Easter Oratorio & Favoirite Cantatas - May 2012

JEFFREY THOMAS music director

2011/2012

Our Twenty Third Season

Easter Oratorio & Cantatas Johann Sebastian Bach

May 4 - 7 2012 Belvedere - Berkeley - San Francisco - Davis

FRIDAY JUNE 8 2012 8:00 p.m.

First Congregational Church BERKELEY at the Berkeley Festival & Exhibition

Motets & Trauerode A TRIBUTE TO LAURETTE GOLDBERG

Fürchte dich nicht • Singet dem Herrn ein neues Lied Laß, Fürstin, laß noch einen Strahl

JEFFREY THOMAS MUSIC DIRECTOR

An evening of works celebrating the vital legacy of Northern California’s cherished mentor of generations of early music advocates, featuring J.S. Bach’s Trauerode: Laβ, Fürstin, laβ noch einen Strahl, a musical ode written at the request of the Leipzig University and dedicated to Christiane Eberhardine, Electress of Saxony and a personal friend of Bach himself.

Unusually scored for a lavish orchestra including two violas da gamba and two lutes, the music is hypnotically beautiful. The concert also includes Bach’s most engaging double-chorus motets; works of this type were regularly composed to honor and memorialize the lives of significant and important individuals.

Photograph of Laurette Goldberg by Howard Schatz from his book Gifted Woman © Schatz Ornstein 1993

Welcome from the Artistic Director As we are planning for our 25th Anniversary Season in 2013/14—now just a little more than one year away—I find myself reflecting more and more on the wonderful journey that we have made together. Eager and compelled by our original goal to bring Bach’s great repertoire of cantatas to a broader audience here in Northern California, we set out on what would become an inspired commitment by dozens, even hundreds, of early music specialists to share these dramatic jewels among compositions by the most celebrated composer of all time. Some of those musicians who performed on our inaugural concert are performing tonight, and I am grateful to them and to all of ABS for their unflagging dedication to this music and to this ensemble. I know that I am one of the luckiest conductors in the world!

Jeffrey Thomas Artistic Director

You very well may have noticed that ABS is presenting more concerts each year.

We are growing because the demand for what we do and for the “Electric Camaraderie” (San Francisco Classical Voice) of the American Bach Soloists has grown. And part of the thrill of meeting that demand is in creating new programs of exceptionally brilliant music.

One month from now, ABS will be presenting a program of Bach’s motets & Trauerode at the Berkeley Festival & Exhibition. ABS and BFX are very nearly chronological twins. We are honored to have been regular artists at the biennial festival, having produced some legendary performances of Bach’s Mass in B Minor, Beethoven’s Ninth Symphony, and—twelve years ago—a program of Bach’s great motets.

This summer, we will return to those choral and instrumental masterworks in a program that celebrates great music and a great pillar of our early music community.

AMERICAN BACH SOLOISTS 44 Page Street, Suite 403 San Francisco CA 94102-5975

Laurette Goldberg was a primary catalyst in transforming the San Francisco Bay Area—already recognized for its rich and colorful history of classical, jazz, and rock music—into one of the world’s centers of cutting edge early music performance.

She and her disciples, mentored through her characteristically irresistible and irrepressible enthusiasm and zeal, have already fostered generations of early music advocates and performers who have since communicated far and wide her gentle yet tenacious determination to campaign for a long-lasting resurgence of the music she loved most. In particular, her love for Bach—the man and his music—was a passion that never faltered and took her, and those who knew her, on spiritual journeys that transcended traditional boundaries of religion and rhetoric. On June 8th, we will celebrate her still vital legacy in a program that includes some of her most favorite works and an ode that was conceived for an equally esteemed matriarch.

American Bach Soloists are Artists-in-Residence at St. Stephen’s Church, Belvedere.

Not far behind that concert will be the start of our annual summer Bach Festival— July 12 through 22—with added performances including the debut of our Distinguished Artist Series featuring countertenor Ian Howell in a program of music for Voice & Viols, and a program that I am absolutely thrilled to bring to our audiences: “The Leipzig Masters.” Johann Sebastian Bach succeeded Johann Kuhnau as cantor of the Thomaskirche (St Thomas Church) in Leipzig. But, astonishingly, 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. Read more about all of the ABS FESTIVAL & ACADEMY programs in the brochure that is included with this booklet. And have a look at our exciting 2012/13 SEASON on page 7.

© 2012 American Bach Soloists.

All rights reserved.

Reproduction in whole or in part without permission is prohibited.

Thank you for sharing these musical experiences with us. As always, the Board and Staff of ABS join me in my gratitude to our wonderful musicians and to you, our wonderful audience. Enjoy the music!

Tel: (415) 621-7900 Fax: (415) 621-7920 americanbach.org info@americanbach.org twitter.com/americanbach facebook.com/americanbach

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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 periodinstrument 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 2

summer in July in the 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 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 well-known 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-in-Residence. 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 a 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 nineteen 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 countertenor (and winner of the ABS Young Artist Competition) in works by Bach, Handel, and Domenico Scarlatti.

The American Bach Soloists have been 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

FOUNDERS

STAFF

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

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

Jeffrey Thomas Artistic & Music Director

* on Sabbatical

Don Scott Carpenter Executive Director Steven Lehning Music Administrator Jeff McMillan Executive Administrator Katherine McKee Development Associate Heli Roiha Bookkeeper

Lisa May Box Office Manager Kiel Curtis Kevin Downing Jonathan Szin Stage and House Managers E. J. Chavez Stage Crew Elfrieda Langemann William Langley Leonore Levit Wendy Brewster Moseley Office Volunteers

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

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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.

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

A Member Of Real Living

Ross 415.464.8686 415.461.8605 415.461.8686 www.PacUnion.com 5

Philharmonia Baroque presents Sunday, June 3 at 8 PM

Beethoven Songs & Haydn Trios Nicholas McGegan, fortepiano Elizabeth Blumenstock, violin Dominique Labelle, soprano Phoebe Carrai, violincello Songs, trios, and solo piano works by Beethoven, Haydn, Mozart, Kotzwara, Monsigny, Boielieu, and Pleyel.

Presented as part of the 2012 Berkeley Early Music Festival and Exhibition.

