Dein Mund hat mich gelabet Mit Milch und süßer Kost, Dein Geist hat mich begabet Mit mancher Himmelslust.

Know me, my guardian, My shepherd, adopt me!

From you, the source of all good things, I have been given many blessings.

Your mouth has refreshed me With milk and sweet food, Your spirit has gifted me With many heavenly joys.

Peter said to him,

EVANGELISTA Desgleichen sagten auch alle Jünger.

And so said all the disciples.

It serves to give me joy And does my heart good When I, in your sufferings, My saviour, would find myself.

Ah, if I could, O my life, Here at your cross give Give my life away, How fortunate that would be for me!

EVANGELISTA Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane, und sprach zu seinen Jüngern:

EVANGELISTA Petrus aber antwortete und sprach zu ihm:

Then Jesus went with them to a place called Gethsemane, and he said to his disciples,

Peter declared to him,

JESUS Setzet euch hie, bis daß ich dort hingehe und bete.

PETRUS Wenn sie auch alle sich an dir ärgerten, so will ich doch mich nimmermehr ärgern.

“Though they all fall away because of you, I will never fall away.”

EVANGELISTA Jesus sprach zu ihm: Jesus said to him,

“Sit here, while I go yonder and pray.”

EVANGELISTA Und nahm zu sich Petrum und die zween Söhne Zebedäi und fing an zu trauern und zu zagen. Da sprach Jesus zu ihnen: And taking with him Peter and the two sons of Zebedee, he began to be sorrowful and troubled. Then he said to them,

JESUS Wahrlich, ich sage dir: In dieser Nacht, ehe der Hahn krähet, wirst du mich dreimal verleugnen.

JESUS Meine Seele ist betrübt bis an den Tod, bleibet hie und wachet mit mir.

“Truly, I say to you, this very night, before the cock crows, you will deny me three times.”

“My soul is very sorrowful, even to death; remain here, and watch with me.”

24

RECITATIVO – TENORE I, CORO II O Schmerz!

Hier zittert das gequälte Herz; Wie sinkt es hin, wie bleicht sein Angesicht!

—Was ist die Ursach aller solcher Plagen?

Der Richter führt ihn vor Gericht.

Da ist kein Trost, kein Helfer nicht.

—Ach! meine Sünden haben dich geschlagen; Er leidet alle Höllenqualen, Er soll vor fremden Raub bezahlen.

—Ich, ach Herr Jesu, habe dies verschuldet —Was du erduldet.

Ach, könnte meine Liebe dir, Mein Heil, dein Zittern und dein Zagen Vermindern oder helfen tragen, Wie gerne blieb ich hier!

Oh anguish!

Here trembles the tormented heart; How it sinks down, how pale is his countenance!

—What is the cause for such troubles?

The judge carries him before the law; There is no comfort, no reliever.

—Ah, my sins have defeated you; He suffers all of Hell’s plagues, He must pay for others’ crimes.

—I, oh Lord Jesus, have incurred this debt —For which you suffer!

Oh, could my love for you, My Savior, diminish or help bear Your trembling and your terror, How gladly would I stay here!

ARIA – TENORE I, CORO II Ich will bei meinem Jesu wachen, —So schlafen unsre Sünden ein.

Meinen Tod büßet seine Seelennot; Sein Trauren machet mich voll Freuden.

—Drum muß uns sein verdienstlich Leiden —Recht bitter und doch süße sein.

I will watch beside my Jesus.

—So that our sins might fall asleep.

My death is purged by his souls’ hardship; His sorrow fills me with joy.

—So his meritorious suffering must —Be justly bitter for us, and yet so sweet.

EVANGELISTA Und ging hin ein wenig, fiel nieder auf sein Angesicht und betete und sprach: And going a little farther he fell on his face and prayed, JESUS Mein Vater, ist’s möglich, so gehe dieser Kelch von mir; doch nicht wie ich will, sondern wie du willt.

“My Father, if it be possible, let this cup pass from me; nevertheless, not as I will, but as thou wilt.”

Text & Translation RECITATIVO – BASSO II Der Heiland fällt vor seinem Vater nieder; Dadurch erhebt er mich und alle Von unserm Falle Hinauf zu Gottes Gnade wieder.

Er ist bereit, Den Kelch, des Todes Bitterkeit Zu trinken, In welchen Sünden dieser Welt Gegossen sind und häßlich stinken, Weil es dem lieben Gott gefällt.

The Savior falls prostrate before his Father Thereby raising me and all men up Out of our trap, Up into God’s mercy again.

He is prepared To drink from the chalice Of death’s bitterness, Into which the sins of the world Have been poured, hideously reeking, Because it pleases the loving God. ARIA – BASSO II Gerne will ich mich bequemen, Kreuz und Becher anzunehmen, Trink ich doch dem Heiland nach.

Denn sein Mund, Der mit Milch und Honig fließet, Hat den Grund Und des Leidens herbe Schmach Durch den ersten Trunk versüßet.

Gladly will I submit myself, To take up the cross and chalice And drink as my Savior.

For his mouth, Which flows with milk and honey, Has made the reason And bitter shame of suffering Sweet from the first drink.

EVANGELISTA Und er kam zu seinen Jüngern und fand sie schlafend und sprach zu ihnen: And he came to the disciples and found them sleeping; and he said to them, JESUS Könnet ihr denn nicht eine Stunde mit mir wachen? Wachet und betet, daß ihr nicht in Anfechtung fallet! Der Geist ist willig, aber das Fleisch ist schwach.

“So, could you not watch with me one hour?

Watch and pray that you may not enter into temptation; the spirit indeed is willing, but the flesh is weak.”

EVANGELISTA Zum andernmal ging er hin, betete und sprach: Again, for the second time, he went away and prayed,

JESUS Mein Vater, ist’s nicht möglich, daß dieser Kelch von mir gehe, ich trinke ihn denn, so geschehe dein Wille.

“My Father, if this cannot pass unless I drink it, thy will be done.”

CHORAL Was mein Gott will, das g’scheh allzeit, Sein Will, der ist der beste, Zu helfen den’n er ist bereit, Die an ihn gläuben feste.

Er hilft aus Not, der fromme Gott, Und züchtiget mit Maßen.

Wer Gott vertraut, fest auf ihn baut, Den will er nicht verlassen.

What my God intends, that always comes to pass, His will, that is the best, He is ready to help Those who firmly believe in him.

He helps those in need, this pious God, And corrects with measure.

Whoever relies on God, builds firmly on him, Will not be forsaken.

EVANGELISTA Und er kam und fand sie aber schlafend, und ihre Augen waren voll Schlafs. Und er ließ sie und ging abermal hin und betete zum drittenmal und redete dieselbigen Worte.

Da kam er zu seinen Jüngern und sprach zu ihnen: And again he came and found them sleeping, for their eyes were heavy. So, leaving them again, he went away and prayed for the third time, saying the same words. Then he came to the disciples and said to them, JESUS Ach! wollt ihr nun schlafen und ruhen? Siehe, die Stunde ist hie, daß des Menschen Sohn in der Sünder Hände überantwortet wird.

Stehet auf, lasset uns gehen; siehe, er ist da, der mich verrät.

“Are you still sleeping and taking your rest?

Behold, the hour is at hand, and the Son of man is betrayed into the hands of sinners.

Rise, let us be going; see, my betrayer is at hand.”

EVANGELISTA Und als er noch redete, siehe, da kam Judas, der Zwölfen einer, und mit ihm eine große Schar mit Schwerten und mit Stangen von den Hohenpriestern und Altesten des Volks. Und der Verräter hatte ihnen ein Zeichen gegeben und gesagt: »Welchen ich küssen werde, der ist’s, den greifet!« Und alsbald trat er zu Jesu und sprach:

While he was still speaking, Judas came, one of the twelve, and with him a great crowd with swords and clubs, from the chief priests and the elders of the people. Now the betrayer had given them a sign, saying, “The one I shall kiss is the man; seize him.”

And he came up to Jesus at once and said, JUDAS Gegrüßet seist du, Rabbi!

“Hail, Master!”

EVANGELISTA Und küssete ihn. Jesus aber sprach zu ihm: And he kissed him. Jesus said to him, JESUS Mein Freund, warum bist du kommen?

“Friend, why are you here?”

EVANGELISTA Da traten sie hinzu und legten die Hände an Jesum und griffen ihn.

Then they came up and laid hands on Jesus and seized him.

ARIA – SOPRANO I, ALTO I, CORO II So ist mein Jesus nun gefangen.

—Laßt ihn, haltet, bindet nicht!

Mond und Licht Ist vor Schmerzen untergangen, Weil mein Jesus ist gefangen.

—Laßt ihn, haltet, bindet nicht!

Sie führen ihn, er ist gebunden.

Now my Jesus has been taken.

—Let him go, halt, do not bind him!

Moon and light For pain have hidden Because my Jesus has been taken.

—Let him go, halt, do not bind him!

They lead him away, he is bound.

