34th SEASON

A Festive Baroque Christmas

Victoria Baroque Jeanne Lamon violin and direction Rebecca Genge soprano Kris Kwapis trumpet

22 December 2018 St. Andrew’s Presbyterian Church 2018-19 Concert Season

J.S. Bach: Victoria’s Requiem The Circle of Creation and Penitential co-presented by 26 January 2019 Saturday 8pm Motets Alix Goolden Hall 23 March 2019 Saturday 8pm Tafelmusik Baroque Orchestra Christ Church Cathedral (TORONTO) Choir of Clare College Elisa Citterio violin and direction Cambridge (UK)

Jeszcze Marcinie: Gate to the East Renaissance Polish Keyboard 6 April 2019 Saturday 8pm 24 February 2019 Sunday 3pm Alix Goolden Hall St. Andrew’s Presbyterian Church Marco Beasley tenor (ITALY) Corina Marti harpsichord (SWITZERLAND) Constantinople (MONTREAL) Kiya Tabassian setar and direction Quartets of Haydn, Beethoven, and Schubert 9 March 2019 Saturday 8pm Alix Goolden Hall Chiaroscuro String Quartet (EUROPE)

The Early Music Society of the Islands would like to thank you for your patronage and wish you the best of the Holiday Season! A Festive Baroque Christmas

Jeanne Lamon director/violin Rebecca Genge soprano Kris Kwapis trumpet Christi Meyers violin Joanna Hood viola Chloe Kim violin Caroline Nicolas cello Elyssa Lefurgey-Smith violin Michael Vaughan double bass Kathryn Wiebe violin Soile Stratkauskas flute Tyson Doknjas violin Katrina Russell bassoon Mieka Michaux viola Michael Jarvis harpsichord

Sinfonie di Concerto Grosso in D major No.2 Alessandro Scarlatti (1660 – 1725) Spiritoso – Adagio – Allegro – Adagio – Presto

Largo from Concerto Grosso Op.3 No.12 Pastorale per il santissimo natale Francesco Manfredini (1684 – 1762)

Aria ‘Sußer Trost, mein Jesus kömmt’ from Cantata BWV 151 Johann Sebastian Bach (1685 – 1750)

Sinfonia in D major G9 Giuseppe Torelli (1658 – 1709) Allegro – Adagio – Prestissimo – Adagio – Allegro

Concerto Grosso in D minor Op.3 No.11 Antonio Vivaldi (1678 – 1741) Allegro – Adagio spiccato – Allegro – Largo e spiccato – Allegro

INTERMISSION

Concerto for four violins in D major TWV 40:202 Georg Philipp Telemann (1681 – 1767) Adagio – Allegro – Grave – Allegro

Cantata Jauchzet Gott in allen Landen BWV 51 J.S. Bach Aria – Recitative – Aria – Chorale – Aria

Carols Est ist ein Ros entsprungen (harm. by Praetorius) O Jesulein süß, o Jesulein mild! (arr. by Bach) Ich steh an deiner Krippen hier (Bach) In dulci jubilo (harm. by Bach) Programme Notes

