The Leipzig Legacy Bach & His Predecessors du k e v e spe r s e nse m bl e & c a ppe l l a b a roqu e
The Leipzig Legacy Bach & His Predecessors Ich lasse dich nicht (from Israels Br端nlein).....................Johann Hermann Schein (1586-1630) Christus, der ist mein leben............................................................Johann Schelle (1648-1701) Samantha Arten, Kristen Blackman, Laura Dawalt, Erica Dunkle, Michael Lyle, Kerry McCarthy, Lewis Moore, Dana Wilson
Tristis est anima mea...................................................................Johann Kuhnau (1660-1722) Concerto Polonois in G twv 43:g7...............................Georg Philipp Telemann (1681-1767) Concerto in A minor for Four Harpsichords bwv 1065.......Johann Sebastian Bach (1685-1750) Elaine Funaro, Cembalo 1; Dr. Robert Parkins, Cembalo 2; Beverly Biggs, Cembalo 3; Dr. Alexander Silbiger, Cembalo 4
Jesu, der du meine Seele bwv 78.........................................................Johann Sebastian Bach Laura Dawalt, Erica Dunkle, Dana Wilson, Lewis Moore
These performances are made possible through generous support from the Vereen Family Endowment for Choral Vespers and the Friends of Duke Chapel.
As a courtesy to the performers and other audience members, we ask that you please turn off all watches, cell phones, pagers, and other electronic devices, and remain seated for the duration of the performance.
The Duke Vespers Ensemble The Duke Vespers Ensemble is an active chamber choir based at Duke University Chapel in Durham, NC. Consisting of approximately twenty members from the Duke and Durham communities, the choir is directed by Dr. Brian A. Schmidt, Assistant Conductor and Administrative Coordinator for Chapel Music. The Vespers Ensemble specializes in Renaissance and early Baroque choral works, including pieces by Tomás Luis de Victoria, Dietrich Buxtehude, and William Byrd. This early music repertoire is complemented by 19th century and modern works in a similar style by composers such as Herbert Howells, Knut Nystedt, and Arvo Pärt. The group leads worship services every Thursday of the academic year at 5:15 pm. This 45-minute candlelight service consists of scripture readings, prayers, and sacred music, and is held in the intimate setting of the chancel. The Vespers Ensemble also participates in special services throughout the year, including a popular All-Hallows Eve Service, which is held in almost total darkness. All services are available online for live streaming and archived viewing at http://youtube.com/dukechapel. The Vespers Ensemble also performs several concerts during the academic year, on Duke’s campus and in the Durham community. Recent concerts include a collaborative presentation with the department of Art, Art History, and Visual Studies, featuring the music and art of the Sistine Chapel and an appearance at Boston Early Music Festival in June of 2013. The choir also sings abroad, most recently on a tour to Eastern Europe.
Dr. Brian A. Schmidt, Conductor
Sarah Bereza, Accompanist
Soprano Samantha Arten Kristen Blackman Ali Carnes Laura Dawalt Lydia Greene Imogen Rhodenhiser Stephanie Westen
Tenor David Bottjen Jonathan David Jianghai Ho Andrew Klumpp Chris Shreve Dana Wilson
Alto Erica Dunkle Ruthan Freese Meredith Hawley Kerry McCarthy Nadine Michel Cyril Murphy
Bass David Durkop Seth Garrepy Mark Kagika Lewis Moore Michael Lyle Stephen Pysnik
Historical Context The Leipzig Legacy
Beginning with Sethus Calvisius (1594–1615), a gifted mathematician and astronomer as well as composer, the Thomaskantor post was occupied by a series of distinguished musicians who brought Leipzig church music to a golden epoch. Calvisius was followed by J.H. Schein (1616–30), who introduced progressive Italian madrigal and concerto styles. Schein’s groundbreaking collections of liturgical music – Opella nova (1618, 1626), Fontana d’Israel (1623) and Cantional (1627) – were all issued from Leipzig. By the 17th century the town council had become such a patron of the arts that Demantius, Praetorius, Scheidt, Schütz and others active elsewhere dedicated works to it. Knüpfer was followed by Johann Schelle (1677–1701), who replaced the Latin anthems that traditionally followed the Gospel in the service with settings of German texts that reflected the Gospel reading. The new ‘cantatas’ often included hymn verses and other rhymed poetry. Schelle also introduced the chorale cantata — music to a German text that, together with the sermon, focussed on the hymn of the day. Schelle’s changes were challenged by Mayor Christian Ludwig von Adlershelm, who in December 1683 ordered that the Latin anthems be restored. Von Adlershelm’s objections were overruled by the town council. Schelle was succeeded by Johann Kuhnau (1701–22), who had studied at the university and, from 1684, served as Thomaskirche organist. Kuhnau continued the practice of using cantatas with German texts and ably directed Leipzig’s sacred and civic music. But he had