CORI Sind Blitze, sind Donner in Wolken verschwunden?

Eröffne den feurigen Abgrund, o Hölle, Zertrümmre, verderbe, verschlinge, zerschelle Mit plötzlicher Wut Den falschen Verräter, das mördrische Blut!

Has lightning, has thunder vanished in the clouds?

Open your fiery abyss, oh Hell, Shatter, ruin, devour, smash With sudden fury The false traitor, the murderous blood!

EVANGELISTA Und siehe, einer aus denen, die mit Jesu waren, reckete die Hand aus und schlug des Hohenpriesters Knecht und hieb ihm ein Ohr ab. Da sprach Jesus zu ihm: 25

Text & Translation And behold, one of those who were with Jesus stretched out his hand and drew his sword, and struck the slave of the high priest, and cut off his ear. Then Jesus said to him, JESUS Stecke dein Schwert an seinen Ort; denn wer das Schwert nimmt, der soll durchs Schwert umkommen. Oder meinest du, daß ich nicht könnte meinen Vater bitten, daß er mir zuschickte mehr denn zwölf Legion Engel?

Wie würde aber die Schrift erfüllet? Es muß also gehen.

“Put your sword back into its place; for all who take the sword will perish by the sword. Do you think that I cannot appeal to my Father, and he will at once send me more than twelve legions of angels? But how then should the scriptures be fulfilled, that it must be so?”

EVANGELISTA Zu der Stund sprach Jesus zu den Scharen: At that hour Jesus said to the crowds, JESUS Ihr seid ausgegangen als zu einem Mörder, mit Schwerten und mit Stangen, mich zu fahen; bin ich doch täglich bei euch gesessen und habe gelehret im Tempel, und ihr habt mich nicht gegriffen. Aber das ist alles geschehen, daß erfüllet würden die Schriften “Have you come out as against a robber, with swords and clubs to capture me? Day after day I sat in the temple teaching, and you did not seize me. But all this has taken place, that the scriptures of the prophets might be fulfilled.”

EVANGELISTA Da verließen ihn alle Jünger und flohen.

Then all the disciples forsook him and fled.

CHORAL Jesum laß ich nicht von mir, Geh ihm ewig an der Seiten; Christus läßt mich für und für Zu den Lebensbächlein leiten.

Selig, wer mit mir so spricht: Meinen Jesum laß ich nicht.

I will not let Jesus go from me, I will walk beside him forever; Forever and ever Jesus will Lead me to the springs of life.

Blessed, whoever says with me: I will not leave my Jesus.

—INTERMISSION— 26

II. Teil / Part II ARIA – BASSO I, CORO II Ach! nun ist mein Jesus hin!

—Wo ist denn dein Freund hingegangen, —O du Schönste unter den Weibern?

Ist es möglich, kann ich schauen?

—Wo hat sich dein Freund hingewandt?

Ach! mein Lamm in Tigerklauen, Ach! wo ist mein Jesus hin?

—So wollen wir mit dir ihn suchen.

Ach! was soll ich der Seele sagen, Wenn sie mich wird ängstlich fragen?

Ach! wo ist mein Jesus hin?

Ah! now my Jesus is gone!

—Where has your friend gone, —Oh you fairest among women?

Is it possible? Can I look on it?

Where has your friend gone to?

Ah! My Lamb is in tiger’s claws!

Ah! Where has my Jesus gone?

—Then we want to search for him with you.

Ah! What should I tell my soul, When, full of fear it asks me?

Ah! Where has my Jesus gone?

EVANGELISTA Die aber Jesum gegriffen hatten, führeten ihn zu dem Hohenpriester Kaiphas, dahin die Schriftgelehrten und Ältesten sich versammlet hatten. Petrus aber folgete ihm nach von ferne bis in den Palast des Hohenpriesters und ging hinein und satzte sich bei die Knechte, auf daß er sähe, wo es hinaus wollte. Die Hohenpriester aber und Ältesten und der ganze Rat suchten falsche Zeugnis wider Jesum, auf daß sie ihn töteten, und funden keines.

Then those who had seized Jesus led him to Caiaphas the high priest, where the scribes and the elders had gathered. But Peter followed him at a distance, as far as the courtyard of the high priest, and going inside he sat with the guards to see the end. Now the chief priests and the whole council sought false testimony against Jesus that they might put him to death, but they found none,

EVANGELISTA Und wiewohl viel falsche Zeugen herzutraten, funden sie doch keins. Zuletzt traten herzu zween falsche Zeugen und sprachen: Although many false witnesses came forward, they could find none. At last two came forward and said, TESTIS I & TESTIS II Er hat gesagt: Ich kann den Tempel Gottes abbrechen und in dreien Tagen denselben bauen.

“This fellow said, `I am able to destroy the temple of God, and to build it in three days.’“ EVANGELISTA Und der Hohepriester stund auf und sprach zu ihm: And the high priest stood up and said, PONTIFEX Antwortest du nichts zu dem, das diese wider dich zeugen?

“Have you no answer to make? What is it that these men testify against you?”

EVANGELISTA Aber Jesus schwieg stille.

But Jesus was silent.

RECITATIVO – TENORE II Mein Jesus schweigt Zu falschen Lügen stille, Um uns damit zu zeigen, Daß sein Erbarmens voller Wille Vor uns zum Leiden sei geneigt, Und daß wir in dergleichen Pein Ihm sollen ähnlich sein Und in Verfolgung stille schweigen.

My Jesus keeps silent Through false lies, So as to show us That his merciful will Is inclined to suffer for us, And that in the same such pain We should be like him And keep silent in persecution.

CHORAL Mir hat die Welt trüglich gericht’ Mit Lügen und mit falschem G’dicht, Viel Netz und heimlich Stricke.

Herr, nimm mein wahr in dieser G’fahr, B’hüt mich für falschen Tücken!

ARIA – TENORE II Geduld!

Wenn mich falsche Zungen stechen.

Leid ich wider meine Schuld Schimpf und Spott, Ei, so mag der liebe Gott Meines Herzens Unschuld rächen.

The world has deceitfully judged me With lies and false invention, With many nets and hidden ropes.

Lord, look after me in this peril, Protect me from false malice.

Patience!

When false tongues stab me.

I suffer against my guilt, Dishonor and ridicule; Ah, then may dear God Avenge my innocent heart.

Text & Translation EVANGELISTA Und der Hohepriester antwortete und sprach zu ihm: And the high priest said to him, PONTIFEX Ich beschwöre dich bei dem lebendigen Gott, daß du uns sagest, ob du seiest Christus, der Sohn Gottes?

“I adjure you by the living God, tell us if you are the Christ, the Son of God.” EVANGELISTA Jesus sprach zu ihm: Jesus said to him, JESUS Du sagest’s. Doch sage ich euch: Von nun an wird’s geschehen, daß ihr sehen werdet des Menschen Sohn sitzen zur Rechten der Kraft und kommen in den Wolken des Himmels.

“You have said so. But I tell you, hereafter you will see the Son of Man seated at the right hand of Power, and coming on the clouds of heaven.”

EVANGELISTA Da zerriß der Hohepriester seine Kleider und sprach: Then the high priest tore his robes, and said, PONTIFEX Er hat Gott gelästert; was dürfen wir weiter Zeugnis? Siehe, itzt habt ihr seine Gotteslästerung gehöret. Was dünket euch?

“He has uttered blasphemy. Why do we still need witnesses? You have now heard his blasphemy. What is your judgment?”

EVANGELISTA Sie antworteten und sprachen: They answered, CORI Er ist des Todes schuldig!

“He deserves death.”

EVANGELISTA Da speieten sie aus in sein Angesicht und schlugen ihn mit Fäusten. Etliche aber schlugen ihn ins Angesicht und sprachen: Then they spat in his face, and struck him; and some slapped him, saying, CORI Weissage uns, Christe, wer ists, der dich schlug?

“Prophesy to us, Christ, who is it that struck you?”

CHORAL Wer hat dich so geschlagen, Mein Heil, und dich mit Plagen So übel zugericht’?

Du bist ja nicht ein Sünder Wie wir und unsre Kinder; Von Missetaten weißt du nicht.

CORO II Wahrlich, du bist auch einer von denen; denn deine Sprache verrät dich.

Who has beaten you My Savior, and so evilly tormented you With troubles?

You are clearly not a sinner, Like we and our children are; Of misdeeds, you know nothing.

EVANGELISTA Da hub er an, sich zu verfluchen und zu schwören:

EVANGELISTA Petrus aber saß draußen im Palast; und es trat zu ihm eine Magd und sprach:

PETRUS Ich kenne des Menschen nicht.

Now Peter was sitting outside in the courtyard. And a maid came up to him, and said, ANCILLA I Und du warest auch mit dem Jesu aus Galiläa.

“You also were with Jesus the Galilean.”

EVANGELISTA Er leugnete aber vor ihnen allen und sprach: But he denied it before them all, saying, PETRUS Ich weiß nicht, was du sagest.