First Congregational Church, Berkeley Call 510-642-9988 for tickets

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Tickets start at $25! philharmonia.org

Announcing Our 2012-2013 Season New Subscriptions Available Now Single Tickets Go On Sale July 1

October 2012

Annual Gala - An Olympian Feast

Saturday October 6 2012 5:00 pm - St. Stephen’s Church, BELVEDERE December 2012

Gloria! - A Baroque Christmas with ABS

with the San Francisco Girls Chorus & American Bach Choir Vivaldi: Gloria ~ Handel: Laudate pueri Dominum Corelli: “Christmas Concerto” ~ Charpentier: In Nativitatem Saturday December 15 2012 8:00 pm - St. Stephen’s Church, BELVEDERE Sunday December 16 2012 4:00 pm - Mondavi Center, DAVIS

Handel’s Messiah

Mary Wilson • Ian Howell • Wesley Rogers • Jesse Blumberg Thursday December 20 2012 7:30 pm - Grace Cathedral, SAN FRANCISCO Friday December 21 2012 7:30 pm - Grace Cathedral, SAN FRANCISCO Saturday December 22 2012 7:30 pm - Grace Cathedral, SAN FRANCISCO January 2013

Bach’s St. John Passion

Clara Rottsolk • Derek Chester • Aaron Sheehan • Joshua Copeland • William Sharp Friday January 25 2013 7:30 pm - St. Stephen’s Church, BELVEDERE Saturday January 26 2013 7:30 pm - First Congregational Church, BERKELEY Sunday January 27 2013 4:00 pm - St. Mark’s Lutheran Church, SAN FRANCISCO Monday January 28 2013 7:00 pm - Davis Community Church, DAVIS March 2013

Bach, Handel, & Vivaldi

Handel: Dixit Dominus ~ Vivaldi: Beatus vir Bach: Concerto for Oboe d’amore ~ Vivaldi: Concerto for Viola d’amore Debra Nagy • Elizabeth Blumenstock • Kathryn Mueller Danielle Reutter-Harrah • Robert Stafford Friday March 1 2013 8:00 pm - St. Stephen’s Church, BELVEDERE Saturday March 2 2013 8:00 pm - First Congregational Church, BERKELEY Sunday March 3 2013 4:00 pm - St. Mark’s Lutheran Church, SAN FRANCISCO Monday March 4 2013 7:00 pm - Davis Community Church, DAVIS May 2013

Handel’s Apollo & Dafne

Bach: Arias for Bass ~ Handel: Silete venti Mary Wilson • Mischa Bouvier Friday May 3 2013 8:00 pm - St. Stephen’s Church, BELVEDERE Saturday May 4 2013 8:00 pm - First Congregational Church, BERKELEY Sunday May 5 2013 4:00 pm - St. Mark’s Lutheran Church, SAN FRANCISCO Monday May 6 2013 7:00 pm - Davis Community Church, DAVIS 7

The Musicians and Their Instruments AMERICAN BACH SOLOISTS Flute Sandra Miller Roderick Cameron, Mendocino, CA, 1986; after Thomas Cahusac, London, 1740.

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

Oboe John Abberger H. A. Vas Dias, Decatur, GA; after Thomas Stanesby, Sr., London, circa 1700.

Trombone Greg Ingles (alto) Ranier Egger, Basel, 2001; after Hieronimus Starck, Nuremberg, 1670.

Richard Cheetham (tenor) Ewald Meinl, Geretsried, 1998; after Anton Drewelwecz, 1595.

Violoncello

Douglas Thorley (bass) John Webb, Wiltshire, England, 1998; after Leohnard Ehe, Nuremberg, 1618.

Shirley Edith Hunt Anonymous, Milanese, circa 1706.

Trumpet

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

Kathryn James Adduci Rainer Egger, Basel, 2005; after Leonhard Ehe III, Nuremburg, 1748.

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

Nathan Botts Rainer Egger, Basel, 2007; after Johann Leonhard Ehe II, Nuremburg, 1664-1724.

Oboe d’amore

William Harvey Keavy Vanryne, London, 2003; after Johann Wilhelm Haas, Nuremberg, circa 1710-1720.

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

Luke Conklin Bosworth & Hammer, Acton, MA, 1990; after Johann Heinrich Eichentopf, Leipzig, circa 1720.

Oboe da caccia John Abberger Bosworth and Hammer, Acton, MA, 1986; after J.H. Eichentopf, Leipzig, circa 1720.

Recorder Debra Nagy von Huene Workshop, Boston, MA, 2002; after Thomas Stanesby, Jr., London, circa 1725.

John Abberger Levin & Silverstein, Greenpond, NJ, 1988; after Stanseby, London, circa 1700.

Bassoon

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

Timpani Kent Reed Anonymous, England, circa 1840.

William Skeen (continuo) Anonymous, The Netherlands, circa 1680.

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

Organ Corey Jamason (continuo) John Brombaugh & Associates, OR, 1980.

AMERICAN BACH CHOIR Soprano Tonia D’Amelio Julia Earl

Violin

Rita Lilly

Tekla Cunningham (leader) Sanctus Seraphin, Venice, 1746.

Allison Z. Lloyd

Tatiana Chulochinikova Joseph Hollmayr, Freiburg, Germany, circa 1760.

Alto

Andrew Fouts Anonymous, Paris, 18th century.

Dan Cromeenes

Katherine Kyme (principal II) Johann Gottlob Pfretzichner, Mittenwald, 1791.

Amelia Triest

Maxine Nemerovski Timothy Johnson, Bloomington, IN, 1999; after Stradivari, Cremona, 17th century.

Tenor

Noah Strick Celia Bridges, Cologne, 1988; after Bartolomeo Giuseppe Guarneri (del Gesù), Cremona, 1733.

James Apgar Kevin Fox

Edward Betts John Davey-Hatcher Andrew Morgan Sam Smith

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

Viola David Bowes Richard Duke, London, 1762.

Hugh Davies

Cornetto

Katherine Kyme (BWV 4) Anonymous, Germany, 18th century.

Raymond Martinez

Stephen Escher Matthew Jennejohn, Montreal, 2010; after 17th-century originals.

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

Bass Jeffrey Fields Jefferson Packer

Program AMERICAN BACH SOLOISTS AMERICAN BACH CHOIR Jeffrey Thomas, conductor Kathryn Mueller, soprano • Judith Malafronte, alto Jon Lee Keenan, tenor • Tyler Duncan, baritone

EASTER ORATORIO & FAVORITE CANTATAS Johann Sebastian Bach (1685-1750)

May 4 – May 7, 2012 Belvedere • Berkeley • San Francisco • Davis These performances are generously sponsored by a long-time friend of ABS.