1594–1615 1616–1630
Michael 1592–1657 1631–1657
Calvisius 1556–1615
Schein 1586–1630
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to contend with new and taxing demands on the Thomasschule choristers, who were now required to form choirs not only for the Thomaskirche and Nikolaikirche, as before, but for the Neukirche (from 1699) and Peterskirche (from 1712) as well. Kuhnau complained that the pool of usable singers was too small. Moreover, in 1704 Georg Philipp Telemann initiated a highly successful programme of concerted music in the Neukirche using student singers and instrumentalists from the collegium musicum he had founded two years before. This robbed Kuhnau of potential players. When J.S. Bach followed Kuhnau in 1723, he inherited these problems but was better able to work in harmony with the organist-music director of the Neukirche. Bach was the town council’s third choice for Thomaskantor, named to the position only after Telemann and Christoph Graupner declined. Nevertheless, during his first six years he seems to have compiled five annual cycles of cantatas — approximately 300 works — as well as the Magnificat (1723), the St John Passion (1724), the St Matthew Passion (1727) and other special works. From 1729 Bach stepped back from church composition, either because of disillusionment with inadequate performance conditions or because of the desire to pursue other creative endeavours. After directing the collegium from 1729 to 1736, he turned increasingly to the study and performance of Latin church music, an interest that culminated in the compilation of the B minor Mass (1748–9), which was not intended for use in the Leipzig worship service.
Kuhnau 1660–1722 Knüpfer 1533–1676 1657–1676
Telemann 1681–1767
Bach 1685–1750
Schelle 1648–1701 1677–1701 1701–1722
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Ich lasse dich nicht (from Israels Brünlein) Johann Hermann Schein
Ich lasse dich nicht, du segnest mich denn. Denn du allein, Herr, hilfest mir, daß ich sicher wohne.
Born, 1586
University, 1608-12
Born 100 years prior to J.S. Bach and within months of lifelong friend and composer, Heinrich Schütz
Schein attended University of Leipzig and study law and liberal arts on scholarship.
Boy Soprano, 1593 Boy soprano in Dresden
Johann Hermann Schein 0
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I will not let you go unless you bless me. For you alone, O Lord, will keep me safe. — genesis 32:26 and psalm 4:8
Thomaskirche, 1616 Schein accepted the Thomaskantor position in August 1616, working there until he died. He also taught Latin grammar and singing lessons at the Thomasschule.
Weimar, 1615
Fontana d’Israel, 1623
Schein became Kappellmeister to the Duke of Weimar, John Ernest i. Bach also worked in Weimar 100 years later.
Schein composed Fontana d’Israel or Israels Brünlein, a collection of pieces composed ‘in a special, graceful Italian madrigal manner.’ 5 voices and continuo – “…title page says they can be performed alone with singers and instruments or with organ or harpsichord.” It ranks with Schütz’s Geistliche Chor-Music as one of the masterpieces of early Baroque choral music in Germany.
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Christus, der ist mein leben Johann Schelle, chorale by melchior vulpius
Christus, der ist mein Leben, Sterben ist mein Gewinn; Dem ‘ hab ich mich ergeben, Mit Freud fahr ich dahin.
Christ is my life, And to die is my gain; To him I have surrendered, With joy I go to him.
Mit Freud fahr ich von dannen Zu Christ, dem Bruder mein, Auf daß ich zu ihm komme Und ewig bei ihm sei.
With joy I depart from here To Christ, my brother, So that I may come to him And eternally be with him.
Nun hab’ ich überwunden Kreuz, Leiden, Angst und Not; Durch seine heil’gen Wunden Bin ich versöhnt mit Gott.
Now I have overcome The cross, suffering, fear, and trouble; By his holy wounds I am reconciled with God.
Die Kräfte mir zerbrechen; Mein Atem geht schwer aus. Wann ich kein Wort kann sprechen, Herr, nimm mein Seufzen auf.
My strength breaks; My breath falters. When I can no longer speak, Then, Lord, receive my sighs.