“I do not know what you mean.”

EVANGELISTA Als er aber zur Tür hinausging, sahe ihn eine andere und sprach zu denen, die da waren: And when he went out to the porch, another maid saw him, and she said to the bystanders, ANCILLA II Dieser war auch mit dem Jesu von Nazareth.

“This man was with Jesus of Nazareth.”

EVANGELISTA Und er leugnete abermal und schwur dazu: And again he denied it with an oath, PETRUS Ich kenne des Menschen nicht.

“I do not know the man.”

EVANGELISTA Und über eine kleine Weile traten hinzu, die da stunden, und sprachen zu Petro: After a little while the bystanders came up and said to Peter,

“Certainly you are also one of them, for your accent betrays you.”

Then he began to invoke a curse on himself and to swear,

“I do not know the man.”

EVANGELISTA Und alsbald krähete der Hahn. Da dachte Petrus an die Worte Jesu, da er zu ihm sagte: Ehe der Hahn krähen wird, wirst du mich dreimal verleugnen. Und ging heraus und weinete bitterlich.

And immediately the cock crowed. And Peter remembered the saying of Jesus, “Before the cock crows, you will deny me three times.” And he went out and wept bitterly.

ARIA – ALTO I Erbarme dich, Mein Gott, um meiner Zähren willen!

Schaue hier, Herz und Auge weint vor dir Bitterlich.

Have mercy Lord, My God, for the sake of my tears!

Look here.

Heart and eyes weep before you Bitterly.

CHORAL Bin ich gleich von dir gewichen, Stell ich mich doch wieder ein; Hat uns doch dein Sohn verglichen Durch sein’ Angst und Todespein.

Ich verleugne nicht die Schuld; Aber deine Gnad und Huld Ist viel größer als die Sünde, Die ich stets in mir befinde.

Even though I have strayed from you, I will come back to you again; We have been redeemed by your Son; Through his anguish and pain in death.

I do not deny guilt, But your mercy and favor Is much greater than sin, Which I always find in myself.

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Text & Translation EVANGELISTA Des Morgens aber hielten alle Hohepriester und die Ältesten des Volks einen Rat über Jesum, daß sie ihn töteten. Und bunden ihn, führeten ihn hin und überantworteten ihn dem Landpfleger Pontio Pilato. Da das sahe Judas, der ihn verraten hatte, daß er verdammt war zum Tode, gereuete es ihn und brachte herwieder die dreißig Silberlinge den Hohenpriestern und Ältesten und sprach: When morning came, all the chief priests and the elders of the people took counsel against Jesus to put him to death; and they bound him and led him away and delivered him to Pilate the governor.

When Judas, his betrayer, saw that he was condemned, he repented and brought back the thirty pieces of silver to the chief priests and the elders, saying, JUDAS Ich habe übel getan, daß ich unschuldig Blut verraten habe.

“I have sinned in betraying innocent blood.”

EVANGELISTA Sie sprachen: They said, CORI Was gehet uns das an? Da siehe du zu!

“What is that to us? See to it yourself.”

EVANGELISTA Und er warf die Silberlinge in den Tempel, hub sich davon, ging hin und erhängete sich selbst. Aber die Hohenpriester nahmen die Silberlinge und sprachen: And throwing down the pieces of silver in the temple, he departed; and he went and hanged himself. But the chief priests, taking the pieces of silver, said, PONTIFEX I & II Es taugt nicht, daß wir sie in den Gotteskasten legen, denn es ist Blutgeld.

“It is not lawful to put them into the treasury, since they are blood money.”

ARIA – BASSO II Gebt mir meinen Jesum wieder!

Seht, das Geld, den Mörderlohn, Wirft euch der verlorne Sohn Zu den Füßen nieder!

Give my Jesus back to me!

See, the money, the assassins’ wages Thrown at your feet By the lost son!

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EVANGELISTA Sie hielten aber einen Rat und kauften einen Töpfersacker darum zum Begräbnis der Pilger. Daher ist derselbige Acker genennet der Blutacker bis auf den heutigen Tag. Da ist erfüllet, das gesagt ist durch den Propheten Jeremias, da er spricht: »Sie haben genommen dreißig Silberlinge, damit bezahlet ward der Verkaufte, welchen sie kauften von den Kindern Israel, und haben sie gegeben um einen Töpfersacker, als mir der Herr befohlen hat.« Jesus aber stund vor dem Landpfleger; und der Landpfleger fragte ihn und sprach: So they took counsel, and bought with them the potter’s field, to bury strangers in.

Therefore that field has been called the Field of Blood to this day. Then was fulfilled what had been spoken by the prophet Jeremiah, saying, “And they took the thirty pieces of silver, the price of him on whom a price had been set by some of the sons of Israel, and they gave them for the potter’s field, as the Lord directed me.” Now Jesus stood before the governor; and the governor asked him, PILATUS Bist du der Jüden König?

“Are you the King of the Jews?”

EVANGELISTA Jesus aber sprach zu ihm: Jesus said, JESUS Du sagest’s.

“You have said so.”

EVANGELISTA Und da er verklagt war von den Hohenpriestern und Ältesten, antwortete er nichts. Da sprach Pilatus zu ihm: But when he was accused by the chief priests and elders, he made no answer. Then Pilate said to him, PILATUS Hörest du nicht, wie hart sie dich verklagen?

“Do you not hear how many things they testify against you?”

CHORAL Befiehl du deine Wege Und was dein Herze kränkt Der allertreusten Pflege Des, der den Himmel lenkt.

Der Wolken, Luft und Winden Gibt Wege, Lauf und Bahn, Der wird auch Wege finden, Da dein Fuß gehen kann.

Commend your ways And that which grieves your heart To the faithful care Of He who steers the heavens.

To the clouds, air, and winds He gives their route, course and way, He will also find the paths Where your feet can walk.

EVANGELISTA Auf das Fest aber hatte der Landpfleger Gewohnheit, dem Volk einen Gefangenen loszugeben, welchen sie wollten. Er hatte aber zu der Zeit einen Gefangenen, einen sonderlichen vor andern, der hieß Barrabas.

Und da sie versammlet waren, sprach Pilatus zu ihnen: Now at the feast the governor was accustomed to release for the crowd any one prisoner whom they wanted. And they had then a notorious prisoner, called Barabbas. So when they had gathered, Pilate said to them, PILATUS Welchen wollet ihr, daß ich euch losgebe?

Barrabam oder Jesum, von dem gesaget wird, er sei Christus?

“Whom do you want me to release for you, Barabbas or Jesus who is called Christ?”

EVANGELISTA Denn er wußte wohl, daß sie ihn aus Neid überantwortet hatten. Und da er auf dem Richtstuhl saß, schickete sein Weib zu ihm und ließ ihm sagen: For he knew that it was out of envy that they had delivered him up. Besides, while he was sitting on the judgment seat, his wife sent word to him,

EVANGELISTA Und er antwortete ihm nicht auf ein Wort, also, daß sich auch der Landpfleger sehr verwunderte.

UXOR PILATI Habe du nichts zu schaffen mit diesem Gerechten; ich habe heute viel erlitten im Traum von seinetwegen!

But he gave him no answer, not even to a single charge; so that the governor wondered greatly.

“Have nothing to do with that righteous man, for I have suffered much over him today in a dream.”

Text & Translation EVANGELISTA Aber die Hohenpriester und die Ältesten überredeten das Volk, daß sie um Barrabam bitten sollten und Jesum umbrächten. Da antwortete nun der Landpfleger und sprach zu ihnen: Now the chief priests and the elders persuaded the people to ask for Barabbas and destroy Jesus. The governor again said to them, PILATUS Welchen wollt ihr unter diesen zweien, den ich euch soll losgeben?

“Which of the two do you want me to release for you?”

EVANGELISTA Sie sprachen: And they said, CORI Barrabam!

“Barabbas.”

EVANGELISTA Pilatus sprach zu ihnen: Pilate said to them, PILATUS Was soll ich denn machen mit Jesu, von dem gesagt wird, er sei Christus?

“Then what shall I do with Jesus who is called Christ?”

EVANGELISTA Sie sprachen alle:

EVANGELISTA Der Landpfleger sagte: And he said, PILATUS Was hat er denn Übels getan?

“Why, what evil has he done?”

RECITATIVO – SOPRANO I Er hat uns allen wohlgetan, Den Blinden gab er das Gesicht, Die Lahmen macht er gehend, Er sagt uns seines Vaters Wort, Er trieb die Teufel fort, Betrübte hat er aufgericht’, Er nahm die Sünder auf und an.

Sonst hat mein Jesus nichts getan.

He has done good for us all.

To the blind, he gave sight; The lame, he made walk.

He told us his Father’s word.

He drove away the devils; Those who are sorrowful, he has raised up; He looked after sinners; Otherwise my Jesus has done nothing.

ARIA – SOPRANO I Aus Liebe, Aus Liebe will mein Heiland sterben, Von einer Sünde weiß er nichts.