Victoria Baroque, under the direction of Jeanne Lamon keys typically restrain from using the trumpet, giving the (former long-time music director of Tafelmusik), with violins a chance to shine instead, as in the Sinfonia G9. Canadian soprano Rebecca and Kris Kwapis on trumpet Vivaldi’s Concerto Grosso in D minor Opus 3 No.1 is part celebrates the festive season with Baroque works that are of his collection of twelve Concerto Grossi titled L’estro jubilant, joyous, and pastoral in spirit. armonico (Harmonious Inspiration). Published in 1711 in Alessandro Scarlatti’s Sinfonia in D major No.2 is unique Amsterdam, they are Vivaldi’s first works of this genre. Like in its pairing of two contrasting solo instruments: trumpet Manfredini’s Concerti Grossi, they are scored for two solo and flute. The concerto delightfully alternates from bubbly violins, solo cello, and ripieno strings. The Concerto opens and exuberant to intimate and introspective. Alessandro with rousing, virtuosic passages by the solo instruments. Scarlatti was one of the leading composers of cantatas and The fugal Allegro is followed by an expressive solo aria for operas of his time, but his instrumental contributions were the violin in style of a rocking Siciliano. scarce. TheSinfonia in D is part of a collection of twelve Telemann’s Four Concerti for Four Solo Violins TWV Sinfonias written relatively late in his career in 1715. 40:201-4 are unusual amongst instrumental concerti in Francesco Manfredini composed the Italian Baroque their lack of accompanying instruments, most notably the Concerto during its Golden Age. He studied violin with Torelli, was a member of the celebrated association of musicians continuo. The four equal violin parts take turns in playing Accademia dei Filharmonici in Bologna, and is believed to have melodic material and providing harmony and bass line. worked over twenty years as a court musician for Prince Antoine Thoroughly joyous and imaginative, the concerti are a of Monaco. Concerto Grosso Pastorale per il santissimo natale is novelty and treat for both players and listeners. part of his collection of twelve Concerto Grossi published in Bach’s Cantata Jauchzet Gott in allen Landen BWV 51 is 1718. At once, the listeners are lulled into a peaceful pastoral, somewhat of an anomaly amongst his cantatas. Only nine archetypical to nativity-themed Baroque works. of these cantatas are written for a solo singer, and BWV Bach wrote the cantata Sußer Trost, mein Jesus kömmt 51 is the only one pairing a solo soprano with trumpet BWV 151 for the third day of Christmas in December -- a scoring more typical to Scarlatti and other Italian 1725, as part of his third complete cantata cycle in Leipzig. masters. The cantata is titled ‘et in ogni tempo,’ meaning Unlike the exuberant cantatas employing brass and choir it is not specific to a festival or day of the church year, in full, written for the first and second days of Christmas, though it is clearly celebratory in spirit. Records show that BWV 151 is more intimate and personal in nature. The the cantata was performed at Thomaskirche September cantata’s title aria is pastoral and lullaby-like with its 17 1730, the fifteenth Sunday after Trinity. However, it obligato flute melismas, rocking string accompaniment is likely the cantata was composed earlier as it does not and voice arcing over them in soaring lines. relate to the designated readings for that Sunday. Women As a member of Accademia dei Filharmonici, Giuseppe were strictly forbidden from music performance in the Torelli was a notable Italian violinist, pedagogue, and churches in Leipzig. Thus, many speculate that this cantata developer of the baroque concerto and concerto grosso. In was originally written with a female soloist in mind for addition to writing abundant concerti for strings, he was a an occasion outside church. Perhaps it was composed prolific composer for the trumpet – composing over thirty for Bach’s wife and accomplished singer Anna Magdalena and trumpet concertos for one to four trumpets. Like most solo her trumpeter brother to perform at a royal celebration in works for trumpet, the Sinfonia G9 is in the festive key of a nearby Court. The opening aria in C major is jubilant and D major. As the baroque trumpet is limited to the notes of highly virtuosic for both the trumpet and voice. The following the harmonic series of a major key, movements in minor recitative is more like an arioso, including string accompaniment

