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Ave Maria Ave Maria, gratia plena: Hail Mary, full of grace, Dominus tecum, the Lord is with thee, MENDELSSOHN benedicta tu in mulieribus, blessed art thou among woman, et benedictus fructus ventris tui, Jesus. and blessed is the fruit of thy womb, Jesus.

Sancta Maria, Mater Dei, Holy Mary, Mother of God, J. S. BACH ora pro nobis peccatoribus, pray for us sinners, nunc et in hora mortis nostrae. now and at the hour of our death. Amen. Amen. Magnificats in D major • Yale Voxtet Yale Collegium Players • Simon Carrington

Yale Schola Cantorum

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Felix Mendelssohn-Bartholdy (1809–1847) Magnificat anima mea Magnificat anima mea Dominum My soul magnifies the Lord. Magnificat in D major 26:13 Et exultavit spiritus meus and my spirit has rejoiced in Deo salutari meo. in God my saviour. 1 Magnificat 3:43 4 Fecit potentiam 3:38 Chorus Bass (DK) Quia respexit humilitatem For he has regarded the low estate 2 Quia respexit 3:20 5 Deposuit potentes 4:11 ancillae suae: of his handmaiden: Soprano (MR), Chorus Trio (CL / LA / JS) ecce enim ex hoc for behold, henceforth all generations 3 Et misericordia 4:33 6 Gloria Patri – Fuga: Sicut erat 6:48 beatam me dicent omnes generationes. shall call me blessed. Chorus Chorus Quia fecit mihi magna For he who is mighty qui potens est: has done great things to me; 7 String Symphony No. 12 in G minor (ed. Robert Mealy) 4:52 et sanctum nomen ejus. and holy is his name. I. Fuga: Grave – Allegro Et misericordia ejus a progenie And his mercy is on them in progenies timentibus eum. who fear him from generation to generation. Johann Sebastian Bach (1685–1750) Fecit potentiam in brachio suo: He has shown strength with his arm; Magnificat in D major 27:54 dispersit superbos he has scattered the proud, mente cordis sui. even the arrogant of heart. 8 Magnificat 2:59 $ Fecit potentiam in brachio suo 1:54 Chorus Chorus Deposuit potentes de sede, He has deposed the mighty from their seats, 9 Et exultavit spiritus meus 2:20 % Deposuit potentes 2:03 et exaltavit humiles. and exalted the humble. Soprano (CL) Tenor (BR) Esurientes implevit bonis: The hungry he has filled with good things. 0 Quia respexit 2:45 ^ Esurientes implevit bonis 2:58 et divites dimisit inanes. and the rich he has sent empty away. Soprano (MR) Alto (JC) Suscepit Israel puerum suum, He has helped his servant Israel, ! & Omnes generationes 1:21 Suscepit Israel puerum suum 2:12 recordatus misericordiae suae. in remembrance of his mercy. Chorus Chorus, Soprano I (MR), Soprano II (CL) Sicut locutus est ad patres nostros, As it was spoken to our fathers, @ Quia fecit mihi magna 1:55 * Fuga: Sicut locutus 1:38 Abraham et semini ejus in saecula. to Abraham and his seed forever. Bass (JS) Chorus # Et misericordia eius 3:34 ( Gloria Patri 2:15 Gloria Patri, et Filio, Glory be to the Father, and to the Son, Alto / Tenor (JC / MS) Chorus et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, et in saecula saeculorum, and ever shall be, world without end, Felix Mendelssohn-Bartholdy (1809–1847) Amen. Amen. ) Kirchenmusiken, Op. 23: No. 2 – Ave Maria 6:55 Tenor (BR) / Yale Voxtet (MR / LA / JC / MS / VS / DK)

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Yale Schola Cantorum Yale Schola Cantorum Simon Carrington, director Yale Schola Cantorum, founded in 2003, is a 24-voice chamber choir of students from across the university specializing in music from before 1750 and from the last hundred years. Simon Carrington is the group’s founder Soprano Alto Tenor Bass and conductor. In addition to performing regularly in New Haven, New York and Boston, Schola Cantorum records Awet Andemicael Laura C. Atkinson Casey Breves Matthew Barnson and tours nationally and internationally. Their live recording on CD with Robert Mealy and Yale Collegium (Bach only) Jay Carter Noah Horn David Dong-Geun Kim Musicum of Heinrich Biber’s 1693 Vesperae longiores ac breviores, received international acclaim from the early Esteli Gomez Lora Chow Bradley Naylor Jason P. Steigerwalt music press as have their subsequent CDs of J.S. Bach’s rarely heard 1725 version of the St John Passion and Lucy Fitz Gibbon Sooyeon Lee Birger Radde Benjamin Thorburn Antonio Bertali’s Missa Resurrectionis. Cecilia Leitner Elizabeth Picker Michael Sansoni Douglas Williams Lauren