Daß das ewige Verderben Und die Strafe des Gerichts Nicht auf meiner Seele bliebe.

Out of love, Out of love would my Savior die, For a sin he knows nothing of.

So that eternal ruin And the punishment of judgment Does not remain upon my soul.

They all said,

EVANGELISTA Sie schrieen aber noch mehr und sprachen:

CORI Laß ihn kreuzigen!

But they shouted all the more,

“Let him be crucified.”

CORI Laß ihn kreuzigen!

CHORAL Wie wunderbarlich ist doch diese Strafe!

Der gute Hirte leidet für die Schafe, Die Schuld bezahlt der Herre, der Gerechte, Für seine Knechte.

How strange and wonderful is this punishment!

That the Good Shepherd suffers for his sheep.

The Lord, the Righteous One, pays the debts For his servants.

“Let him be crucified.”

EVANGELISTA Da aber Pilatus sahe, daß er nichts schaffete, sondern daß ein viel großer Getümmel ward, nahm er Wasser und wusch die Hände vor dem Volk und sprach: So when Pilate saw that he was gaining nothing, but rather that a riot was beginning, he took water and washed his hands before the crowd, saying,

PILATUS Ich bin unschuldig an dem Blut dieses Gerechten, sehet ihr zu.

“I am innocent of this man’s blood; see to it yourselves.”

EVANGELISTA Da antwortete das ganze Volk und sprach: And all the people answered, CORI Sein Blut komme über uns und unsre Kinder.

“His blood be on us and on our children!”

EVANGELISTA Da gab er ihnen Barrabam los; aber Jesum ließ er geißeln und überantwortete ihn, daß er gekreuziget würde.

Then he released for them Barabbas, and having scourged Jesus, delivered him to be crucified.

RECITATIVO – ALTO II Erbarm es Gott!

Hier steht der Heiland angebunden.

O Geißelung, o Schläg, o Wunden!

Ihr Henker, haltet ein!

Erweichet euch Der Seelen Schmerz, Der Anblick solches Jammers nicht?

Ach ja! ihr habt ein Herz, Das muß der Martersäule gleich Und noch viel härter sein.

Erbarmt euch, haltet ein!

Have mercy, God! Here stands the Savior tethered.

Oh lashing, oh blows, oh wounds!

Executioners, stop!

Does not the soul’s pain Soften you, At the sight of such misery?

Alas, you have a heart, Which must be like the whipping post, Or yet even harder.

Have mercy, Stop!

ARIA – ALTO II Können Tränen meiner Wangen Nichts erlangen, O, so nehmt mein Herz hinein!

Aber laßt es bei den Fluten, Wenn die Wunden milde bluten, Auch die Opferschale sein!

If the tears on my cheeks Gain nothing, Oh, then take my heart!

However let it, by the floods, When the pitiful wounds bleed, Be the sacrificial cup.

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Text & Translation EVANGELISTA Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich in das Richthaus und sammleten über ihn die ganze Schar und zogen ihn aus und legeten ihm einen Purpurmantel an und flochten eine dornene Krone und satzten sie auf sein Haupt und ein Rohr in seine rechte Hand und beugeten die Knie vor ihm und spotteten ihn und sprachen: Then the soldiers of the governor took Jesus into the praetorium, and they gathered the whole battalion before him. And they stripped him and put a scarlet robe upon him, and plaiting a crown of thorns they put it on his head, and put a reed in his right hand. And kneeling before him they mocked him, saying, CORI Gegrüßet seist du, Jüdenkönig!

“Hail, King of the Jews!”

EVANGELISTA Und speieten ihn an und nahmen das Rohr und schlugen damit sein Haupt.

And they spat upon him, and took the reed and struck him on the head.

CHORAL O Haupt voll Blut und Wunden, Voll Schmerz und voller Hohn, O Haupt, zu Spott gebunden Mit einer Dornenkron, O Haupt, sonst schön gezieret Mit höchster Ehr und Zier, Jetzt aber hoch schimpfieret, Gegrüßet seist du mir!

Oh head, full of blood and wounds, Full of anguish and full of mockery!

Oh head, ridiculed, Crowned with thorns!

Oh Head, once beautifully adorned With highest honor and decoration, But now highly insulted; You are hailed by me!

EVANGELISTA Und da sie ihn verspottet hatten, zogen sie ihm den Mantel aus und zogen ihm seine Kleider an und führeten ihn hin, daß sie ihn kreuzigten. Und indem sie hinausgingen, funden sie einen Menschen von Kyrene mit Namen Simon; den zwungen sie, daß er ihm sein Kreuz trug.

And when they had mocked him, they stripped him of the robe, and put his own clothes on him, and led him away to crucify him. As they went out, they came upon a man of Cyrene, Simon by name; this man they compelled to carry his cross.

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RECITATIVO – BASSO I Ja freilich will in uns das Fleisch und Blut Zum Kreuz gezwungen sein; Je mehr es unsrer Seele gut, Je herber geht es ein.

Yes, sure enough our flesh and blood Is compelled to the cross; The more good it does to our souls, The more harshly it takes us.

ARIA – BASSO I Komm, süßes Kreuz, so will ich sagen, Mein Jesu, gib es immer her!

Wird mir mein Leiden einst zu schwer, So hilfst du mir es selber tragen.

Come, sweet cross, then I will say, My Jesus, give it to me always!

Whenever my sorrow becomes too severe, Then you help me bear it.

EVANGELISTA Und da sie an die Stätte kamen mit Namen Golgatha, das ist verdeutschet Schädelstätt, gaben sie ihm Essig zu trinken mit Gallen vermischet; und da er’s schmeckete, wollte er’s nicht trinken. Da sie ihn aber gekreuziget hatten, teilten sie seine Kleider und wurfen das Los darum, auf daß erfüllet würde, das gesagt ist durch den Propheten: »Sie haben meine Kleider unter sich geteilet, und über mein Gewand haben sie das Los geworfen.« Und sie saßen allda und hüteten sein. Und oben zu seinen Häupten hefteten sie die Ursach seines Todes beschrieben, nämlich: »Dies ist Jesus, der Jüden König.« Und da wurden zween Mörder mit ihm gekreuziget, einer zur Rechten und einer zur Linken.

Die aber vorübergingen, lästerten ihn und schüttelten ihre Köpfe und sprachen: And when they came to a place called Golgotha (which means the place of a skull), they offered him wine to drink, mingled with gall; but when he tasted it, he would not drink it. And when they had crucified him, they divided his garments among them by casting lots; then they sat down and kept watch over him there. And over his head they put the charge against him, which read, “This is Jesus the King of the Jews.” Then two robbers were crucified with him, one on the right and one on the left. And those who passed by derided him, wagging their heads and saying, CORI Der du den Tempel Gottes zerbrichst und bauest ihn in dreien Tagen, hilf dir selber! Bist du Gottes Sohn, so steig herab vom Kreuz!

“You who would destroy the temple and build it in three days, save yourself! If you are the Son of God, come down from the cross.”

EVANGELISTA Desgleichen auch die Hohenpriester spotteten sein samt den Schriftgelehrten und Ältesten und sprachen: So also the chief priests, with the scribes and elders, mocked him, saying, CORI Andern hat er geholfen und kann sich selber nicht helfen. Ist er der König Israel, so steige er nun vom Kreuz, so wollen wir ihm glauben. Er hat Gott vertrauet, der erlöse ihn nun, lüstet’s ihn; denn er hat gesagt: Ich bin Gottes Sohn.

“He saved others; he cannot save himself.

He is the King of Israel; let him come down now from the cross, and we will believe in him. He trusts in God; let God deliver him now, if he desires him; for he said, `I am the Son of God.’“ EVANGELISTA Desgleichen schmäheten ihn auch die Mörder, die mit ihm gekreuziget waren.

And the robbers who were crucified with him also reviled him in the same way.

RECITATIVO – ALTO I Ach Golgatha, unselges Golgatha!

Der Herr der Herrlichkeit muß schimpflich hier verderben Der Segen und das Heil der Welt Wird als ein Fluch ans Kreuz gestellt.

Der Schöpfer Himmels und der Erden Soll Erd und Luft entzogen werden.

Die Unschuld muß hier schuldig sterben, Das gehet meiner Seele nah; Ach Golgatha, unselges Golgatha!

Ah, Golgatha, unhappy Golgatha!

The Lord of Glory must miserably perish here; The blessing and salvation of the world Is, like a curse, put upon the cross.

The creator of heaven and earth Is to be taken away from land and air; The guiltless must die here guilty; That goes near to my soul.

Ah, Golgatha, Unhappy Golgotha!

ARIA – ALTO I, CORO II Sehet, Jesus hat die Hand, Uns zu fassen, ausgespannt, Kommt! - Wohin? - in Jesu Armen Sucht Erlösung, nehmt Erbarmen, Suchet! - Wo? - in Jesu Armen.