Born, 1648
Thomasschule, 1665
Born into a respected musical family, his father was a choir director and schoolmaster
Schelle studied at the Thomasschule as young adult.
sethus calvisius johann schein
Boy Soprano, 1655-57
Johann Schelle 1640
Boy soprano in Dresden under the direction of Heinrich Schütz
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Mein Herz samt den Gedanken Zergehn als wie ein Licht, Das hin und her tut wanken, Wenn ihm die Flamm gebricht.
My heart and thoughts Vanish like a light, That must flicker here and there, When the flame dies out.
Hilf, das ich an dir klebe Wie eine Klett am Kleid, Und ewig bei dir lebe In Himmelswonn und Freud.
Help me to cling to you Like a burr on a cloth, And live forever with you In heavenly joy and bliss.
Fein sanfte, leicht, und stille, Gleich wie der Simeon, Schlaf ein mit Gottes Willen; Mein Trost ist Gottes Sohn.
Very gently, easily, and calmly, Just as Simeon did, I fall asleep in God’s will; My comfort is God’s Son.
Wohl in des Himmels Throne Sing ich Lob, Ehr und Preis Gott Vater und dem Sohne Und auch dem Heiligen Geist.
In heaven’s throne I sing glory, honor, and praise To God the Father and the Son And also to the Holy Ghost. — anonymous
Thomaskirche, Schelle accepts post as Thomaskantor, serving from 1677-1701
Theological Unrest, 1680s A series of theological disputes in Leipzig during the 1680s – between the orthodox Lutherans and the Pietists – may have contributed to a decline in morale at the Thomaskirche. At the time of his death, the morale of the Thomasschule was in decline, undermined by a spirit of discontent and lack of discipline; while he was by no means solely responsible for this state of affairs, he did not leave an easy task for his successor and cousin, Johann Kuhnau. johann schelle johann kuhnau georg philipp telemann johann sebastian bach
University, 1670 Later studied at the University of Leipzig until 1670
Christus, der ist mein leben, 1680s Most likely composition date of Christus, der ist mein leben
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Tristis est anima mea Johann Kuhnau
Tristis est anima mea usque ad mortem; sustinete hic et vigilate mecum. Jam, videbitis turbam quĂŚ circumdabit me. Vos fugam capietis, et ego vadam immolari pro vobis.
Law Practice, 1688 Published dissertation and began practicing law
University of Leipzig, 1682 Law student at the University of Leipzig and immediately applied for the organist position at Thomaskirche and was unsuccessful johann schein johann schelle
Thomaskirche, 1684
Boy Soprano, 1670
Applied again for organist and was granted the position
Moved to Dresden
Competition from Collegium Musicum, 1702 When the young Telemann arrived in 1701 as a law student, he immediately established a rival musical organization which attracted some of Kuhnau’s pupils. Telemann obtained permission from the mayor to write music for the Thomaskirche, blatantly undermining Kuhnau’s authority.
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Sorrowful is my soul even unto death; Stay here, and watch with me. Now you shall see the mob that will surround me. You shall take flight, and I shall go to be sacrificed for you. — matthew 26:38-41
Career, 1690s Practicing law, making a family, growing fame as an organist, Kuhnau worked with Schelle and was probably writing music also during this period. Kuhnau was quickly elected to follow Schelle.
Thomaskirche, 1701 Kuhnau begins tenure as Thomaskantor
Additional Competition One of Kuhnau’s own pupils, J.F. Fasch, attempted to interfere further with his musical responsibilities by proposing to establish another collegium musicum in the university and by trying to take over the direction of the music at the university and the Paulinerkirche, but Kuhnau managed to forestall him. In 1703, during one of his several periods of illness, the town council asked Telemann to succeed him should he die.
johann kuhnau georg philipp telemann johann sebastian bach
Peterskirche, 1711 From 1711 he also directed music at the Peterskirche and, on important holidays, at the Johanniskirche. As Thomaskantor he was also director of music for the university and was responsible for the city musicians and for the care and inspection of the organs of the Thomaskirche and the Nikolaikirche.
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Concerto Polonois in G (Polish Concerto), TWV 43:G7 Georg Philipp Telemann
I. Andante
II. Allegro
III. Largo
IV. Allegro
University, 1701 Telemann entered University of Leipzig as a law student.
johann schelle johann kuhnau
Collegium, 1702
Telemann’s court positions allowed him to travel more frequently than other Thomaskantors – which provided more diverse influences and experiences from which he could draw.
Telemann revived the collegium musicum in Leipzig, which has a direct line to the one Bach would later conduct. There is documentation of several Collegia musica in Leipzig through the latter part of the 17th century and Telemann states, quite plainly, in his autobiography that he revived this rather than the general belief that he was the founder.