Quigley Valerie Rogotzke Kevin Zakresky Alexander Woods Melanie Scafide Russell Yale Collegium Players Sarah Whitfield The Yale Collegium Players is an ensemble of undergraduate and graduate instrumentalists who perform regularly Yale Voxtet in the Collegium’s early music programs at the Beinecke Rare Book and Manuscript Library and collaborate with James Taylor, director the Yale Schola Cantorum on music for voices and instruments. Using Yale’s recently acquired collection of baroque bows, the Players explore the wonderful repertory of early orchestral and chamber music, discovering the Melanie Scafide Russell, soprano (MR) Birger Radde, tenor (BR) dancing rhythms and vivid rhetoric of historically informed performance under the direction of violinist Robert Cecilia Leitner, soprano (CL) Michael Sansoni, tenor (MS) Mealy. Laura C. Atkinson, mezzo-soprano (LA) Jason P. Steigerwalt, baritone (JS) Jay Carter, countertenor (JC) David Dong-Geun Kim, bass (DK) Simon Carrington Yale Collegium Players Simon Carrington was director of the Yale Schola Cantorum and professor of choral conducting at the Yale Institute Robert Mealy, director of Sacred Music and Yale School of Music from 2003 to 2009, where he also led the introduction of the graduate voice track for singers specializing in oratorio, early music, art song, and chamber ensemble. From 2001 until his Violin 1 Cello Clarinet Horn Yale appointment in 2003, he was director of choral activities at the New England Conservatory, and from 1994 to Robert Mealy, principal Hannah Collins, pricipal Sergiy Dvornichenko, Jocelyn Carr Crawford 2001 he held a similar position at the University of Kansas. Prior to coming to the United States, Simon Carrington Nicholas DiEugenio Christopher Gibson principal Alma Liebrecht was a creative force for 25 years with the internationally acclaimed British vocal ensemble The King’s Singers, So-Young Kwon Agnes Coakley Won Jin Cho which he co-founded at Cambridge University. He gave 3,000 performances at many of the world’s most prestigious Jaram Kim Timpani festivals and concert halls, made more than seventy recordings, and appeared on countless television and radio Bass Bassoon Julian Pellicano programs including nine appearances with the late Johnny Carson. He maintains an active schedule as a freelance Violin 2 Cameron Arens, principal Aaron Apaza, principal conductor and choral clinician, leading workshops and master classes all over the world. Daniel Lee Ellen Connors Organ Jacqueline Jove Flute Ilya Poletaev (Bach only) Caroline Shaw Jen Chen, principal Trumpet Christian Lane Marc-Daniel van Biemen Yoobin Son Thomas Bergeron [principal for Viola Oboe / Oboe d’amore Mendelssohn Magnificat] Vesselin Todorov, Aaron Hill, principal Aaron Hodgson [principal The Yale Schola Cantorum is supported by the Yale Institute of Sacred Music principal Merideth Hite for Bach Magnificat] with support from the Yale School of Music. Anne Lanzilotti Chih-hao Lin Margaret Carey

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Felix Mendelssohn-Bartholdy (1809–1847) first version of the ‘Quia respexit’ (heard on this ‘ouverture’ leading to a masterful fugue worthy of his Johann Sebastian Bach (1685–1750) recording) that Zelter returned it to his pupil, with its esteemed master’s company. ornate part for obbligato viola and bassoon and soprano As an epilogue to the Magnificat settings, the Ave Magnificat heavily marked up for a complete revision. But Maria of 1830 stands at the cusp of a new age. It looks Mendelssohn’s original now appears in the appendix of at once back to the grand polychoral tradition The monastic office of Vespers has bequeathed western choral work to a few climactic sections or final the new collected works that includes the 1822 Mendelssohn had himself visited only a few years music one of its most beloved liturgical texts, the song movement. In 1749, just months before his father’s Magnificat. earlier in his Hora est and forward to Paulus and Elijah of Mary, known better by its opening Latin ‘magnificat’. death, he completed his Magnificat with a classical Whether the Singverein ever performed this (and many psalm settings as well as the operatic Erste Drawn directly from St Luke’s gospel (Luke 1.46–55), orchestration including a pair of horns, and this, along virtuosic Magnificat remains unclear, though like his Walpurgisnacht). 