Lebet, sterbet, ruhet hier, Ihr verlass’nen Küchlein ihr, Bleibet - Wo? - in Jesu Armen.

Text & Translation See, Jesus has his hand Stretched out to clasp us.

Come! – Where? – In Jesus’ arms Seek redemption, find mercy, Seek them – Where? – In Jesus’ arms.

Live, die, rest here, You forsaken little chicks.

Rest! – Where? – In Jesus’ arms.

EVANGELISTA Und von der sechsten Stunde an war eine Finsternis über das ganze Land bis zu der neunten Stunde. Und um die neunte Stunde schriee Jesus laut und sprach: Now from the sixth hour there was darkness over all the land until the ninth hour. And about the ninth hour Jesus cried with a loud voice, JESUS Eli, Eli, lama asabthani?

“Eli, Eli, lama sabach-thani?”

EVANGELISTA Das ist: Mein Gott, mein Gott, warum hast du mich verlassen? Etliche aber, die da stunden, da sie das höreten, sprachen sie: that is, “My God, my God, why hast thou forsaken me?” And some of the bystanders hearing it said, CORO I Der rufet dem Elias!

“This man is calling Elijah.”

EVANGELISTA Und bald lief einer unter ihnen, nahm einen Schwamm und füllete ihn mit Essig und steckete ihn auf ein Rohr und tränkete ihn.

Die andern aber sprachen: And one of them at once ran and took a sponge, filled it with vinegar, and put it on a reed, and gave it to him to drink. But the others said, CORO II Halt! laß sehen, ob Elias komme und ihm helfe?

“Wait, let us see whether Elijah will come to save him.”

EVANGELISTA Aber Jesus schriee abermal laut und verschied.

And Jesus cried again with a loud voice and yielded up his spirit.

CHORAL Wenn ich einmal soll scheiden, So scheide nicht von mir, Wenn ich den Tod soll leiden, So tritt du denn herfür!

Wenn mir am allerbängsten

Wird um das Herze sein, So reiß mich aus den Ängsten Kraft deiner Angst und Pein!

When I am to depart, Then do not depart from me!

When I must suffer death, Then walk beside me!

When my heart Is most frightened, Then snatch me out from the terrors By the strength of your anguish and pain!

EVANGELISTA Und siehe da, der Vorhang im Tempel zerriß in zwei Stück von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Gräber täten sich auf, und stunden auf viel Leiber der Heiligen, die da schliefen, und gingen aus den Gräbern nach seiner Auferstehung und kamen in die heilige Stadt und erschienen vielen. Aber der Hauptmann und die bei ihm waren und bewahreten Jesum, da sie sahen das Erdbeben und was da geschah, erschraken sie sehr und sprachen: And behold, the curtain of the temple was torn in two, from top to bottom; and the earth shook, and the rocks were split; the tombs also were opened, and many bodies of the saints who had fallen asleep were raised, and coming out of the tombs after his resurrection they went into the holy city and appeared to many. When the centurion and those who were with him, keeping watch over Jesus, saw the earthquake and what took place, they were filled with awe, and said, CORI Wahrlich, dieser ist Gottes Sohn gewesen.

“Truly this was the Son of God!”

RECITATIVO – BASSO I Am Abend, da es kühle war, Ward Adams Fallen offenbar; Am Abend drücket ihn der Heiland nieder.

Am Abend kam die Taube wieder Und trug ein Ölblatt in dem Munde.

O schöne Zeit! O Abendstunde!

Der Friedensschluß ist nun mit Gott gemacht, Denn Jesus hat sein Kreuz vollbracht.

Sein Leichnam kömmt zur Ruh, Ach! liebe Seele, bitte du, Geh, lasse dir den toten Jesum schenken, O heilsames, o köstlichs Angedenken!

In the evening when it was cool, Adam’s Fall became manifest, In the evening the Savior cast him down; In the evening the dove returned, Carrying an olive leaf in its beak.

Oh beautiful time! Oh evening hour!

Peace at last is now made with God, For Jesus has completed his cross.

His body comes to rest.

Ah, dear soul, go, Ask, that the dead Jesus be given to you.

Oh healing, oh precious memorial!

ARIA – BASSO I Mache dich, mein Herze, rein, Ich will Jesum selbst begraben.

Denn er soll nunmehr in mir Für und für Seine süße Ruhe haben.

Welt, geh aus, laß Jesum ein!

Make yourself clean, my heart, I will bury Jesus myself.

Then from now forward, Forever and ever He shall have his sweet rest in me.

World, go out, let Jesus come in!

EVANGELISTA Und es waren viel Weiber da, die von ferne zusahen, die da waren nachgefolget aus Galiläa und hatten ihm gedienet, unter welchen war Maria Magdalena und Maria, die Mutter Jacobi und Joses, und die Mutter der Kinder Zebedäi. Am Abend aber kam ein reicher Mann von Arimathia, der hieß Joseph, welcher auch ein Jünger Jesu war, der ging zu Pilato und bat ihn um den Leichnam Jesu. Da befahl Pilatus, man sollte ihm ihn geben.

EVANGELISTA Und Joseph nahm den Leib und wickelte ihn in ein rein Leinwand und legte ihn in sein eigen neu Grab, welches er hatte lassen in einen Fels hauen, und wälzete einen großen Stein vor die Tür des Grabes und ging davon.

Es war aber allda Maria Magdalena und die andere Maria, die satzten sich gegen das Grab. Des andern Tages, der da folget nach dem Rüsttage, kamen die Hohenpriester und Pharisäer sämtlich zu Pilato und sprachen:

There were also many women there, looking on from afar, who had followed Jesus from Galilee, ministering to him; among whom were Mary Magdalene, and Mary the mother of James and Joseph, and the mother of the sons of Zebedee. When it was evening, there came a rich man from Arimathea, named Joseph, who also was a disciple of Jesus. He went to Pilate and asked for the body of Jesus. Then Pilate ordered it to be given to him.

And Joseph took the body, and wrapped it in a clean linen shroud, and laid it in his own new tomb, which he had hewn in the rock; and he rolled a great stone to the door of the tomb, and departed. Mary Magdalene and the other Mary were there, sitting opposite the sepulcher. Next day, that is, after the day of Preparation, the chief priests and the Pharisees gathered before Pilate and said, 31

Text & Translation CORI Herr, wir haben gedacht, daß dieser Verführer sprach, da er noch lebete: Ich will nach dreien Tagen wieder auferstehen. Darum befiehl, daß man das Grab verwahre bis an den dritten Tag, auf daß nicht seine Jünger kommen und stehlen ihn und sagen zu dem Volk: Er ist auferstanden von den Toten, und werde der letzte Betrug ärger denn der erste!

“Sir, we remember how that impostor said, while he was still alive, `After three days I will rise again.’ Therefore order the sepulcher to be made secure until the third day, lest his disciples go and steal him away, and tell the people, `He has risen from the dead,’ and the last fraud will be worse than the first.”

EVANGELISTA Pilatus sprach zu ihnen: Pilate said to them, PILATUS Da habt ihr die Hüter; gehet hin und verwahret’s, wie ihr’s wisset!

“You have a guard of soldiers; go, make it as secure as you can.”

EVANGELISTA Sie gingen hin und verwahreten das Grab mit Hütern und versiegelten den Stein.

So they went and made the sepulcher secure by setting a guard and sealing the stone.

RECITATIVO – CORO I AND CORO II BASSO Nun ist der Herr zur Ruh gebracht.

—Mein Jesu, gute Nacht!

Now is the Lord brought to rest.

—My Jesus, good night!

TENORE Die Müh ist aus, die unsre Sünden ihm gemacht.

—Mein Jesu, gute Nacht His toil which our sins made for him is over.

—My Jesus, good night!

ALTO O selige Gebeine, Seht, wie ich euch mit Buß und Reu beweine, Daß euch mein Fall in solche Not gebracht!

—Mein Jesu, gute Nacht!

Oh blessed limbs, See, how with penance and remorse I weep for you, That for you, my fall brought such hardship.

—My Jesus, good night!

Fresh. Local. Music.

Ingenious Interplay J. S. Bach Brandenburg Concertos Nos. 1, 3, 4 and 5 Arvo Pärt Fratres & Cantus In Memory of Benjamin Britten

SOPRANO Habt lebenslang Vor euer Leiden tausend Dank, Daß ihr mein Seelenheil so wert geacht’.

—Mein Jesu, gute Nacht!

I have for my whole life, A thousand thanks for your Passion, And that you have regarded my soul to be so worthy.

—My Jesus, good night!

CORI Wir setzen uns mit Tränen nieder Und rufen dir im Grabe zu: Ruhe sanfte, sanfte ruh!

Ruht, ihr ausgesognen Glieder!

Euer Grab und Leichenstein Soll dem ängstlichen Gewissen Ein bequemes Ruhekissen Und der Seelen Ruhstatt sein.

Höchst vergnügt schlummern da die Augen ein.

We sit down with tears And cry to you in the grave: Rest softly, softly rest!