• Christ lag in Todes Banden, BWV 4 Ein feste Burg ist unser Gott, BWV 80 - Intermission Sinfonia from Wir danken dir, Gott, wir danken dir, BWV 29 Oster-Oratorium: Kommt, eilet und laufet, BWV 249 Nun ist das Heil und die Kraft, BWV 50

• Our Next Performances

BACH: MOTETS & TRAUERODE A Tribute to Laurette Goldberg

Clara Rottsolk, soprano • Ian Howell, countertenor Derek Chester, tenor • Robert Stafford, baritone with the American Bach Choir Friday June 8 2012 8:00 pm - First Congregational Church, BERKELEY

• 2012 ABS FESTIVAL & ACADEMY

Thursday July 12 – Sunday July 22 - San Francisco Conservatory of Music, SAN FRANCISCO 9

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Program Notes Christ lag in Todes Banden, BWV 4 Most Bach scholars are agreed that Bach’s cantata Christ lag in Todes Banden is one of his earliest surviving church compositions and the first to employ a chorale as the main source of its text and melodic material. Indeed, Bach later incorporated the work into his second cycle of Leipzig cantatas, the so-called chorale cycle. However, while the majority of these later cantatas only use the text and melody of a specific chorale directly for the opening and closing movements, Christ lag in Todes Banden preserves Martin Luther’s original text (and usually the melody too), presenting each verse in successive movements. Thus the piece sounds as one long variation form, within which Bach creates an astonishing variety of textures and moods.

The opening sinfonia sets the emotional scene by presenting both a version of the opening line of the chorale and by creating a solemn and almost mournful affect. To Luther, the joy of Easter is acquired only through the tragedy of Christ’s passion. Immediately noticeable is the constant repetition of melodic fragments, figures that act as the main substance of every movement to come. This is basically the style adopted by composers of the late seventeenth century, and it is easy to surmise that such incessant repetition of motives could be extremely tedious in the hands of a mediocre composer. Fortunately Bach is indeed one of the best composers, so he was able to use this technique to create a vibrant, intense, and extremely dramatic succession of movements. Furthermore, within the limitations of the variation form, Bach employs an astounding variety of musical treatments during the course of the piece: motet, ostinato bass, string concerto, and fugue. Nor does he ignore the local details of text setting, something which is especially evident in the bass solo, where death is represented by an astonishing leap of one and a half octaves and the word “strangler” is given a delightfully picturesque highlight.

Ein feste Burg ist unser Gott, BWV 80 Nowadays we tend to consider Bach’s cantatas to be fixed, discrete entities, the finely chiselled stones constituting the magnificent edifice of the Bach canon. However it is all too easy to overlook the fact that these works were written—often hurriedly—in direct response to the immediate demands of Bach’s liturgical environment.

The composer frequently reused music written for earlier occasions and, when works were to be repeated, Bach adapted the text and instrumentation for new contingencies.

Therefore it is often difficult to determine which version is the most perfect, or which Bach would have considered the most satisfactory. Modern editors tend to favor the latest version of a work, since, whenever he was reusing earlier music, Bach inevitably made small cosmetic improvements. However the problems can be compounded by gaps in the transmission of the work: manuscripts are sometimes lost and early copyists often give only an inaccurate picture of the scores that Bach actually wrote.

Cantata 80 is a typical example of these problems: the core of the work was first written circa 1715 when Bach was organist and concertmaster at the court of Weimar. Since the feast for which this was performed (Oculi Sunday) was not celebrated with figural music at Leipzig, Bach had to adapt the work for another occasion before it could be used again. Sometime in the late 1720s Bach performed the piece as Ein feste Burg for a Reformation feast (only a small fragment of the autograph score survives) and he repeated it in the 1730s, replacing the simple opening chorale with an elaborate chorus (the only surviving early score is in the hand of Bach’s son-inlaw, J.C. Altnickol). This is not, however, the end of the story, for Bach’s eldest son, Wilhelm Friedemann, adapted two movements for his own use in a performance after Bach’s death. Not only did Friedemann substitute a new Latin text, but he also added the ornate trumpet and timpani parts to movements 1 and 5 that have since crept into several modern editions claiming to present the original text.

Bach’s celebrated Reformation cantata contains all four verses of Luther’s chorale and most of the remaining text is from Salomon Franck’s original libretto to this cantata, as sung in Weimar (Oculi, the third Sunday of Lent). The opening movement is arguably Bach’s most impressive chorale-based movement, the imitative motet style punctuated with a canon on the chorale between oboes and continuo instruments. Both the technique (the word “canon” also meaning “rule” or “law”) and the instrumentation using the highest and deepest instruments (high oboes and low contrabass notes intoning the chorale melody), were doubtless designed to show the all-encompassing power of God. The remaining movements show the vivid and more concise style of Bach’s Weimar cantatas, with their use of a small repertory of incisive figures pervading virtually every measure. The chorale movement “Und wenn die Welt voll Teufel wär” employs a festive instrumental ritornello, which like many movements in the Brandenburg concertos, seems paradoxically both dense in its texture and lucid in its voice-leading and harmonic direction. The final duet “Wie selig sind doch die” shows just that combination of features that render Bach outstanding among his contemporaries: while the musical lines and motivic ideas are designed to span the entire structure, local details are not forsaken (the evocative melismas on the words “Glauben” and “schlagen”).

— John Butt Sinfonia from Wir danken dir, Gott, wir danken dir, BWV 29 Bach composed the cantata Wir danken dir, Gott, wir danken dir in 1731 for the inauguration of the Leipzig town council. As with so many other works, Bach borrowed music from one of his other compositions—in this case, the first movement of the Partita in E major for solo violin—to provide material for the Sinfonia. Festive orchestration transforms the starker virtuosity of the Partita into a musical introduction of sufficient pomp for the civic 11

Program Notes occasion. In this setting the organist must act as virtuoso, accompanied and reinforced by the strings and oboes, while the brass and timpani add intermittent punctuation and a ceremonial weight to the opening and final cadence.