1830 also marked essentially the end this canticle is Mary’s response to the angel Gabriel, her with his father’s work, became the template for the many other choral works of the 1820s, it was excluded of Mendelssohn’s Latin church music, with the reply to his news that she will bear the Christ, the young Felix Mendelssohn some seventy years later. from the first ‘complete edition’ assembled by his quintessentially Catholic text of the Ave petition. Its anointed one of God. Its verses contrasts Mary’s Mendelssohn’s Magnificat of 1822 (not to be confused colleague Julius Rietz after his death in 1847. The construction resembles the intricacy of the choral works submission with the greatness of God, extending the with the setting composed shortly before his death) turns Singverein’s massive size – some 300 – would have of the 1820s, with its (eight-part) double choir texture. dichotomy to human society, to the rich and the hungry, out to be the composer’s first major work for full certainly have left its myriad amateur singers struggling In A-B-A form, with the return of the opening material, the mighty and the meek, the haughty and the humble. classical orchestra, soloists and chorus. A huge step with Mendelssohn’s fleet, baroque lines, conceived in as if in a gesture to his earlier polyphonic adventures, Medieval worship developed a central place for beyond his youthful Gloria, composed only months the soloistic tradition of Bach, but the demands of such Mendelssohn introduces a further eight solo voices to veneration of the Blessed Virgin, and ‘Mary’s song’ earlier, it reveals the brilliance and limitless ambition of an earlier elitist baroque style lie at the heart of mirror the original double-choir texture. The work as a came to occupy the high point of Vespers, a service with the thirteen-year-old prodigy whom Schumann would Mendelssohn’s until recently unexplored early choral whole, though, remains distinctly homophonic, and its strong Marian overtones throughout, in which the call the ‘Mozart of the nineteenth century’. works. Their reappearance, in the context of other early (orchestral-style) accompaniment has moved from the Magnificat is elevated by a sequence of psalms together Three years before, at barely ten years of age, works such as the Overture to A Midsummer Night’s Italian baroque basso generale deployed in Hora and with its own specific Marian antiphon. And beyond the Mendelssohn had been welcomed to Carl Friedrich Dream and the Octet, reveals, more than any other major other earlier choral works to the romantic Mendelssohn Reformation the unique place of this canticle remained Zelter’s newly founded Singakademie in Berlin. In an composer’s juvenilia, a childhood genius of staggering of the oratorios. It is heard here not in the version for in the Anglican sequel to Vespers, Evensong, that again era that dismissed Bach as an ‘unintelligible musical proportion. organ, but in an original scoring for winds (clarinets and placed it centre-stage, albeit in English. arithmetician’, the precocious young Felix had already Mendelssohn’s G minor Grave and Fuga is the bassoons) and bass, and its rising fourth ‘Jupiter’ In Lutheran Leipzig in the early eighteenth century shown a propensity to imitate the master’s technique, opening movement of the String Symphony No. 12, the motive, in a wonderful glimpse of the future, previews there also remained occasions for pre-Reformation Latin and under Zelter’s tutelage his appetite grew ever penultimate and last completed of the early string the first movement of the Reformation Symphony (also settings on major feasts and holidays; and the keener. Having soon proved unsurpassable in fugal art, sinfonias, published in the Rietz edition before his first 1830) and more especially the A major final of the Magnificat with its implicit ties to St Luke’s nativity text he delved further into other pre-classical forms during a symphony. It is nearly contemporary (1823) with the Scottish Symphony, yet a dozen years away. was given special treatment during the Christmas rich seven-year creative span between the completion of 1822 Magnificat and offers an ideal bridge from season. No better example of this tradition remains than his 1822 Magnificat and his epoch-making revival of Mendelssohn back to Bach – its baroque-style © Malcolm Bruno 2009 J. S. Bach’s