4 and striking word painting, most notably on word lallen former student from Thomaschule, Georg Christian Schemelli. (babble). The middle aria is introspective, scored for just voice Bach contributed multiple songs to the book, both original and continuo, in the tender key of A minor. Replacing a typical compositions as well as arrangements. These devotional songs four-part chorale (and to get around the need to employ a scored for voice and figured bass were meant for private use choir), Bach wrote a chorale fantasia. Scored for two solo violins rather than liturgical – little gems on par with his Notenbüchlein and continuo, it is like a frolicking trio sonata over which the für Anna Magdalena, demonstrating Bach’s beautiful mind even soloist sings the chorale tune. The closingAlleluja brings back an in the simplest forms of music. O Jesulein süss! O Jesulein mild! exultant spirit with the trumpet. was one of many popular cradle-rocking songs in 16th and 17th The three carols ending tonight’s concert were each century Germany. Paul Gerhardt’s poem ‘Ich steh an deiner intrinsic to the Christmas tradition in 18th century Krippen hier’ was first published in 1653, and Bach’s setting is Germany. Still a beloved carol today, Es ist ein Ros still used in Catholic and Protestant hymnals today. entsprungen, dates from the 15th century and first appeared According to folklore, the carol In dulci jubilo in print in 1599. The text refers to the prophecies of Isaiah, was revealed to the 14th century mystic German Heinrich foretelling the birth of Jesus. The familiar harmonisation Seuse by angels who surrounded him singing and still common today is by Michael Praetorius. dancing in worship. The text is macaronic, alternating The two carols,O Jesulein süss! O Jesulein mild! and Ich steh between Latin and German. Several Baroque composers an deiner Krippen hier, both appear in the Musicalisches Gesang- used the tune in their compositions including Buxtehude Buch of 1736, a collection of hymns put together by Bach’s and J.S. Bach.

5 Texts and Translations

Süßer Trost, mein Jesus kömmt BWV 151

Süßer Trost, mein Jesus kömmt, Comfort sweet, my Jesus comes, Jesus wird anitzt geboren! Jesus now is born amongst us! Herz und Seele freuet sich, Heart and soul with joy are filled, Denn mein liebster Gott hat mich For my dearest God hath me Nun zum Himmel auserkoren. Now for heaven's prize elected.

Jauchzet Gott in allen Landen! BWV 51

1. Aria 1. Aria Jauchzet Gott in allen Landen! Exult in God in every land! Was der Himmel und die Welt All the creatures An Geschöpfen in sich hält, contained in heaven and earth Müssen dessen Ruhm erhöhen, must raise up this praise, Und wir wollen unserm Gott and to our God we will Gleichfalls itzt ein Opfer bringen, now likewise bring an offering Dass er uns in Kreuz und Not since in affliction and distress Allezeit hat beigestanden. at all times he has stood by us.

2. Recitative 2. Recitative Wir beten zu dem Tempel an, We pray at the temple Da Gottes Ehre wohnet, where God's honour dwells, Da dessen Treu, where his faithfulness So täglich neu, that is renewed every day Mit lauter Segen lohnet. Rewards us with unmixed blessing. Wir preisen, was er an uns hat getan. We praise what he has done for us. Muss gleich der schwache Mund von seinen Even though our weak mouths have to babble Wundern lallen, about his wonders, So kann ein schlechtes Lob ihm dennoch wohlgefallen. yet imperfect praise can still please him.

3. Aria 3. Aria Höchster, mache deine Güte Most High God, make your goodness Ferner alle Morgen neu. new every morning from now on. So soll vor die Vatertreu Then to your fatherly love Auch ein dankbares Gemüte a thankful spirit in us in turn Durch ein frommes Leben weisen, through a devout life will show Dass wir deine Kinder heißen. that we are called your children.

6 4. Chorale 4. Chorale Sei Lob und Preis mit Ehren May there be praise and glory and honour Gott Vater, Sohn, Heiligem Geist! For God the Father, Son and Holy Spirit! Der woll in uns vermehren, May it be his will to increase in us Was er uns aus Gnaden verheißt, what he promises us through his grace, Dass wir ihm fest vertrauen, so that we firmly trust in him, Gänzlich uns lass'n auf ihn. rely completely on him, Von Herzen auf ihn bauen, from our hearts build on him, Dass uns'r Herz, Mut und Sinn so that our heart, spirit and mind Ihm festiglich anhangen; depend steadfastly on him; Drauf singen wir zur Stund: about this we now sing: Amen, wir werdn's erlangen, Amen, we shall achieve this, Glaub'n wir aus Herzensgrund. if we believe from the bottom of our hearts

5. Aria 5. Aria Alleluja! Alleluja!

Es ist ein Ros entsprungen

1. Es ist ein Ros entsprungen, 1. A rose has sprung up, aus einer Wurzel zart, from a tender root, wie uns die Alten sungen, As the old ones sang to us, von Jesse kam die Art Its strain came from Jesse Und hat ein Blümlein bracht And it has brought a floweret mitten im kalten Winter, In the middle of the cold winter, wohl zu der halben Nacht. in the dead of night.