— Kristi Brown-Montesano Oster-Oratorium: Kommt, eilet und laufet, BWV 249 Only three works by Bach ever acquired the composer’s designation of “Oratorium” (the Christmas Oratorio BWV 248, the Ascension Oratorio BWV 11, and the Easter Oratorio BWV 249). And in Leipzig, the Feast of Easter—certainly one of the three main Feasts in the Christian liturgical year, along with Whitsun (Pentecost) and Christmas—was celebrated over the course of three days: Feria I Paschatos (Easter Sunday), Feria II Paschatos (“Angel’s Monday”), and Feria III Paschatos (Tuesday). So an interesting play on the number three begins already. Going one step further, we find that the original music for the Easter Oratorio underwent three substantial revisions. But like a great deal of Bach’s sacred music, the first version of the music was composed for a secular occasion.

Bach exploited his ability to recycle his compositions most often in applying parody to secular pieces. However, there is no evidence of a sacred cantata ever being transformed into a secular one. In fact, Bach’s liturgical works are so often reworkings of originally secular compositions that some listeners try to question the authenticity of the well-crafted pietism evidenced in his sacred music.

Adaptations or not, Bach’s sacred works display nothing short of the composer’s unparalleled talent for joining words to music, and occasion to rhetoric. The success of Bach’s dual-purpose music in both forums—sacred and profane—is a testimony to his supreme craftsmanship.

The music of the Easter Oratorio was originally composed as a celebratory (secular) cantata for the birthday festivities of Duke Christian of Saxony-Weissenfels on February 23, 1725. Barely five weeks later, Bach transformed it into a sacred cantata for Easter Day. The original characters (Doris, Sylvia, Menalcas and Damoetas) became Maria Jacobi, Maria Magdalena, Petrus and Johannes. But in August of the following year, the original secular version was performed again, this time to celebrate the birthday of Count Joachim Friedrich von Flemming (the military governor of Pleissenburg in Leipzig). No alterations were made to the original, supporting the notion that once a secular work was consecrated as a secular one, its material was never recast again as a new secular piece. Not seeming the worse for wear, however, the music was refashioned into its fourth manifestation, reclaiming the solo characters’ liturgical roles (but this time without names), and acquiring Bach’s sanctioned title of “Oratorio” for a performance sometime around 1735. Still one more minor revision was to take place around 1740. It was this final reworking that generated the opening chorus (the movement had so far been principally a duet; the middle section still remains so).

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Scarcely a Bach sacred cantata exists in which one cannot find movements borrowed from the dance or concerto grosso styles. The Easter Oratorio has both. The opening sinfonia (Allegro-Adagio) might very well have had its origins in one of the many instrumental concertos written at Cöthen.

And the ensuing first chorus could certainly have come from the final allegro movement of a concerto as well. Four sets of recitative and aria follow (the fourth set concludes with a chorus). Each aria is based on a dance form. The aria given to Maria Jacobi (Mary, Mother of James) is based on a minuet, and scored delicately for flute and basso continuo. Peter’s aria, which lulls his previous fear of death into slumber through the tranquilizing sounds of muted strings and recorders, is technically a bourrée, although its pace is quite a bit slower than the tempo we usually associate with that dance. Mary Magdalen sings her text of eagerness and anticipation to a gavotte. And the final chorus of praise and thanks begins as a romping gigue. But even the smallest movements of the cantata—the recitatives— have fascinating qualities of their own. In the first three, Bach employs the jarring device of double-recitative, an odd-sounding technique wherein two voices sing uniquely angular parts at the same time, either one of which could stand alone with the underlying bass accompaniment.

Indeed, hearing only one voice of the two at any one time can be more easily decipherable. The vocal lines of recitative are rarely melodic, and this double jeopardy of sorts must have intrigued Bach as much (and as effortlessly, no doubt) as his fascination with canons (in the Musical Offering) and fugues. In the final recitative—no duet, this time—as John sings the text “We rejoice”, Bach exactly quotes a recognizable figure from the recitatives of Jesus in the St. John Passion.

— Jeffrey Thomas Nun ist das Heil und die Kraft, BWV 50 This bulky double chorus is probably the torso of a larger work celebrating the feast of St. Michael (perhaps the cantata for the first Leipzig cycle, in 1723); most likely this was the most useful part of the cantata outside the original context of the Leipzig liturgy of Bach’s time, so the later copyists probably discarded the other movements (and no score survives from Bach’s own time). It is one of the most impressive examples of Bach’s “permutation fugue” design, where each voice proceeds with a whole succession of subjects and countersubjects which work interchangeably with one another. However, as it stands, the work probably reflects the adaptations of later hands, since several small compositional anomalies are apparent. Certainly some of the vocal writing lacks the refinement of other doublechorus pieces, specifically the motet “Singet dem Herrn,” so, as is the case for several of Bach’s large-scale choral movements, it is likely that it was originally conceived for fewer voices, possibly a five-part chorus (a format which is found most in the first cycle of Leipzig cantatas).

— John Butt

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Music from Town and Tavern

Works in the popular vein—Music by bach, Telemann, Weckmann and Schein from the rich German collegium Musicum tradition and music by handel and Purcell —with catherine Webster, soprano and the Sfbc baroque Orchestra SATurdAy, MAy 19, 8PM SundAy, MAy 20, 4PM (free Lecture Sunday, 3PM)

calvary Presbyterian church, fillmore & Jackson, Sf

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Texts & Translations Christ lag in Todes Banden, BWV 4

It was a strange war, when death and life did wrestle: life won the victory, it devoured death. The Scripture foretold how one death ate the other, now death is given to scorn. Hallelujah!

SINFONIA - Strings, Basso continuo

Verse V ARIA - Bass, Strings, Basso continuo Hier ist das rechte Osterlamm, Davon Gott hat geboten, Das ist hoch an des Kreuzes Stamm In heißer Lieb gebraten, Das Blut zeichnet unsre Tür, Das hält der Glaub dem Tode für, Der Würger kann uns nicht mehr schaden.

Halleluja!

Soprano, Alto, Tenor, Bass, Chorus, Cornetto, Trombone I-III, Strings (Violin I-II, Viola I-II), Basso continuo

Verse I CHORUS - Soprano, Alto, Tenor, Bass, Cornetto, Trombone I-III, Strings, Basso continuo Christ lag in Todes Banden Für unsre Sünd gegeben, Er ist wieder erstanden Und hat uns bracht das Leben; Des wir sollen fröhlich sein, Gott loben und ihm dankbar sein Und singen halleluja, Halleluja!

Christ lay bound into death, given for our sin: he arose and brought us true life; for this we shall be joyful, give God praise and gratitude and sing hallelujah, hallelujah!