splendid Magnificat first conceived for Bach’s St Matthew Passion in 1829. Christmas Vespers in 1723. Like his Gloria (Cantata Thus it was in the spring of 1822, with the 191, also originally conceived for Christmas) that would Magnificat settings of both J. S. and C. P. E. Bach before reappear in the Mass in B minor, Bach revised his him, that Mendelssohn fashioned a unique symbiosis: a Magnificat five years later for general festive use, and it Magnificat, of similar duration and with numerous is that well-known version, heard on this disc, that was parallels to the Bach settings – most especially in his the precursor for Magnficat settings by Bach’s most sampling of motivic fragments from father Bach’s ‘Quia talented son, Carl Philipp Emanuel (1714–1788), and his respexit’ and a topping of C. P. E. Bach’s ‘Gloria Patri’ early nineteenth-century devotee Felix Mendelssohn. four-part fugue by three additional voices. His writing C. P. E. Bach’s compositional leaning had, like his throughout, though well-seasoned by the Viennese father’s successors in Leipzig, moved on from Bach’s world of Mozart (baroque trumpets had by the 1820s unmatchable contrapuntal skills to a more homophonic vanished in favour of classical horns and clarinets), style, limiting the use of fugal/contrapuntal writing in a remained baroque in texture. Indeed so florid was his 8.572161 4 5 8.572161 572161bk Mendelssohn US NEW 11/8/09 10:53 Page 4

Felix Mendelssohn-Bartholdy (1809–1847) first version of the ‘Quia respexit’ (heard on this ‘ouverture’ leading to a masterful fugue worthy of his Johann Sebastian Bach (1685–1750) recording) that Zelter returned it to his pupil, with its esteemed master’s company. ornate part for obbligato viola and bassoon and soprano As an epilogue to the Magnificat settings, the Ave Magnificat heavily marked up for a complete revision. But Maria of 1830 stands at the cusp of a new age. It looks Mendelssohn’s original now appears in the appendix of at once back to the grand polychoral tradition The monastic office of Vespers has bequeathed western choral work to a few climactic sections or final the new collected works that includes the 1822 Mendelssohn had himself visited only a few years music one of its most beloved liturgical texts, the song movement. In 1749, just months before his father’s Magnificat. earlier in his Hora est and forward to Paulus and Elijah of Mary, known better by its opening Latin ‘magnificat’. death, he completed his Magnificat with a classical Whether the Singverein ever performed this (and many psalm settings as well as the operatic Erste Drawn directly from St Luke’s gospel (Luke 1.46–55), orchestration including a pair of horns, and this, along virtuosic Magnificat remains unclear, though like his Walpurgisnacht). 1830 also marked essentially the end this canticle is Mary’s response to the angel Gabriel, her with his father’s work, became the template for the many other choral works of the 1820s, it was excluded of Mendelssohn’s Latin church music, with the reply to his news that she will bear the Christ, the young Felix Mendelssohn some seventy years later. from the first ‘complete edition’ assembled by his quintessentially Catholic text of the Ave petition. Its anointed one of God. Its verses contrasts Mary’s Mendelssohn’s Magnificat of 1822 (not to be confused colleague Julius Rietz after his death in 1847. The construction resembles the intricacy of the choral works submission with the greatness of God, extending the with the setting composed shortly before his death) turns Singverein’s massive size – some 300 – would have of the 1820s, with its (eight-part) double choir texture. dichotomy to human society, to the rich and the hungry, out to be the composer’s first major work for full certainly have left its myriad amateur singers struggling In A-B-A form, with the return of the opening material, the mighty and the meek, the haughty and the humble. classical orchestra, soloists and chorus. A huge step with Mendelssohn’s fleet, baroque lines, conceived in as if in a gesture to his earlier polyphonic adventures, Medieval worship developed a central place for beyond his youthful Gloria, composed only months the soloistic tradition of Bach, but the demands of such Mendelssohn introduces a further eight solo voices to veneration of the Blessed Virgin, and ‘Mary’s song’ earlier, it reveals the brilliance and limitless ambition of an earlier elitist baroque style lie at the heart of mirror the original double-choir texture. The work as a came to occupy the high point of Vespers, a service with the thirteen-year-old prodigy whom Schumann would Mendelssohn’s until recently unexplored early choral whole, though, remains distinctly homophonic, and its strong Marian overtones throughout, in which the call the ‘Mozart of the nineteenth century’. works. Their reappearance, in the context of other early (orchestral-style) accompaniment has moved from the Magnificat is elevated by a sequence of psalms together Three years before, at barely ten years of age, works such as the Overture to A Midsummer Night’s Italian baroque basso generale deployed in Hora and with its own specific Marian antiphon. And beyond the Mendelssohn had been welcomed to Carl Friedrich Dream and the Octet, reveals, more than any other major other earlier choral works to the romantic Mendelssohn Reformation the unique place of this canticle remained Zelter’s newly founded Singakademie in Berlin. In an composer’s juvenilia, a childhood genius of staggering of the oratorios. It is heard here not in the version for in the Anglican sequel to Vespers, Evensong, that again era that dismissed Bach as an ‘unintelligible musical proportion. organ, but in an original scoring for winds (clarinets and placed it centre-stage, albeit in English. arithmetician’, the precocious young Felix had already Mendelssohn’s G minor Grave and Fuga is the bassoons) and bass, and its rising fourth ‘Jupiter’ In Lutheran Leipzig in the early eighteenth century shown a propensity to imitate the master’s technique, opening movement of the String Symphony No. 12, the motive, in a wonderful glimpse of the future, previews there also remained occasions for pre-Reformation Latin and under Zelter’s tutelage his appetite grew ever penultimate and last completed of the early string the first movement of the Reformation Symphony (also settings on major feasts and holidays; and the keener. Having soon proved unsurpassable in fugal art, sinfonias, published in the Rietz edition before his first 1830) and more especially the A major final of the Magnificat with its implicit ties to St Luke’s nativity text he delved further into other pre-classical forms during a symphony. It is nearly contemporary (1823) with the Scottish Symphony, yet a dozen years away. was given special treatment during the Christmas rich seven-year creative span between the completion of 1822 Magnificat and offers an ideal bridge from season. No better example of this tradition remains than his 1822 Magnificat and his epoch-making revival of Mendelssohn back to Bach – its baroque-style © Malcolm Bruno 2009 J. S. Bach’s splendid Magnificat first conceived for Bach’s St Matthew Passion in 1829. Christmas Vespers in 1723. Like his Gloria (Cantata Thus it was in the spring of 1822, with the 191, also originally conceived for Christmas) that would Magnificat settings of both J. S. and C. P. E. Bach before reappear in the Mass in B minor, Bach revised his him, that Mendelssohn fashioned a unique symbiosis: a Magnificat five years later for general festive use, and it Magnificat, of similar duration and with numerous is that well-known version, heard on this disc, that was parallels to the Bach settings – most especially in his the precursor for Magnficat settings by Bach’s most sampling of motivic fragments from father Bach’s ‘Quia talented son, Carl Philipp Emanuel (1714–1788), and his respexit’ and a topping of C. P. E. Bach’s ‘Gloria Patri’ early nineteenth-century devotee Felix Mendelssohn. four-part fugue by three additional voices. His writing C. P. E. Bach’s compositional leaning had, like his throughout, though well-seasoned by the Viennese father’s successors in Leipzig, moved on from Bach’s world of Mozart (baroque trumpets had by the 1820s unmatchable contrapuntal skills to a more homophonic vanished in favour of classical horns and clarinets), style, limiting the use of fugal/contrapuntal writing in a remained baroque in texture. Indeed so florid was his 8.572161 4 5 8.572161 572161bk Mendelssohn US NEW 11/8/09 10:53 Page 6