2. Das Röslein, das ich meine, 2. The rosebud that I mean, davon Jesaia sagt, Of which Isaiah told hat uns gebracht alleine Marie, Has brought us Mary, die reine Magd. the pure maid. Aus Gottes ew’gem Rat At God’s eternal counsel hat sie ein Kind geboren She had borne a child wohl zu der halben Nacht. in the dead of night.

O Jesulein süß, o Jesulein mild!

1. O Jesulein süß, o Jesulein mild! 1. O sweet little Jesus, O gentle little Jesus, Deines Vaters Willen hast du erfüllt, the Father’s will thou hast fulfilled; bist kommen aus dem Himmelreich, Thou hast come from the heavenly kingdom, uns armen Menschen worden gleich. Thou hast become like us poor mortals, O Jesulein süß, o Jesulein mild! O sweet little Jesus, O gentle little Jesus.

2. O Jesulein süß, o Jesulein mild! 2. O sweet little Jesus, O gentle little Jesus, Mit Freuden hast du die Welt erfüllt. with joy thy birth the world has filled, Du kommst herab vons Himmels Saal From heaven thou comest to men below Und trosts uns in dem Jammertal. To comfort us in all our woe. O Jesulein süß, o Jesulein mild! O sweet little Jesus, O gentle little Jesus,

7 3. O Jesulein süß, o Jesulein mild! 3. O sweet little Jesus, O gentle little Jesus, Du bist der Lieb ein Ebenbild. thou are the image of love: zünd an in uns der Liebe Flamm, ignite in us the flame of love, dass wir dich lieben allzusamm. that we all of one accord love thee, O Jesulein süß, o Jesulein mild! O sweet little Jesus, O gentle little Jesus,

Ich steh' an deiner Krippen hier

1. Ich steh' an deiner Krippen hier, 1. I stand at your manger here, o Jesu, du mein Leben; oh Jesus, you, my life. ich komme, bring' und schenke dir, I come and bring and present to you was du mir hast gegeben. the things you have given to me: Nimm hin, es ist mein Geist und Sinn, receive it, it is my spirit and mind, Herz, Seel' und Mut, nimm alles hin my heart, my soul, my courage, und laß dir's wohlgefallen. take it all and let it please you.

2. Eins aber hoff ich wirst du mir, 2. One thing I hope, my Saviour, Mein Heiland, nicht versagen: you will not deny from me, Daß ich dich möge für und für that I may henceforth In meinem Herzen tragen. carry you in my heart. So laß mich doch dein Kripplein sein; So let me be your cradle; Komm, komm und lege bei mir ein come, come and lie within me, Dich und all deine Freuden! you and all your joys!

In dulci jubilo – Sing along

1. In dulci jubilo, Let songs and gladness flow! All our joys reclineth In praesepio And like the sun he shineth matris in gremio. Alpha es et O.

2. O Jesu parvule, I yearn for thee alway! Comfort me and stay me, O Puer optime; By thy great love I pray thee, O Princeps Gloriae, Trahe me post te.

3. Ubi sunt gaudia More deep than heaven’s are? In heav’n are angels singing Nova cantica, In heav’n the bells are ringing In Regis curia; O, that we were there!