Rest, exhausted limbs, Your grave and tombstone Shall for the unquiet conscience Be a comfortable, restful pillow And a peaceful place for the soul In greatest bliss, there our eyes close in slumber.

English translation by Steven Lehning.

Biblical quotations from the Revised Standard Version.

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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.

“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 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!

Join us for the remainder of Season 2011-12!

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 The demigod Hercules, son of the great god Jupiter & the mortal woman Alcmena & his legendary strength have inspired countless stories, artworks & music, was also the name given to the Duke of Ferrariae whose court employed the best musicians of the day. Join us for this concert from the Court of Ferrariae including music by Martini, Obrecht, Isaac, Josquin & others.

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

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Artist Profiles WESLEY ROGERS (tenor) has been hailed by San Francisco Classical Voice as possessing the “kind of tenor that pours forth powerfully, effortlessly, seemingly for any length of time,” making his mark on the international operatic and concert stages. In the 2011-2012 season, Wesley Rogers sings Don Ottavio in a new production of Mozart’s Don Giovanni with the National Theatre Opera Prague.

The following season will find him as Belmonte in Mozart’s Die Entführung aus dem Serail with L’Opéra National de Montpellier, and Opéra de Liège in Belgium, and in a debut with Madison Opera. In the spring of 2011, Mr. Rogers made an important debut as Belmonte at the Semperoper Dresden, followed by performances of the Berlioz Te Deum at the UC Davis Mondavi Center, Bach’s St. Matthew Passion (Evangelist) with Orchestra Seattle, and an appearance in concert at the Théatre des Champs-Elysées in Paris also as Belmonte in Die Entführung aus dem Serail. As a recent member of Seattle Opera’s Young Artist Program, he performed the role of Peter Quint in Britten’s Turn of the Screw.

Performances on the Seattle Opera mainstage include: Maintop in Billy Budd, Trin in Fanciulla del West, Fourth Jew in Salome, and the Commanding Officer in the premiere of Hagen’s Amelia. Also with the company, Mr. Rogers understudied the roles of Pylade in Gluck’s Iphigenie en Tauride, the Italian Singer in Der Rosenkavalier, Froh in Das Rheingold, the Steersman and Melot in Tristan und Isolde, and Dodge and Icarus in Hagen’s Amelia. Recent concert engagements include Handel’s Messiah and Bach’s St. Matthew Passion with the American Bach Soloists, Britten’s War Requiem with Orchestra Seattle, Mozart’s “Coronation” Mass with EOS Orchestra, Bruckner’s Te Deum and Rossini’s Stabat Mater at the Mondavi Center, and a recital including Louis Gruenberg’s The Daniel Jazz at the Bard Festival.

Recent collaborations have included groups such as Mark Morris Dance Company, Santa Fe Pro Musica, Seattle Baroque Orchestra, the Cabrillo Festival, Capella Romano, The Tudor Choir, Opera Memphis, Sun Valley Center for the Arts, Lake Chelan Bach Festival, and Pacific Northwest Ballet.

JOSHUA COPELAND (baritone) completed his Masters degree in voice at Yale University’s Institute of Sacred Music and his Artist Diploma at Yale Opera. A native of Knoxville, Tennessee, Mr. Copeland received a Bachelor of Music degree in Church Music from Furman University in Greenville, South Carolina. He is quickly developing as a specialist of Baroque music, particularly the works of Bach and Handel.

In June 2006 he was awarded second prize in the American Bach Soloists International Young Artists Competition, first prize in the 2008 American Bach Society biennial Young Artist Competition at the Bethlehem Bach Festival, and spent the summer of 2008 as an Adams Fellow at the Carmel Bach Festival. As a resident Britten/Pears Young Artist at the Aldeburgh Festival in both 2009 and 2010, he has appeared in performances of Bach’s St. Matthew Passion and Handel’s Saul. An avid recitalist, he gave his debut performance of Schubert’s monumental song cycle Winterreise in Yale’s Morse Recital Hall. He has also taken 34

part in a recital of Charles Ives songs at New York’s famed Weill Recital Hall, as well as recitals of English song and Wolf and Strauss Lieder as a Britten/Pears Young Artist. In the realm of opera he has appeared in Die Fledermaus as Falke, as Ramiro in Ravel’s L’Heure Espagnole, and has performed with the Orchestra Sinfonico Giuseppe Verdi in Milan, reprising Falke in Fledermaus and Bill in Kiss me Kate. Recent Bach performances include Mass in B Minor and the St. John Passion with the American Bach Soloists, Ich habe genug with Seraphic Fire, Magnificat and Christmas cantatas with Helmuth Rilling. He can be heard in a recording of the Bach St. John Passion conducted by Simon Carrington, Messiah at Carnegie Hall with the Masterwork Chorus, Mozart Vespers with Sir Neville Marriner, Vaughan Williams’ Dona Nobis Pacem at the ACDA National Convention, Five Mystical Songs with the Mount Holyoke Orchestra, Handel La Resurrezione, Mozart and Faure Requiems; Prokofiev Lieutenant Kije; Barber Dover Beach; Mendelssohn Elijah; and the Brahms Requiem.

CLARA ROTTSOLK (soprano) has been lauded by The New York Times for her “clear, appealing voice and expressive conviction” and by The Philadelphia Inquirer for the “opulent tone [with which] every phrase has such a communicative emotional presence.” In a repertoire extending from the Renaissance to the contemporary, her solo appearances with orchestras and chamber ensembles have taken her across the United States and on to Japan and South America.

She specializes in historically informed performance practice, and has been engaged by ensembles including Tempesta di Mare, St. Thomas Church Fifth Avenue, Philadelphia Bach Collegium, Trinity Wall Street Choir, Les Délices, Clarion Music Socitey, (among others) and a Carnegie Hall debut with The Masterwork Chorus under the direction of conductors including Joshua Rifkin, Bruno Weil, and Paul Goodwin. She has performed at the Carmel Bach Festival, Whidbey Island Music Festival, Boston Early Music Festival, Indianapolis Early Music Festival, and the Festival de Música Barroca de Barichara (Colombia). Among her stage roles are Micaëla (Carmen), Dido (Dido & Aeneas), Arminda (La finta giardiniera) and Laetitia (The Old Maid and the Thief). Her “supple and stylish… and unflaggingly attractive” (Gramophone Magazine) recording of Scarlatti Cantatas with Tempesta di Mare is available on the ChandosChaconne label. A native of Seattle, Ms. Rottsolk earned her music degrees at Rice University and Westminster Choir College, and was awarded for musical excellence by the Metropolitan Opera National Council (Northwest Region). She lives in Philadelphia and teaches voice at Swarthmore College and the Lawrenceville School.

DANIELLE REUTTER-HARRAH (alto) hails from Portland, OR, and is an avid performer of baroque and early music.

She sang as a featured soloist in Handel’s Messiah, Bach’s Magnificat, and Duruflé’s Requiem with the Lamont Chorale during her undergraduate studies. In 2007 she joined St. Martin’s Chamber Choir and performed as an alto and soloist in Saint-Saëns’ Christmas Oratorio, Bruckner’s Requiem and other works. In

Artist Profiles 2009 she performed the lead role in Purcell’s Dido and Aeneas with the Baroque Orchestra of Colorado, and John Corigliano’s Fern Hill with Musica Sacra. During the summer of 2010 she participated in the American Bach Soloists Academy and performed Bach’s Mass in B Minor under the direction of Jeffrey Thomas. She has performed in master classes for David Okerlund and Jennifer Lane and has received coachings from Judith Malafronte, Max van Egmond, and Martin Katz.

Over the past few years she has sung under the direction of Helmuth Rilling, Marin Alsop, Timothy Krueger, Catherine Sailer, and Tan Dun among others. She received her Bachelor of Music degree from the Lamont School of Music at the University of Denver and is currently pursuing a master’s degree in vocal performance at the San Francisco Conservatory of Music.

AARON SHEEHAN (tenor) has established himself as a first rate singer in many styles. His voice is heard regularly in the United States, South America, and Europe, and he is equally comfortable in repertoire ranging from oratorio and chamber music, to the opera stage. Known especially for his Baroque interpretations, his voice has been described by the Boston Globe as “superb: his tone classy, clear, and refined, encompassing fluid lyricism and ringing force” and the Washington Post praised his “Polished, lovely tone.” His singing has taken him to many festivals and venues including: Tanglewood, Lincoln Center, the Metropolitan Museum of Art, and the early music festivals of Boston, San Francisco, Vancouver, as well as the Regensburg Tage Alter Musik. The San Diego Classical Voice said, “Sheehan performed the role of Evangelist, and sang with assured vocal and linguistic fluency, tasked with telling the audience the story while imparting its drama. In this regard, he was superb.” He has appeared in concert with American Bach Soloists, Orpheus Chamber Orchestra, Handel and Haydn Society, Boston Baroque, North Carolina Symphony, New York Collegium, Boston Early Music Festival, Aston Magna Festival, Washington National Cathedral, Boston Museum Trio, Tragicomedia, and Concerto Palatino among others .