Verse II DUET - Soprano, Alto, Cornetto, Trombone I, Basso continuo Den Tod niemand zwingen kunnt Bei allen Menschenkindern, Das macht’ alles unsre Sünd, Kein Unschuld war zu finden.

Davon kam der Tod so bald Und nahm über uns Gewalt, Hielt uns in seinem Reich gefangen.

Halleluja!

No one could subdue death among all mankind’s children; this all was caused by our sin, no innocence was found then. From this came death so quick and seized power over us, held us in his realm as captives. Hallelujah!

Verse III ARIA - Tenor, Violin I-II, Basso continuo Jesus Christus, Gottes Sohn, An unser Statt ist kommen Und hat die Sünde weggetan, Damit dem Tod genommen All sein Recht und sein Gewalt, Da bleibet nichts denn Tods Gestalt, Den Stachel hat er verloren, Halleluja!

Jesus Christ, God’s Son, came in our place and set aside all sin for us, thus taking from death all his rule and power: so nothing is left but death’s mere form, his sting he lost, hallelujah!

Verse IV CHORUS - Soprano, Alto, Tenor, Bass, Basso continuo Es war ein wunderlicher Krieg, Da Tod und Leben rungen, Das Leben (da) behielt den Sieg, Es hat den Tod verschlungen.

Die Schrift hat verkündiget das, Wie ein Tod den andern fraß, Ein Spott aus dem Tod is worden.

Halleluja!

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Here is the real Easter lamb which God has offered, high up on the cross it was burned in ardent love: the blood signs our door, the faith sets this against the death, the strangler can harm us no more.

Hallelujah!

Verse VI DUET - Soprano, Tenor, Basso continuo So feiern wir das hohe Fest Mit Herzensfreud und Wonne, Das uns der Herr erscheinen läßt, Er ist selber die Sonne, Der durch seiner Gnaden Glanz Erleuchtet unsre Herzen ganz, Der Sünden Nacht ist verschwunden.

Halleluja!

So we commemorate the high feast with heartfelt joy and pleasure, which the Lord makes shine on us: he himself is the sun who through his shining grace fills all our hearts with light, the sin-fllled night has vanished. Hallelujah!

Verse VII CHORALE - Soprano, Alto, Tenor, Bass, Cornetto, Trombone I-III, Strings, Basso continuo Wir essen und leben wohl In rechten Osterfladen, Der alte Sauerteig nicht soll Sein bei dem Wort der Gnaden, Christus will die Koste sein Und speisen die Seel allein, Der Glaub will keins andern leben.

Halleluja!

We eat and live well on this true bread of Easter: the old leaven shall not bide with the word of grace, Christ wants to be our nourishment and feed the soul alone, faith won’t live on anything else. Hallelujah!

Translation by Vera Lucia Calabria

Texts & Translations Ein feste Burg ist unser Gott, BWV 80

Soprano, Alto, Tenor, Bass, Chorus, Oboe I-III, Oboe d’amore I-II, Taille, Oboe da caccia, Strings (Violin I-II, Viola), Basso continuo CHORUS - Soprano, Alto, Tenor, Bass, Oboe I-II, Strings, Basso continuo Ein feste Burg ist unser Gott, Ein gute Wehr und Waffen; Er hilft uns frei aus aller Not, Die uns itzt hat betroffen.

Der alte böse Feind, Mit Ernst er’s jetzt meint, Groß Macht und viel List Sein grausam Rüstung ist, Auf Erd ist nicht seinsgleichen.

A strong fortress is our God, a sure defense and armor; he helps to free us from all our need and suffering. The old, evil foe is here, grim is his intent, and with his cruel weapons, his enormous power and deceit, there is no one equal to him on earth.

ARIA & CHORALE - Bass, Soprano, Oboe, Strings, Basso continuo Alles, was von Gott geboren, Ist zum Siegen auserkoren.

Mit unsrer Macht ist nichts getan, Wir sind gar bald verloren.

Es streit’ vor uns der rechte Mann, Den Gott selbst hat erkoren.

Wer bei Christi Blutpanier In der Taufe Treu geschworen, Siegt im Geiste für und für.

Fragst du, wer er ist?

Er heißt Jesus Christ, Der Herre Zebaoth, Und ist kein andrer Gott, Das Feld muß er behalten.

Alles, was von Gott geboren, Ist zum Siegen auserkoren.

All born from God is intended for victory.

Our power alone will achieve nothing and we are soon lost. Let the right man, chosen by God, lead us in our fight.

Who at his baptism swore allegiance at Christ’s own bloodstained flag wins in spirit more and more.

You ask who he is? His name is Jesus Christ, the Lord of Sabaoth, there is no other god, the field is his forever.

All born from God is intended for victory.

RECITATIVE - Bass, Basso continuo Erwäge doch, Kind Gottes, die so große Liebe, Da Jesus sich Mit seinem Blute dir verschriebe, Wormit er dich Zum Kriege wider Satans Heer und wider Welt und Sünde Geworben hat!

Gib nicht in deiner Seele Dem Satan und den Lastern statt!

Laß nicht dein Herz, Den Himmel Gottes auf der Erden, Zur Wüste werden!

Bereue deine Schuld mit Schmerz, Daß Christi Geist mit dir sich fest verbinde!

Consider, child of God, this love so great which made Jesus offer his blood for you: by this he won you for the war against Satan’s host, the world and sin. Don’t yield in your soul to Satan and his viciousness! Don’t let your heart, God’s heaven on earth, become a wasteland! Repent of your guilt with pain, so that Christ’s spirit may be united to yours!

ARIA - Soprano, Basso continuo Komm in mein Herzenshaus, Herr Jesu, mein Verlangen!

Treib Welt und Satan aus Und laß dein Bild in mir erneuert prangen!

Weg, schnöder Sündengraus!

Come in my heart’s abode, Lord Jesus, my longing!

Drive world and Satan out and let your image shine in me renewed!

Away with all those horrible sins!

CHORALE - Soprano, Alto, Tenor, Bass, Oboe d’amore I-II, Taille, Strings, Basso continuo Und wenn die Welt voll Teufel wär Und wollten uns verschlingen, So fürchten wir uns nicht so sehr, Es soll uns doch gelingen.

Der Fürst dieser Welt, Wie saur er sich stellt, Tut er uns doch nicht, Das macht, er ist gericht’, Ein Wörtlein kann ihn fällen.