8 The Artists

Jeanne Lamon Jano in Janacek’s Jenufa with Pacific Opera Victoria. Other recent highlights include appearing as soloist in Music Director of Tafelmusik from 1981 to 2014, Jeanne Bach’s St. John Passion under Hans-Christoph Rademann Lamon has been praised by critics in Europe and North in Stuttgart, Germany and being featured in several America for her strong musical leadership. She has won concerts at the Elora Festival in Ontario. An avid choral numerous awards including honorary doctorates from singer, she can be heard on several recordings, including York University, Mount Saint Vincent University, and all three of the Trinity Choir’s best-selling discs for Sony University of Toronto, and the prestigious Molson Prize Classical, under the direction of Daniel Taylor. Genge is from the Canada Council for the Arts. In 2000, Lamon currently a doctoral student in Historical Performance at was appointed a Member of the Order of Canada, and the University of Toronto. in 2014, a Member of the Order of Ontario. She is in demand as guest director of symphony orchestras Kris Kwapis in North America and abroad. She is an enthusiastic teacher of young professionals which she does as Adjunct Kris Kwapis appears regularly as soloist and principal Professor at the University of Toronto and through trumpet with period-instrument ensembles across North Tafelmusik’s artist training programmes. Lamon is the America including Portland Baroque Orchestra, Early Artistic Director of the Health Arts Society of Ontario, Music Vancouver, Tafelmusik, Pacific MusicWorks, an organization dedicated to providing seniors in long- Bach Collegium San Diego, Oregon Bach Festival, term care and retirement homes with quality concerts – Staunton Music Festival, Apollo’s Fire, Indianapolis a project to which she is passionately devoted. She also Baroque Orchestra, Bourbon Baroque, and Lyra Baroque, volunteers at Bridgepojnt Health Centre playing music for making music with directors such as Andrew Parrott, patients in palliative care. Jeanne Lamon stepped down Monica Huggett, Alexander Weimann, Barthold as full-time Music Director of Tafelmusik in June 2014, Kuijken, Matthew Halls, Jacques Ogg, and Masaaki served as Chief Artistic Advisor until June of 2016, and Suzuki. Her playing can be heard on many labels is now Music Director Emerita. She plans to devote more and radio broadcasts from CBC to Wisconsin time to playing chamber music, teaching, guest directing, Public Radio, including the 2013 GRAMMY nominated and pursuing various hobbies. recording of Handel’s Israel in Egypt. A student of Armando Ghitalla on modern trumpet, with a BM and MM in Rebecca Genge trumpet performance from the University of Michigan, Dr. Kwapis also holds a DMA in historical performance. Originally from Victoria, soprano Rebecca Genge’s She enjoys sharing her passion with the next generation previous performances with Victoria Baroque include of performers as a faculty member at Indiana University’s Bach’s Tilge Höchster Meine Sünden in 2012 and Jacobs School of Music Historical Performance Institute, Telemann’s Die Tageszeiten in 2016. Genge has also been in addition to teaching at her home in Seattle and online. a soloist here with the Pacific Baroque Orchestra and in Aside from making music, Kris also creates visual art in the roles of Papagena in Mozart’s The Magic Flute and the encaustic medium.

9 Victoria Baroque the Baroque on Marquis Classics, was nominated for a Soile Stratkauskas Western Canadian Music Award in 2014. In collaboration with the St John’s Chamber Singers, they have performed Now in its eighth season, Victoria Baroque presents major choral works including Bach cantatas and his St. dynamic, personal, and engaging performances of music John Passion, and Handel’s Dixit Dominus. Victoria from the Baroque and Classical periods. VB brings Baroque’s guest directors and soloists have included Pacific together early music specialists from Vancouver Island and Opera Victoria’s Timothy Vernon, Tafelmusik’s Jeanne beyond for explorations of chamber, orchestral, vocal, and Lamon, violinist Kati Debretzeni, British harpsichordist choral works. Its home venue is the Church of St John the Steven Devine, soprano Nancy Argenta, and tenor Divine in downtown Victoria. In addition to Early Music Benjamin Butterfield. Outreach is an integral part of Society of the Islands, invitations for guest performances this group’s mission, and in addition to public concerts, have included Early Music Vancouver, Cowichan its community engagement includes masterclasses, Symphony Society, ArtSpring, Denman Island Concerts, workshops, school concerts, and collaborations with both and Vancouver Island Chamber Music Festival. Victoria the Greater Victoria Youth Orchestra and the Victoria Baroque’s début CD with Kati Debretzeni, Virtuosi of Conservatory of Music.