Yale Schola Cantorum Yale Schola Cantorum Simon Carrington, director Yale Schola Cantorum, founded in 2003, is a 24-voice chamber choir of students from across the university specializing in music from before 1750 and from the last hundred years. Simon Carrington is the group’s founder Soprano Alto Tenor Bass and conductor. In addition to performing regularly in New Haven, New York and Boston, Schola Cantorum records Awet Andemicael Laura C. Atkinson Casey Breves Matthew Barnson and tours nationally and internationally. Their live recording on CD with Robert Mealy and Yale Collegium (Bach only) Jay Carter Noah Horn David Dong-Geun Kim Musicum of Heinrich Biber’s 1693 Vesperae longiores ac breviores, received international acclaim from the early Esteli Gomez Lora Chow Bradley Naylor Jason P. Steigerwalt music press as have their subsequent CDs of J.S. Bach’s rarely heard 1725 version of the St John Passion and Lucy Fitz Gibbon Sooyeon Lee Birger Radde Benjamin Thorburn Antonio Bertali’s Missa Resurrectionis. Cecilia Leitner Elizabeth Picker Michael Sansoni Douglas Williams Lauren Quigley Valerie Rogotzke Kevin Zakresky Alexander Woods Melanie Scafide Russell Yale Collegium Players Sarah Whitfield The Yale Collegium Players is an ensemble of undergraduate and graduate instrumentalists who perform regularly Yale Voxtet in the Collegium’s early music programs at the Beinecke Rare Book and Manuscript Library and collaborate with James Taylor, director the Yale Schola Cantorum on music for voices and instruments. Using Yale’s recently acquired collection of baroque bows, the Players explore the wonderful repertory of early orchestral and chamber music, discovering the Melanie Scafide Russell, soprano (MR) Birger Radde, tenor (BR) dancing rhythms and vivid rhetoric of historically informed performance under the direction of violinist Robert Cecilia Leitner, soprano (CL) Michael Sansoni, tenor (MS) Mealy. Laura C. Atkinson, mezzo-soprano (LA) Jason P. Steigerwalt, baritone (JS) Jay Carter, countertenor (JC) David Dong-Geun Kim, bass (DK) Simon Carrington Yale Collegium Players Simon Carrington was director of the Yale Schola Cantorum and professor of choral conducting at the Yale Institute Robert Mealy, director of Sacred Music and Yale School of Music from 2003 to 2009, where he also led the introduction of the graduate voice track for singers specializing in oratorio, early music, art song, and chamber ensemble. From 2001 until his Violin 1 Cello Clarinet Horn Yale appointment in 2003, he was director of choral activities at the New England Conservatory, and from 1994 to Robert Mealy, principal Hannah Collins, pricipal Sergiy Dvornichenko, Jocelyn Carr Crawford 2001 he held a similar position at the University of Kansas. Prior to coming to the United States, Simon Carrington Nicholas DiEugenio Christopher Gibson principal Alma Liebrecht was a creative force for 25 years with the internationally acclaimed British vocal ensemble The King’s Singers, So-Young Kwon Agnes Coakley Won Jin Cho which he co-founded at Cambridge University. He gave 3,000 performances at many of the world’s most prestigious Jaram Kim Timpani festivals and concert halls, made more than seventy recordings, and appeared on countless television and radio Bass Bassoon Julian Pellicano programs including nine appearances with the late Johnny Carson. He maintains an active schedule as a freelance Violin 2 Cameron Arens, principal Aaron Apaza, principal conductor and choral clinician, leading workshops and master classes all over the world. Daniel Lee Ellen Connors Organ Jacqueline Jove Flute Ilya Poletaev (Bach only) Caroline Shaw Jen Chen, principal Trumpet Christian Lane Marc-Daniel van Biemen Yoobin Son Thomas Bergeron [principal for Viola Oboe / Oboe d’amore Mendelssohn Magnificat] Vesselin Todorov, Aaron Hill, principal Aaron Hodgson [principal The Yale Schola Cantorum is supported by the Yale Institute of Sacred Music principal Merideth Hite for Bach Magnificat] with support from the Yale School of Music. Anne Lanzilotti Chih-hao Lin Margaret Carey