And were the world filled with devils intending to devour us, our fear would not be great, for we will win the victory. The prince of this world, how grim he may be, can’t harm us, that is, he is condemned, one little word can fell him.

RECITATIVE - Tenor, Basso continuo So stehe denn bei Christi blutgefärbten Fahne, O Seele, fest Und glaube, daß dein Haupt dich nicht verläßt, Ja, daß sein Sieg Auch dir den Weg zu deiner Krone bahne!

Tritt freudig an den Krieg!

Wirst du nur Gottes Wort So hören als bewahren, So wird der Feind gezwungen auszufahren, Dein Heiland bleibt dein Hort!

So stand then firm under Christ’s own bloodstained flag, o soul, and trust that your head won’t betray you, and that his victory will prepare the way to your own crown, too. Go gladly on to war! If you just listen to God’s word and obey it as well, the foe will be forced to leave; your Savior is your shield!

DUET - Alto, Tenor, Oboe da caccia, Violin, Basso continuo Wie selig sind doch die, die Gott im Munde tragen, Doch selger ist das Herz, das ihn im Glauben trägt!

Es bleibet unbesiegt und kann die Feinde schlagen Und wird zuletzt gekrönt, wenn es den Tod erlegt.

How blessed are those who hold God in their voices, more blessed still is the heart which holds him in faith. It remains unconquered, can beat the enemies and will at last in death be crowned.

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Texts & Translations CHORALE - Soprano, Alto, Tenor, Bass, Oboe I-II, Taille, Strings, Basso continuo Das Wort sie sollen lassen stahn Und kein’ Dank dazu haben.

Er ist bei uns wohl auf dem Plan Mit seinem Geist und Gaben.

Nehmen sie uns den Leib, Gut, Ehr, Kind und Weib, Laß fahren dahin, Sie habens kein’ Gewinn; Das Reich muß uns doch bleiben.

They must allow the word to stand and not be thanked for it. He is well with us, with his gifts and Spirit. Let them take our body, wealth, rank, child and wife, let them all be lost. They still cannot win; his realm stays ours.

• INTERMISSION •

Sinfonia from Wir danken dir, Gott, wir danken dir, BWV 29 Organ obligato; Trumpet I-III, Timpani, Oboe I-II, Strings (Violin I-II, Viola), Basso continuo

Oster-Oratorium: Kommt, eilet und laufet, BWV 249

Petrus & Johannes: Hat mit gesalznen Tränen Und wehmutsvollem Sehnen Ihm eine Salbung zugedacht, Mingled with tears of salt and woeful longing has wanted an unction for Him, Maria Jacobi & Maria Magdalena: Die ihr, wie wir, umsonst gemacht.

Which you, like us, have made in vain.

ARIA - Soprano, Flute, Basso continuo Maria Jacobi: Seele, deine Spezereien Sollen nicht mehr Myrrhen sein.

Denn allein Mit dem Lorbeerkranze prangen, Stillt dein ängstliches Verlangen.

My soul, your balm shall no longer be myrrh.

For only the glory of the laurel crown can still your anxious desires.

Soprano, Alto, Tenor, Bass, Chorus, Trumpet I-III, Timpani, Flute, Oboe I-II, Oboe d’amore, Recorder I-II, Bassoon, Strings (Violin I-II, Viola), Basso continuo

RECITATIVE - Alto, Tenor, Bass, Basso continuo Petrus: Hier ist die Gruft

SINFONIA - Trumpets I-III, Timpani, Oboe I-II, Bassoon, Strings, Basso continuo

Here is the cave,

CHORUS & DUET - Soprano, Alto, Tenor, Bass, Trumpet I-III, Timpani, Oboe I-II, Strings, Basso continuo Kommt, eilet und laufet, ihr flüchtigen Füße, Errichet die Höhle, die Jesum bedeckt!

Come, rush and run, you hasty feet, reach the cave that conceals our Lord!

Petrus & Johannes: Lachen und Scherzen Begleitet die Herzen, Denn unser Heil ist auferweckt.

Laughter and joviality fill our hearts, our Saviour is risen.

RECITATIVE - Soprano, Alto, Tenor, Bass, Basso continuo Maria Magdalena: O kalter Männer Sinn!

Wo ist die Liebe hin, Die ihr dem Heiland schuldig seid?

O cold mind of men! Where is the love you owe our Redeemer?

Maria Jacobi: Ein schwaches Weib muß euch beschämen!

A weak woman puts you to shame!

Petrus: Ach, ein betrübtes Grämen Alas, distraught grief Johannes: Und banges Herzeleid And anxious heartache 16

Johannes: Und hier der Stein, Der solche zugedeckt; Wo aber wird mein Heiland sein?

And here the stone that sealed it; but where is my Saviour?

Maria Magdalena: Er ist vom Tode auferweckt!

Wir trafen einen Engel an, Der hat uns solches kundgetan.

He has risen from the dead! We met an angel who told us all.

Petrus: Hier seh ich mit Vergnügen Das Schweißtuch abgewickelt liegen.

With joy I see here the linen clothes unwound.

ARIA - Tenor, Recorder I-II, Strings, Basso continuo Petrus: Sanfte soll mein Todeskummer Nur ein Schlummer, Jesu, durch dein Schweißtuch sein.

Ja, das wird mich dort erfrishen Und die Zähren meiner Pein Von den Wangen tröstlich wischen.

Gentle shall my sorrow be Just a slumber, Jesus, through your shroud.

Yes, that will refresh me, Comfort me and wipe from my cheeks The tears of pain.

Texts & Translations RECITATIVE - Soprano, Alto, Basso continuo Maria Jacobi & Maria Magdalena: Indessen seufzen wir Mit brennender Begier: Ach, könnt es doch nur bald geschehen, Den Heiland selbst zu sehen!

Meanwhile we suffer With burning desire: Oh, could it just happen soon That we might see our Saviour!

ARIA - Alto, Oboe d’amore, Strings, Basso continuo Maria Magdalena: Saget, saget mir geschwinde, Saget, wo ich Jesum finde, Welchen meine Seele liebt!

Komm doch, komm, umfasse mich, Denn mein Herz ist ohne dich Ganz verwaiset und betrübt.

Tell me, tell me quickly, Tell me where I can find Jesus, Whom my soul adores!

Come then, come and embrace me, For without you my heart Is lonely and cast down.

Fresh. Local. Music.