Georg Philipp Telemann 1690
“In the common inns of the region, the instruments consisted of a violin which was strapped to the body, tuned a third higher than usual, and which could ‘outscream’ [play with a louder, shriller sound] a normal violin, a Polish bagpipe, a bass trombone and a portative.”
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Sorau, 1704 “In 1704, I accepted an appointment as court conductor/music director in Sorau. The splendid character of this court which had been furnished in a truly royal manner moved me to undertake enterprising projects enthusiastically, particularly in regard to instrumental pieces… When the court moved to Plesse, an Upper-
Silesian area, I became acquainted there and also in Krakau with Polish and Moravian music in all its true, barbaric beauty.”
Leipzig Offer, 1723 “In 1723 I received an offer from Leipzig to replace the ailing Director of Music and Cantor, Johann Kuhnau, who they presumed was approaching death. This was a position that had already been promised to me 20 years earlier. But it suited the City of Hamburg better to deny this request from Leipzig by increasing substantially my living standard [by considerably improving my maintenance].”
johann sebastian bach
Hamburg, 1721 Telemann moved to Hamburg to work as Kantor of the Johanneum Lateinschule — and as the musical director of the city’s five largest churches. The composer remained in Hamburg for the rest of his life.
“In fancier inns a portative would not be used, but the first two [Polish violins and bagpipes] were increased in number. I had once heard 36 bagpipes and 8 Polish violins playing together... Anyone who paid very close attention could pick up in 8 days sufficient musical ideas to last a lifetime.”
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“Up until this point in my life I felt that I was like those chefs who have a number of pots on the fire, but from which they allow tasters to try only the results from a few of them. But now I intended to prepare a complete meal, that is, to show the world, using my pen, everything that I had learned in regard to instrumental and vocal music.”
*all quotes from Telemann’s autobiography
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Concerto in A minor for Four Harpsichords Johann Sebastian Bach
I (no tempo indication) II (Largo) III (Allegro)
featured harpsichordists
Elaine Funaro, Robert Parkins, Beverly Biggs, & Alexander Silbiger
Thomaskirche, 1723
St. John Passion, 1724
Bach begins his work in Leipzig only after Telemann and Christoph Graupner turned down the position.
St. John Passion by J.S. Bach premiered at the Nikolaikirche in Leipzig during Holy Week. This passion was not heard in the Thomaskirche until the following year.
johann schelle johann kuhnau georg philipp telemann
Influence of Vivaldi, 1713-15 Bach was strongly influenced by Vivaldi’s style, which was heavily indebted both to the tradition of virtuosity in Italian string music and to the expressive but deliberately simplified musical language of the opera house. During his years in Weimar, Bach transcribed/arranged several of the Vivaldi string concerti for solo harpsichord and organ, likely at the behest of his patron, Duke Johann Ernst.
The Four Seasons, 1723
Johann Sebastian Bach 1690
Vivaldi composed his famous set of concerti, The Four Seasons.
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The Bach Concerto in A minor for Four Harpsichords is an arrangement, or transcription, of Antonio Vivaldi’s Concerto for 4 violins in B minor, rv 580. While Vivaldi’s original concerto is virtuosic in its own right, Bach has expanded the grandeur to create a masterful and unique piece in Baroque instrumental repertoire.
St. Matthew Passion, 1727 Premiere of Bach’s St. Matthew Passion at the Thomaskirche in Leipzig
Concerto in A minor for Four Harpsichords, 1730 likely the year Bach composed the Concerto in A minor for Four Harpsichords (bwv 1065)
B minor Mass, 1733 Bach composed the first two sections — Kyrie and Gloria — of the B minor Mass (bwv 232) as an application to the court composer position in Dresden. The Mass as we know it today was not completed until 1749, one year before his death.
Coronation of George ii, 1727 Handel’s Coronation Anthems are composed for the coronation of George ii of Great Britain, including Zadok the Priest which has been played at every subsequent Coronation of the British monarch.
Jesu, der du meine seele, 1724 Bach composed the chorale cantata Jesu, der du meine seele (bwv 78) in Leipzig for the 14th Sunday after Trinity — and first performed it on September 10th, 1724.