A special VBMS fundraising event Steven Devine Joy, Passion, Metamorphosis in cnersatin it anc renta Handel’s dramatic cantata ‘Apollo e Daphne’ rcestral rs Steven Devine, director and harpsichord (UK) “Devine Adventures in Music” Friday, January 11, 2019  7:30 pm An intimate and entertaining evening of stories and music, shedding St John the Divine, 1611 Quadra St, Victoria light on the magic of the harpsichord and continuo playing. i enir tdent at McPherson Box Office Monday, January 14th, 2019  7pm Ivy’s Books Munro’s Books / Long & McQuade Baumann Centre, 925 Balmoral Rd, Victoria

http://victoria-baroque.com Tickets: ta dedctile RESERVE in advance: [email protected] r 250 590-9770

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The programme, notes, and artist biographies are available on the EMSI website prior to each concert

EMSI wishes to thank…

The EMSI Volunteer Guild Alix Goolden volunteers Caroline Mitic, graphic designer for EMSI David Strand, maintainer of the EMSI website

www.earlymusicsocietyoftheislands.ca

10 Supporting the Society

Make a Donation help the Fund grow. These operating grants will both assist The Early Music Society of the Islands relies on in presenting artists who would otherwise be unaffordable individual donations, memberships, and grants to and ensure the long-term sustainability of the Society. sustain its operations each year. Your donation will help Tax receipts will be provided. to present concerts featuring internationally-renowned artists and to promote interest and appreciation of Early You can contribute directly to this Fund in three ways: Music in the community. MAIL By sending a cheque to: Ways to Donate Early Music Endowment Fund, Victoria Foundation, ONLINE To make a secure online donation Suite #109–645, Fort Street Victoria, BC V8W 1G2 by Visa, MasterCard or AmEx, visit: www.earlymusicsocietyoftheislands.ca ONLINE Donate online by Visa, MasterCard, Amex at the Victoria Foundation’s Web site: MAIL Please send cheque payable to EMSI to: http://www.victoriafoundation.bc.ca/web/give/ways Click EMSI Donations c/o McPherson Box Office, on “give now” to go to CanadaHelps, select “Donate #3 Centennial Square, Victoria BC V8W 1P5 Now” and choose “Early Music Endowment Fund” from the drop-down list. THROUGH UNITED WAY OR EMPLOYEE CAMPAIGNS If your employer participates in BEQUESTS OR GIFTS OF SECURITIES the United Way or other employee campaigns, Bequests or gifts of life insurance or securities may you can support the Early Music Society of the Islands be arranged through the Victoria Foundation. by writing in the gift on your pledge For more information, visit www.victoriafoundation.bc.ca card. Our charitable registration number is or phone the Foundation at (250) 381–5532. 11889-0367-RR0001. Sponsorships To discuss donation options, please contact BUSINESS SPONSORS The Society welcomes business Rondallyn Perras, Fundraising Director sponsorships and will provide appropriate public [email protected] acknowledgement of such support. Tax receipts are issued for all donations of $10 and over. CONCERT SPONSORS James Young, Artistic Director [email protected] would be Donate for the Future pleased to offer guidance and information relating to gifts The Early Music Endowment Fund is owned and to support a specific concert. managed on our behalf by the Victoria Foundation. Each year, part of the investment income is given as Please contact us at: a grant to EMSI and the balance is re-invested to [email protected]

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