Beethoven and the Bridge World Premiere: Chrysopylae (kris-sop’-i-lee) Golden Gate Bridge Opus Commission by Rob Kapilow, plus Beethoven Symphony No. 9 Alasdair Neale, conductor Featuring the Marin Symphony Chorus and vocal soloists Sun. May 6, 2012 at 3:00pm Tues. May 8, 2012 at 7:30pm Get tickets: call 415.499.6800 or purchase in person at the Marin Center Box Office 10 Avenue of the Flags, San Rafael

RECITATIVE - Bass, Basso continuo Johannes: Wir sind erfreut, Daß unser Jesus wieder lebt, Und unser Herz, So erst in Traurigkeit zerflossen und geschwebt, Vergißt den Schmerz Und sinnt auf Freudenlieder; Denn unser Heiland lebet wieder.

We are full of joy That our Jesus lives again, And our hearts, At first overcome with sadness, Forget the pain, And think of songs of joy, For our Saviour lives again.

CHORUS - Soprano, Alto, Tenor, Bass, Trumpet I-III, Timpani, Oboe I-II, Strings, Basso continuo Preis und Dank Bleibe, Herr, dein Lobgesang!

Höll und Teufel sind bezwungen, Ihre Pforten sind zerstört; Jauchzet, ihr erlösten Zungen, Daß man es im Himmel hört!

Eröffnet, ihr Himmel, die prächtigen Bogen, Der Löwe von Juda kömmt siegend gezogen!

Praise and thanks Be forever, Lord, your hymn of glory!

Hell and Devil are defeated, Their portals are destroyed; Rejoice, you ransomed tongues, So you may be heard in Heaven!

Open, oh Heavens, the glorious arches, The Lion of Judah advances in triumph!

Translation by Vera Lucia Calabria

Nun is das Heil und die Kraft, BWV 50

Double Chorus (SATB/SATB), Trumpet I-III, Timpani, Oboe I-III, Strings (Violin I-II, Viola), Basso continuo CHORUS - Tutti Nun ist das Heil und die Kraft und das Reich und die Macht unsers Gottes seines Christus worden, weil der verworfen ist, der sie verklagete Tag und Nacht vor Gott. (Revelation 12:10) Now is the salvation and the power and the kingdom and the might of our God and of His Christ come, since he is cast down who accused them day and night before God.

www.marinsymphony.org 415.479.8100 | greatmusic@marinsymphony.org www.facebook.com/marinsymphony | www.facebook.com/goldengateopus

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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, Brandenburg Concertos, St. Matthew Passion, various concertos, 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 premieres 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. 18

“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

CONCERT from the COURT of KHANGXI Berkeley Festival & Exhibition of Early Music June 3 – 10, 2012

We’ll be joining early music colleagues from across the bay area & the world to participate in this year’s festival focusing on cross-cultural influences in early music. We’re restaging our popular concert featuring Charles D’Ambleville’s (c1597-1637) “Mass of the Bejing Jesuits” performed alternatim style with traditional Chinese instruments & music, as well as a lion dance to start the concert. Watch our website for the announcement of the specific date we will present this concert at the Festival!

The RENAISSANCE ZOO FAMILY CONCERT July 14 – 4:00 pm

We present our first-ever Family Concert! Designed to be enjoyed by everyone, this concert will especially delight audience members ages 7-11 with music by owls, dogs, cats & other animals of the Renaissance including opportunities for you to sing & play along!

A special price as well – just $10 per ticket!

Our 2012-13 Season

“Other Renaissance Voices” Will be announced soon – watch our website for details!

www.SFRV.org

“Best Classical Music 2010” – SFWeekly

Artist Profiles

KATHRYN MUELLER

KATHRYN MUELLER (soprano), praised for her “soaring soprano” and “flights of stratospheric brilliance” (Arizona Daily Star, Miami Herald), is a versatile performer with specialties in early music and contemporary works. She has appeared as a soloist with the Washington Bach Consort, Santa Fe Pro Musica, Tucson Symphony Orchestra, New Trinity Baroque (Atlanta), Bach Collegium San Diego, and Chicago’s Ars Antigua. Solo works performed include Bach’s St. Matthew Passion, St. John Passion, and Magnificat, Barber’s Knoxville: Summer of 1915, Mozart’s Requiem and C Minor Mass, Handel’s Messiah and L’Allegro, il Penseroso, ed il Moderato, and Stravinksy’s Pribaoutki. She has sung the operatic roles of Amy in Little Women, Monica in the The Medium, and Miss Pinkerton in The Old Maid and the Thief with companies including Arizona Opera and the Seattle Academy of Baroque Opera. Ms. Mueller gave the world premiere of Ananda Sukarlan’s song cycle Love and Variations, commissioned for her vocal-piano ensemble, the Swara Sonora Trio. She has recorded extensively with New Trinity Baroque on the Edition Lilac label, and is also featured as a soloist on recordings by the Santa Fe Desert Chorale, Seraphic Fire, and Tucson Chamber Artists. An accomplished choral musician as well as a soloist, she has sung with some of the finest choral ensembles in the United States, including the Handel and Haydn Society, Seraphic Fire, and the Santa Fe Desert Chorale.

She also sings with the internationally acclaimed medieval group LIBER, and with soprano Kristen Watson in the soprano duo Les Sirènes. Ms. Mueller made her international debut in 2009 on an Indonesian concert tour with the Swara Sonora Trio, closely followed by concerts in Central Mexico with the period orchestra Capella Guanajuatensis. During the summer of 2011, she was a Fellow in the Carmel Bach Festival’s prestigious Virginia Best Adams Vocal Master Class.