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Jesu, der du meine Seele BWV 78 Johann Sebastian Bach
I. Chorus
Jesu, der du meine Seele Hast durch deinen bittern Tod Aus des Teufels finstern Höhle Und der schweren Seelennot Kräftiglich herausgerissen Und mich solches lassen wissen Durch dein angenehmes Wort, Sei doch itzt, O Gott, mein Hort! (“Jesu, der du meine Seele,” verse 1)
Jesus, you, who my soul, Though your bitter death, Out of the devil’s dark pit And the heavy anguish of the soul Have powerfully rescued, And have let all this be known to me Though your delightful Word, Be now, O God, my treasure!
II. Aria
Wir eilen mit schwachen, doch emsigen Schritten, O Jesu, O Meister, zu helfen zu dir. Du suchest die Kranken und Irrenden treulich. Ach höre, wie wir Die Stimmen erheben, um Hülfe zu bitten! Es sei uns dein gnädiges Antlitz erfreulich!
We hasten with weak, yet eager steps,
Ach! ich bin ein Kind der Sünden, Ach! ich irre weit und breit. Der Sünden Aussatz, so an mir zu finden, Verläßt mich nicht in dieser Sterblichkeit. Mein Wille trachtet nur nach Bösen. Der Geist zwar spricht: ach! wer wird mich erlösen?
Alas! I am a child of sin, Alas! I wander far and wide. The leprosy of sin, which can be found in me, Will never leave me in this mortal state. My will bends only towards evil. Indeed the spirit says: alas! who will rescue me?
Aber Fleisch und Blut zu zwingen Und das Gute zu vollbringen, Ist über alle meine Kraft. Will ich den Schaden nicht verhehlen, So kann ich nicht, wie oft ich fehle, zählen. Drum nehm ich nun der Sünden Schmerz und Pein Und meiner Sorgen Bürde, So mir sonst unerträglich würde, Ich liefre sie dir, Jesu, seufzend ein. Rechne nicht die Missetat, Die dich, Herr, erzürnet hat! (“Jesu, der du meine Seele,” verses 3,4,5)
But to compel flesh and blood To complete good actions, Is greater than all my strength. If I were not to conceal my wickedness, Then I could not count how often I fail. Therefore I take now the pain and hurt of sin And the burden of my troubles, Which otherwise were unbearable to me, And commend them sobbingly to you, Jesus. Do not reckon the transgressions That have angered you, Lord!
(SA)
III. Recitativo (T)
O Jesus, O Master, to you for help. You faithfully seek the ill and erring. Ah, hear, how we Lift up our voices to beg for help! Let your gracious countenance be joyful to us!
“Jesu, der du meine Seele,” Johann Rist (1641) (verses 1,3-5,10,12 - mov’ts. 1,3,5,7; source for the other movements) ©Pamela Dellal (www.emmanuelmusic.org)
IV. Aria (T)
V. Recitativo (B)
VI. Aria (B)
VII. Chorus
Das Blut, so meine Schuld durchstreicht, Macht mir das Herze wieder leicht Und spricht mich frei. Ruft mich der Höllen Heer zum Streite, So stehet Jesus mir zur Seite, Daß ich beherzt und sieghaft sei.
The blood that cancels my guilt Makes my heart light again And pronounces me free. If the host of hell calls me to battle, Then Jesus stands by my side, So that I am encouraged and triumphant.
Die Wunden, Nägel, Kron und Grab, Die Schläge, so man dort dem Heiland gab, Sind ihm nunmehro Siegeszeichen Und können mir verneute Kräfte reichen. Wenn ein erschreckliches Gericht Den Fluch vor die Verdammten spricht, So kehrst du ihn in Segen. Mich kann kein Schmerz und keine Pein bewegen, Weil sie mein Heiland kennt; Und da dein Herz vor mich in Liebe brennt, So lege ich hinwieder Das meine vor dich nieder.
The wounds, nails, crown and grave, The blows given there to the Savior, Are from now on his signs of triumph And can provide me with renewed strength. If a terrifying judgment Speaks a curse upon the damned, You will turn it into blessing. No pain or hurt will move me,
Dies mein Herz, mit Leid vermenget, So dein teures Blut besprenget, So am Kreuz vergossen ist, Geb ich dir, Herr Jesu Christ. (“Jesu, der du meine Seele,” verse 10)
This my heart, crowded with sorrows, Thus sprinkled with your precious blood Which was poured out on the Cross, I give to you, Lord Jesus Christ.
Nun du wirst mein Gewissen stillen, So wider mich um Rache schreit, Ja, deine Treue wird’s erfüllen, Weil mir dein Wort die Hoffnung beut. Wenn Christen an dich glauben, Wird sie kein Feind in Ewigkeit Aus deinen Händen rauben.