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Felix Mendelssohn-Bartholdy (1809–1847) Magnificat anima mea Magnificat anima mea Dominum My soul magnifies the Lord. Magnificat in D major 26:13 Et exultavit spiritus meus and my spirit has rejoiced in Deo salutari meo. in God my saviour. 1 Magnificat 3:43 4 Fecit potentiam 3:38 Chorus Bass (DK) Quia respexit humilitatem For he has regarded the low estate 2 Quia respexit 3:20 5 Deposuit potentes 4:11 ancillae suae: of his handmaiden: Soprano (MR), Chorus Trio (CL / LA / JS) ecce enim ex hoc for behold, henceforth all generations 3 Et misericordia 4:33 6 Gloria Patri – Fuga: Sicut erat 6:48 beatam me dicent omnes generationes. shall call me blessed. Chorus Chorus Quia fecit mihi magna For he who is mighty qui potens est: has done great things to me; 7 String Symphony No. 12 in G minor (ed. Robert Mealy) 4:52 et sanctum nomen ejus. and holy is his name. I. Fuga: Grave – Allegro Et misericordia ejus a progenie And his mercy is on them in progenies timentibus eum. who fear him from generation to generation. Johann Sebastian Bach (1685–1750) Fecit potentiam in brachio suo: He has shown strength with his arm; Magnificat in D major 27:54 dispersit superbos he has scattered the proud, mente cordis sui. even the arrogant of heart. 8 Magnificat 2:59 $ Fecit potentiam in brachio suo 1:54 Chorus Chorus Deposuit potentes de sede, He has deposed the mighty from their seats, 9 Et exultavit spiritus meus 2:20 % Deposuit potentes 2:03 et exaltavit humiles. and exalted the humble. Soprano (CL) Tenor (BR) Esurientes implevit bonis: The hungry he has filled with good things. 0 Quia respexit 2:45 ^ Esurientes implevit bonis 2:58 et divites dimisit inanes. and the rich he has sent empty away. Soprano (MR) Alto (JC) Suscepit Israel puerum suum, He has helped his servant Israel, ! & Omnes generationes 1:21 Suscepit Israel puerum suum 2:12 recordatus misericordiae suae. in remembrance of his mercy. Chorus Chorus, Soprano I (MR), Soprano II (CL) Sicut locutus est ad patres nostros, As it was spoken to our fathers, @ Quia fecit mihi magna 1:55 * Fuga: Sicut locutus 1:38 Abraham et semini ejus in saecula. to Abraham and his seed forever. Bass (JS) Chorus # Et misericordia eius 3:34 ( Gloria Patri 2:15 Gloria Patri, et Filio, Glory be to the Father, and to the Son, Alto / Tenor (JC / MS) Chorus et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, et in saecula saeculorum, and ever shall be, world without end, Felix Mendelssohn-Bartholdy (1809–1847) Amen. Amen. ) Kirchenmusiken, Op. 23: No. 2 – Ave Maria 6:55 Tenor (BR) / Yale Voxtet (MR / LA / JC / MS / VS / DK)

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Ave Maria Ave Maria, gratia plena: Hail Mary, full of grace, Dominus tecum, the Lord is with thee, MENDELSSOHN benedicta tu in mulieribus, blessed art thou among woman, et benedictus fructus ventris tui, Jesus. and blessed is the fruit of thy womb, Jesus.

Sancta Maria, Mater Dei, Holy Mary, Mother of God, J. S. BACH ora pro nobis peccatoribus, pray for us sinners, nunc et in hora mortis nostrae. now and at the hour of our death. Amen. Amen. Magnificats in D major Yale Schola Cantorum • Yale Voxtet Yale Collegium Players • Simon Carrington

Yale Schola Cantorum

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CMYK NAXOS NAXOS J.S. Bach’s famous Magnificat and that of his son Carl Philipp Emanuel were the templates for the teenage Mendelssohn’s first major work for soloists, chorus and full orchestra, a brilliant setting of the Blessed Virgin Mary’s song of praise, composed in 1822, floridly Baroque in conception and similar in scale to the Bach settings. His Ave Maria of 1830 again evokes Baroque splendour, but also points towards his later DDD MENDELSSOHN • J.S. BACH: oratorios, Paulus and Elijah. MENDELSSOHN • J.S. BACH: 8.572161 Felix Playing Time MENDELSSOHN 65:56 (1809–1847) 1-6 Magnificat in D major 26:13 7 String Symphony No. 12 in G minor I. Fuga: Grave – Allegro 4:52 Johann Sebastian BACH (1685–1750) www.naxos.com Disc Made in Canada • Printed & Assembled in USA www.naxos.com/libretti/572161.htm Sung texts included and available at: Booklet notes in English 8-( Magnificat in D major 27:54 & Magnificats Felix Magnificats MENDELSSOHN 2009 Naxos Rights International Ltd. (1809–1847) ) Ave Maria 6:55 Yale Schola Cantorum • Yale Voxtet Yale Collegium Players • Simon Carrington Recorded in Woolsey Hall, , Connecticut, USA, from 3rd May to 3rd September, 2008 8.572161 Producer: Malcolm Bruno • Engineers: Eugene Kimball, Jason Robins and Katy Ambrose 8.572161 Please see the booklet for a detailed track and artist list Editing: Adrian Hunter and Mateusz Zechowski • Booklet Notes: Malcolm Bruno Sung texts included and available at: www.naxos.com/libretti/572161.htm Cover Picture: Cross © Robertsz (Dreamstime)