JUDITH MALAFRONTE

JUDITH MALAFRONTE (alto) has appeared with numerous orchestras and oratorio societies including the Los Angeles Philharmonic at the Hollywood Bowl, the San Francisco Symphony, the St. Louis and Baltimore Symphonies, the St. Paul Chamber Orchestra, Seattle Baroque Orchestra, and the Handel and Haydn Society. She has sung at the Tanglewood Festival, the Boston Early Music Festival, and the Utrecht Early Music Festival, and is a frequent guest artist with the American Bach Soloists, Philharmonia Baroque Orchestra, the Dave Brubeck Quartet, and The Harp Consort. Her operatic performances have included the title role in Handel’s Serse at the Göttingen Festival, Scarlatti’s L’Aldimiro at the Berkeley Festival, Dido & Aeneas with Mark Morris Dance Group (singing both Dido and the Sorceress), and Nero in Monteverdi’s L’Incoronazione di Poppea for the Aston Magna Festival. She has also sung leading roles at the opera houses of Lyon, Liège, and Montpellier. Ms. Malafronte has won several top awards in Italy, Spain, Belgium, and the United States, including the Grand Prize at the International Vocal Competition in ‘s-Hertogenbosch, The Netherlands. She holds degrees with honors from Vassar College and Stanford University, and pursued post-graduate studies at the Eastman School of Music, with Mlle. Nadia Boulanger in Paris, and with Giulietta Simionato in Milan as a Fulbright scholar. She has recorded a wide range of repertoire, from the twelfth-century chant of Hildegard von Bingen to the Deutsche Motette of Richard Strauss, including Handel operas, Bach cantatas, and the St. Matthew Passion with American Bach Soloists, medieval music, and Spanish 17th-century music. Ms. Malafronte’s writings on music have appeared in Opera News, Early Music America, Stagebill, Schwann Inside, and Opus, and she is on the faculty at Yale University where she conducts the Yale Collegium Singers.

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Artist Profiles

JON LEE KEENAN

JON LEE KEENAN (tenor) currently resides in Los Angeles where he is pursuing a DMA in Vocal Arts at the University of Southern California Thornton School of Music. Mr. Keenan is currently in his fifth season with the LA Master Chorale, where he has been featured as a soloist in Haydn’s Maria Theresa Mass, Bach’s St. Matthew Passion, and this past December in the Mozart re-orchestration of Handel’s Messiah where he was called “a tenor to watch” by the LA Times. He earned three undergraduate degrees from the University of Nevada, Las Vegas: in vocal music education, vocal performance, and in jazz studies, and he earned a MM in Vocal Arts from University of Southern California in 2009. Recent operatic engagements include the role of Il Podesta in Mozart’s La Finta Giardiniera, Male Chorus in Britten’s The Rape of Lucretia, and Antonio in Wagner’s Das Liebesverbot with the Thornton Opera at USC. This season’s engagements include the role of Don Ottavio in Mozart’s Don Giovanni with the Pacific Opera Project and engagements as soloist at the LA Bach Festival and with the LA Master Chorale in Handel’s Messiah. Mr. Keenan was a member of the American Bach Soloists 2011 Academy.

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TYLER DUNCAN

TYLER DUNCAN (baritone) enjoys international renown for bringing consummate musicianship, vocal beauty and interpretive insight to recital, concert, and operatic literature.

An exceptional oratorio singer performing a remarkable range of repertoire, Mr. Duncan’s concerts include Haydn’s Die Schöpfung; Beethoven’s Ninth Symphony; Haydn’s Die Jahreszeiten; Händel’s Messiah with Boston’s Handel and Haydn Society, San Francisco’s Philharmonia Baroque and Portland Baroque; Handel’s La Resurrezione at Germany’s Halle Händel Festival and the Vancouver Early Music Festival; Bach’s St. Matthew Passion with the Munich Bach Choir; and Bach’s Ich habe genug and Christmas Oratorio with Tafelmusik. He has sung the title role of Mendelssohn’s Elijah in Munich, Elgar’s The Dream of Gerontius at Canada’s Elora Festival; and made an extensive North American tour of Monteverdi’s 1610 Vespers with Tragicomedia and Concerto Palatino. Mr. Duncan’s considerable gifts in the realm of art song have earned him prizes from the Naumburg, Wigmore Hall (London) and ARD (Munich) Competitions. He has given acclaimed recitals in New York, Boston, Paris and Montreal, as well as throughout Canada, Germany, Sweden, France and South Africa. He was also winner of the 2010 Joy in Singing Auditions in New York, the 2008 New York Oratorio Society Competition, 2007 Prix International Pro Musicis and the Bernard Diamant Prize from the Canada Council for the Arts. He holds music degrees from the University of British Columbia; Germany’s Hochschule für Musik (Augsburg) and Hochschule für Musik und Theater (Munich). He is a founding member on the faculty of the Vancouver International Song Institute. He has performed the roles of Dandini in Rossini’s La Cenerentola, Demetrius in Britten’s A Midsummer Night’s Dream, Papageno in Mozart’s Die Zauberflöte, the title role of Mozart’s Le nozze di Figaro, roles in Lully’s Armide, Purcell’s The Faerie Queen and King Arthur with Early Music Vancouver; and the High Priest in the RichardStrauss adaptation of Mozart’s Idomeneo at the Strauss Festival in Bavaria. Recently released on the CPO label is his Boston Early Music Festival recording of the title role of John Blow’s Venus and Adonis. Forthcoming recordings are Bach’s St. John Passion with Portland Baroque and a DVD recording with CBC television of Handel’s Messiah with the Montreal Symphony.

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Contributors & Acknowledgments Marcelle Scholl Lawrence Severino Douglas Shaker Nina Shoebatter Steve Siegelman Harold Skilbred & Rochelle Matonich Alan Smith Richard Soehren Robert & Ellen Spaethling Center For Learning In Retirement Lisa Spencer Dan Stanley Judith Stanley Mason & Sandra Stober Lorelei Tanji Christine Telleen April Tilles Robert Visser Mary Wildavsky Norman Williams Ron & Marlene Wizelman Kurt Wootton & Ken Fulk Bach Kids Sharon & Richard Boyer, in honor of: Jake D. Sutter Keira N. Sutter Alexander J. Sutter Leah G. Sutter Jan Goldberg, in honor of: Cameron Gremmels Michael Goldberg Alexander Goldberg Dorli & David Hanchette, in honor of: Kevin Wottrich Meaghan Wottrich Sandy Ogden in honor of: Sarah Sterling Ogden Katherine Lanier Ogden Matthew Currier Ogden Ashley Katrine Ogden 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 24

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 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

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Tonight’ons music ABS CDs

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SAN FRANCISCO EXAMINER

Christ lag in Todes Banden, Cantata 4 from Cantata Series Volume IV “Early Cantatas” Judith Nelson, soprano Daniel Taylor, countertenor Benjamin Butterfield, tenor Kurt-Owen Richards, bass

More from our Cantata Series ...

Ein feste Burg, Cantata 80

from Cantata Series Volume VI “Favorite Cantatas” Catherine Bott, soprano Daniel Taylor, countertenor Jeffrey Thomas, tenor William Sharp, bass

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Introducing...

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

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