Now you will still my conscience, Which clamors for vengeance against me, Yes, your love will fulfill it, Since your word builds up hope in me. If Christians believe in you, No enemy will ever Steal them out of your hands.
Herr, ich glaube, hilf mir Schwachen, Laß mich ja verzagen nicht; Du, du kannst mich stärker machen, Wenn mich Sünd und Tod anficht. Deiner Güte will ich trauen, Bis ich fröhlich werde schauen Dich, Herr Jesu, nach dem Streit In der süßen Ewigkeit. (“Jesu, der du meine Seele,” verse 12)
Lord, I believe, help my weakness, Let me never despair; You, you can make me stronger, When sin and death assail me. I will trust in your goodness, Until I joyfully see You, Lord Jesus, after the battle In sweet eternity.
Since my Savior knows them; And since your heart burns for me in love, Then I again lay Mine down before you.
Brian A. Schmidt Conductor, Duke Vespers Ensemble Brian A. Schmidt is Assistant Conductor and Administrative Coordinator of Chapel Music at Duke University in Durham, NC, where he serves as conductor of the Duke Vespers Ensemble and Duke Divinity School Choir. He is also the Artistic Director of the South Dakota Chorale, a professional chorus organization in Sioux Falls, SD. With the Duke Vespers Ensemble, Schmidt leads a weekly Choral Vespers service amidst the marvelous acoustics of Duke University Chapel. The Duke Vespers Ensemble is an auditioned choir consisting of 20 volunteer singers that strive to work on a level comparable with many of the professional church ensembles in America. Outside of their service work, this ensemble presents primarily early music concerts ranging from Baroque masterworks with period instruments to various Renaissance Mass and Requiem settings. As founder and Artistic Director of the South Dakota Chorale, he manages a roster of professional singers from around the United States that gather and perform in Sioux Falls, SD. Since its founding in 2009, his leadership has guided the South Dakota Chorale to rapid growth, including the production of their first commercial album, In Paradisum: The Healing Power of Heaven. Released in May of 2012 by Gothic Records and distributed internationally by Naxos Records, the album was cited in the body of work that aided producer Blanton Alspaugh in winning the 2013 GRAMMY award for “Best Classical Producer.” Schmidt graduated from the University of North Texas, where he completed the DMA and MM degrees under the direction of Jerry McCoy and Richard Sparks, along with early music studies with Lyle Nordstrom and Lenora McCroskey. Prior to that, he completed a B.M.E. in Choral Conducting from South Dakota State University. He was previously the Director of Music for Gloria Dei Lutheran Church, a 2,500 member Lutheran congregation in Sioux Falls, SD, as well as the founder and Artistic Director of the Dakota Men’s Ensemble, which appeared on National, Regional, and State ACDA Conventions. He maintains an active career as conductor and composer, where his works are published with Colla Voce, Inc., Walton Music, and GIA Music, Inc.
Contact Brian A. Schmidt brianschmidtmusic.com
Brian A. Schmidt is Assistant Conductor and Administrative Coordinator of Chapel Music at Duke University. To discuss musical opportunities and events, call 919.684.3855.
Cappella Baroque Duke Chapel’s collaborative period-instrument orchestra Violin Fiona Hughes, concertmaster Andrew Bonner David McCormick Leah Peroutka John Pruett Allison Willet
Viola Joey O’Donnell Suzanne Rousso
Oboe William Thauer Ellen Exner
Baroque Cello Stephanie Vial
Flauto Traverso Barbara Norton
Violone Robbie Link
Continuo Sarah Bereza, Vespers accompanist
Harpsichord Elaine Funaro Robert Parkins Beverly Biggs Alexander Silbiger
Duke Chapel Music Director of Chapel Music...............................................................................Rodney A. Wynkoop University Organist...................................................................................................Robert Parkins Chapel Organist and Associate University Organist.....................................................David Arcus Assistant Conductor & Administrative Coordinator of Chapel Music.................Brian A. Schmidt Staff Assistant to Chapel Music....................................................................................Michael Lyle Curator of Organs and Harpsichords......................................................................John Santoianni University Carillonneur..................................................................................J. Samuel Hammond
Graphic Design Quartz Studio quartzstudio.com
This program was designed by Joshua Smith of Quartz Studio, For more information, visit quartzstudio.com. Images sourced from Flickr via thegforcers, seabamirum, pelegrino, zendritic, tinamonumentalia, & vxla.