On the opera stage, Mr. Sheehan made his professional debut in 2005 as Ivan, in the Boston Early Music Festival’s world premiere staging of Mattheson’s Boris Gudenow. In this role, Opera News praised his voice as “sinuous and supple.” He has performed onstage with American Opera Theater and Intermezzo Chamber Opera in works by Cavalli, Handel, Weill, and Satie. He has appeared on many recordings, including the Grammy nominated operas Thésée and Psyché of Lully, recorded with BEMF (CPO). A native of Minnesota, Aaron holds a BA from Luther College and a MM in Early Voice Performance from Indiana University. He is currently on the voice faculties of Boston University, Wellesley College, and Towson University.

MISCHA BOUVIER (baritone) is a winner of the 2010 Concert Artists Guild International Competition. Called a “delight to encounter for the first time” by the Pittsburgh Tribune-Review and noted by The New York Times for his “rich timbre” and “fine sense of line.” Highlights of recent seasons include the role of Lucifero in Handel’s La Resurrezione for American Bach Soloists, debuts with TENET and Spiritus Collective (NYC), performances in Bach’s St. John Passion, recitals of works by French, German and Russian Romantic-era composers, and concerts in New York City and Philadelphia in Mohammed Fairouz’s new work for baritone, string quartet, and wind quintet, Furia. Other recent engagements include Moneybags Billy in Kurt Weill’s The Rise and Fall of the City of Mahagonny at Tanglewood , a debut with

the Folger Consort, a Sacred Music in a Sacred Space debut in Bach’s St. Matthew Passion, and the role of Malatesta in Don Pasquale with Opera in the Heights and Bronx Opera. Mr. Bouvier presented recitals under the auspices of the BaldwinWallace Art Song Festival, the Trinity Church Concerts at One Series, Internationale Meisterkurse für Musik Zürich, the Cincinnati Grandin Festival, and the Music Room at the Lindberg Farm series. He also sang regional premiers of Lori Laitman’s Men With Small Heads and Paul Moravec’s Songs of Love and War, and the world premier of Charles Fussell’s cycle Venture at the Festival of Contemporary Music at Tanglewood. Mr. Bouvier made his professional musical theater debut in 2007 under the baton of Keith Lockhart singing Jigger Craigin in Rodgers and Hammerstein’s Carousel. Mr. Bouvier received his Bachelor of Music degree from Boston University and his Master of Music degree from the University and Cincinnati College-Conservatory of Music and participated in training programs including Lyric Opera Cleveland, Internationale Meisterkurse für Musik, the Carmel Bach Festival and the Tanglewood Music Festival. He has won prizes in 2010 American Bach Soloists Henry I. Goldberg Young Artist Award, the Richard Westenberg Award from the Oratorio Society of New York’s 2010 Solo Competition, and the 2009 Louisville Bach Society Gerhard Herz Young Artist Competition.

ANNE-KATHRYN OLSEN (soprano) is a versatile singer with a passion for historical performance practice. She recently made her European concert debut, touring Central and Eastern Europe as a soloist with the Desert Spring Chorale, performing Mozart’s “Credo” Mass at the Salzburger Dom. She has participated in the Tafelmusik Summer Baroque Institute in Toronto, as a soloist in Charpentier’s Messe des Morts.

Ms. Olsen has been a soloist with the Phoenix Symphony, Arizona Ballet, American Bach Phoenix, Phoenix Early Music Society, Arizona State Baroque Ensemble, and at the Academy of Baroque Opera in Seattle. Locally she has appeared with Voices of Music as a winner of their Young Artist Competition, San Francisco Choral Artists, Oakland Civic Orchestra, Opera San Jose, and in the Starlite Vineyard Chamber Music Series. Ms. Olsen’s operatic credits include Cleopatra in Giulio Cesare and Oberto in Alcina with the San Francisco Conservatory of Music Baroque Ensemble, as well as Lucy in The Telephone and The Dew Fairy in Hansel and Gretel. She is a member of Liaison, a chamber group specializing in French baroque repertoire.

She holds a Bachelor’s degree from the Herberger School of Fine Arts at Arizona State University and a Master’s degree from San Francisco Conservatory of Music.

JAY CARTER (countertenor) is lauded for his luminous tone and stylish interpretations especially in the music of Bach, Bernstein, Handel, Purcell and Vivaldi. He has gained acclaim for programs of modern classics typically outside the standard countertenor repertory by composers such as Quilter, Brahms, Britten, and Hahn.

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Artist Profiles Mr. Carter may be heard on CD in Bach’s and Mendelssohn’s Magnificats with the Yale Schola Cantorum, on Le Stagioni: Italian Virtuoso Madrigals with Gravitacion, and in Handel and Caldara cantatas with the Kingsbury Ensemble. He made his Carnegie Hall debut in Messiah with Musica Sacra and sang the North American premiere of Tavener’s Lament for Jerusalem. He has appeared with the Houston Symphony, the Louisville Bach Society, and the Choir of St. Thomas Church, New York City. Recent repertoire includes Handel’s Saul, Bach’s Weihnachts Oratorium, and Bernstein’s Missa Brevis and Chichester Psalms. His operatic roles include Phoebus in Purcell’s The Faerie Queene and the title role in Cavalli’s Giasone. He has worked with conductors including Simon Carrington, Helmuth Rilling, and Sir Philip Ledger CBE. Additionally, Mr. Carter also presents lectures on countertenor technique and repertory in lecture-recitals and master classes. Mr. Carter received a Masters in Music from the Yale School of Music and Institute of Sacred Music, where he received the Louise E. McClain scholarship. His undergraduate degree was from William Jewell College where he studied voice with Arnold Epley, and presently serves as Artist-in-residence. He was a 2008 regional finalist in the Metropolitan Opera National Council Auditions.

DEREK CHESTER (tenor) has been praised by The Miami Herald for his effortless coloratura and firm, secure voice, and is making a name for himself in the world of classical singing. Mr. Chester received his Bachelor’s degree in Vocal Performance from the University of Georgia, and completed his Master’s Degree in Vocal Performance from the Yale School of Music and Institute of Sacred Music. As a Fulbright Scholar, he spent a year in Germany working and furthering his training as a student of acclaimed German tenor, Christoph Prégardien. He is a member of the Gächinger Kantorei and has recently been heard as soloist in Bach Cantatas with the Bach Collegium Stuttgart. He also has appeared as soloist at the 2006 and 2008 Oregon Bach Festivals under Helmuth Rilling, as the Evangelist in Bach’s St. John Passion during Bach Woche, 2007 in Stuttgart, and also at the 2007 Toronto Bach Festival. He is a featured soloist with the American Bach Soloists and is on the roster of Miami’s Seraphic Fire. Mr. Chester’s recording as the Evangelist in Bach’s St. John Passion has received many accolades, including reviews from Early Music and Choir and Organ Magazine. His recent concert credits include Bach’s Mass in B minor and St. Matthew Passion (Evangelist), Handel’s Theodora, and Mendelssohn’s Lobgesang Symphony. Stage credits include Nemorino in The Elixir of Love and Simon Stimson in Our Town with the UNT Opera Theatre, Damon in Acis and Galatea at the Staunton Music Festival, Abel/Japheth in Children of Eden with New Works New Haven, Don Basilio and Don Curzio in Le Nozze di Figaro with Athena Grand Opera, Grosvenor in Patience, and Aeneas in Dido and Aeneas with the University of Georgia Opera Theatre. Mr. Chester is currently working on his doctorate at the University of North Texas where he is a doctoral and teaching fellow.

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ROBERT STAFFORD (bassbaritone) completed an Associate Artist-in-Residency at Opera San Jose in 1995, where he performed for two years. The San Jose Mercury News described a performance as sung “with a supremely seductive swagger and flourish”. The Modesto Bee wrote of his title role in Mozart’s Don Giovanni: “Stafford has a rich and powerful voice and has the right arrogant manner for the role … smooth and seductive.”

The LA Times called his Bach’s cantata, Ich habe genug as “communicative and glowing,” and lauded his “uncommonly suave” Polyphemus in Handel’s Acis and Galatea. He can be heard on CD as Caronte in Monteverdi’s L’Orfeo with Apollo’s Fire ( Eclectra), in Bach’s St. Matthew Passion with the American Bach Soloists (Koch), and a forthcoming recording of Spohr’s Zemire und Azor for The Manhattan School of Music’s Opera Theater. He has performed with such esteemed musicians as Max van Egmond, Joshua Rifkin, and Jos van Veldhoven in Germany, Italy and the Netherlands. He made his Carnegie Hall debut in Bruckner’s Te Deum with the New York Choral Society. Mr. Stafford composed and performed the puppet opera Mandragora for the HERE Arts Dream Music series in New York City.

Mr. Stafford has participated in several summer festivals across the United States, including the Tanglewood Music Center, where he has had the privilege of singing in the world premiere of Rage d’amours, a new opera by the Dutch composer Robert Zuidam.

THE PACIFIC BOYCHOIR ACADEMY (PBA) is one of the largest boys choirs in America, and is known for its rich sound, musicianship, phrasing, and talented soloists. The Los Angeles Times described the PBA quality of sound and musicianship as “astonishing.” With the addition of a day school in 2004, it is home to the only choir school on the West Coast. The choir school integrates a full academic curriculum with a daily rehearsal schedule for boys in grades 4-8.

The choir school students learn sight-reading, music theory and repertoire, as well as Math, English, History, Science, Art, PE, and Languages. The PBA appears frequently with the San Francisco Symphony (SFS). Along with the San Francisco Girls Chorus, the PBA recorded Mahler’s Third Symphony with the SFS, which was awarded the Grammy for “Best Classical Album” in February 2004. In January 2010, the SFS recording of Mahler’s Eighth Symphony, featuring the SF Symphony Chorus, the San Francisco Girls Chorus, and the PBA, was awarded Grammys for “Best Choral Performance” and “Best Classical Album.” The PBA has also sung with the Oakland-East Bay Symphony, Berkeley Symphony, the choirs and orchestras of UC Davis and UC Berkeley, the American Bach Soloists, the San Francisco Opera, Trinity Lyric Opera, the Youth Orchestra of the Americas, the National Symphony Orchestra of Brasil, the Moscow Chamber Orchestra, the Marcus Shelby Jazz Orchestra, the Vienna Boys Choir, and the Drakensberg Boys Choir. The PBA’s self-produced concerts have featured music by composers such as Rachmaninoff, Bach, and Duke Ellington, and their tours have taken the choir to dozens of US states and six continents. For more information , please visit: pacificboychoir.org.

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Contributors & Acknowledgments INDIVIDUAL SUPPORT Chorister ($500-$999) Anonymous Gretchen Brosius Peter & Susan Browne Donna Chazen Uni Cordoba Joseph & Judy Craig Ayame Flint Richard Forde Kathryn Hobart Ken Hoffman Hallie & Gil Holtzman Susan & Stafford Keegin Krista Muirhead & Barry Grossman Paul Nettelman Michael & Elfrieda O’Neill Frank Pajerski Charles Quesenberry, Jr. Colby & Katherine Roberts Gary Schilling & Stefan Hastrup Delia Voitoff-Bauman & Steve Bauman Thomas & Ann Watrous Charles & Elizabeth Wilts Stadtpfeifer ($250-$499) Anonymous Peter & Margaret Armstrong Cheryl Arnold & John Frykman Edward Betts & Elena Snegova Lynne Carmichael Ian & Natalie Davis-Tremayne Jacqueline Desoer Mag Dimond Lester Dropkin Bob & Margaret Eldred Barbara Thomas Fexa Cynthia Foster David & Dorli Hanchette Philip & Ruth Hicks Mary Kimball Norman & Rae Leaper William Lokke Malcolm & Natalie Mackenzie Pierre Martin Jo Maxon & Karl Ruppenthal Noreen Mazelis John McKnight Debra Nagy Steven Peterson & Peter Jaret Nancy Quinn & Tom Driscoll Harvey & Nancy Rogers Benjamin C Sanchez Judd & Sherry Smith Scott Sochar Michael & Karen Traynor Robert Walker & Ernie Feeney Steward ($100 - $249) Anonymous (4) Mr. Robert Allgeyer Judith Barker & Linda Mitteness Johanna & Tom Baruch Merry & Mark Benard Robert Berman

Al Bernstein Ernst & Hannah Biberstein Borden & Betty Bloom Jesse Blumberg & Rita Donahue Matthew Bobinski Roberta Brokaw Penn & Nancy Butler Robert & Lynn Campbell Barbara Casey & Richard Siggins Gary Chock Richard & Evelyn Clair Roy & Margaret Clarke Julie Coffin Mendel Cohen & Julia Vestal Robert Cook & Blanca Haendler Robert Coote Bim Coyle & Pat Cannell Coyle Garniss Curtis Chauncey & Emily DiLaura Nancy Dubois Steven Edwards Thomas & Mary Foote Lowell & Nancy Froker Margaret Fuerst Jim & Laura Gregory Darrow & Gwen Haagensen Allen Hackett Margaret Harding Benjamin & Lynette Hart Donna Heinle Ingeborg Henderson Daniel Hersh David G. King, M.D. Andrew Kives Thomas Koster Ronald & Sharon Krauss Norman La Force Jane Lang William & Emily Leider John & Kathleen Leones Manjari & Michael Lewis Deana Logan & Joseph C. Najpaver Bennett Markel & Karen Stella Chris McCrum & Liz Velarde Lee & Hannelore McCrumb Ray & Mary McDevitt The McNally Family Trust Sharon Menke Marian Metson Abigail Millikan-States Sue Milliron Carol Mowbray Tom Nord Mary Belle O’Brien & Georgia Heid Kay Pepitone Mark & Katherine Perl Patrizian Pollastrini Penelope Rink & Frederick Toth Mr. & Mrs. Ned Rowe Walter & Ellen Sanford Cynthia Sawtell Janine Schiess William Senecal & Karen Roseland Ellen Sherman

Edith Simonson Bob & Betsy Stafford David Stein & William Stewart Mariana Steinberg Gerald & Sandra Swafford Kenneth Taylor Karl & Marianne Thon Rob & Susan Vanneman Kurt Von Meier Mr. Curtis Vose Debra & Donald Wanamaker Effie Westervelt Richard White Muriel F. Wilson Bernard Wishy Jerri Witt Foster & Betty Wright Carolyn Yee & Bill L. Lee Rick Yoshimoto & Tamara Trussell Friend ($25-$99) Anonymous (3) Albert & Julie Alden Mary Anderson Adrienne Austin-Shapiro Roger Barlow Charles Beadle John Berg Robert Blumen Renee Boeche Anne Marie Borch Mary Bost Felix Braendel Mary Brayton Irving & Karen Broido Ms. Deborah Brown Leslie Brown Lori Ellen Brown Sarah Chase Ann Cheng William Craig Hubert & Genevieve Dreyfus Marcella Fasso Julia Faucett Elliott & Laurel Feigenbaum Tom & Cherielyn Ferguson Cassandra Forth Shellie Garrett Judge & Mrs. Ronald M. George Robyn Greene Basil Guy William Hartrick David Heppner John Karl Hirten Elizaabeth Hoelter Ned Hopkins Charles M. & Nellie Hungerford Peter Huson Laurence Jacobs Cary & Elaine James Julie Jeffry Ann Jensen 39

Contributors & Acknowledgments Herbert Jeong Elaine Johnson Karl & Carol Keener Carolyn Kennedy Isik Kizilyalli Joseph & Jeanne Klems George Knudson William Langley Gretchen Leavitt Robert Levin Lirong Li Malcom Litwiller & Teri Dowling George Lundberg George Marchand Bonnie & Gene Martz Stepheny McGraw Hugh & Katherine McLean Susan Meister Minako Miyazaki Hildegard M. Mohr Barbara Molloy Michael & Jennifer Moran Christopher Motley June Nadler Eleanor Norris Joan Norton Crystal Olson Claire Perry J. William Pezick Linda & Nelson Polsby Lawrence & Erica Posner Sam Price Janet Reider Eugene & Libby Renkin Maria Reyes & Thomas Plumb Meredith Riekse Gail Riley & Moira Little David Robinson Jay Russell Julius Otto Schindler Norman Schlossberg Marcelle Scholl Lawrence Severino Harold Skilbred & Rochelle Matonich Alan Smith Richard Soehren Aline Soules Robert & Ellen Spaethling Lisa Spencer Judith Stanley Lorelei Tanji Christine Telleen Ms. April Tilles Robert Visser Michael Weston Mary Wildavsky Norman Williams Ron & Marlene Wizelman Kurt Wootton & Ken Fulk Bach Kids Sharon and Richard Boyer, in honor of: Jake D. Sutter Keira N. Sutter Alexander J. Sutter Leah G. Sutter 40

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 Tributes 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 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 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 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 Loans David Cates UC Davis Department of Music Housing and Hospitality Richard Fabian Jan Goldberg & Ken Hoffman Kevin & Peggy Harrington Jim & Joan Kelly Andrew Luchansky & Elisabeth Reed James & Maxine Risley Ken & Marjorie Sauer Millicent Tomkins & Ben Little Kwei & Michele Ü Dennis Wolframski

Where it all begins

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.

A favorite Conservatory tradition, this year’s baroque opera is a concert version of Agrippina, widely considered Handel’s first operatic masterpiece.

Agrippina, mother of Nero, attempts to install her son as the next Emperor of Rome.

Handel’s opera lends a comic touch to a dark subject with boisterous energy and charming music.

FREE admission | reservations required | 415.503.6275 | 50 Oak Street San Francisco

SEASON SPONSOR

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2/1/12 12:11 PM

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