Saturday, October 24, 2015, 8pm First Congregational Church

Bach Collegium , Artistic Director and Conductor

Joanne Lunn, soprano

Masamitsu San’Nomiya, & oboe d’amore Kiyomi Suga, flauto traverso , Yukie Yamaguchi, violin Mika Akiha, violin Emmanuel Balssa, Frank Coppieters, contrabass

PROGRAM

Johann Sebastian Bach (1685–1750) “Brandenburg” Concerto No. 5 in D major, BWV 1050 (ca. 1720) Allegro Affettuoso Allegro

Ryo Terakado, violin Kiyomi Suga, flauto traverso Masaaki Suzuki,

Bach Concerto for Oboe d’amore in A major, BWV 1055R (ca. 1720) Allegro Larghetto Allegro ma non tanto

Masamitsu San’Nomiya, oboe, oboe d’amore

INTERMISSION

PLAYBILL PROGRAM

Bach Trio in C minor from , BWV 1079 (1747) Largo Allegro Andante Allegro

Ryo Terakado, violin Kiyomi Suga, flauto traverso Masaaki Suzuki, harpsichord

Bach , Mein Herze schwimmt im Blut , BWV 199 (1714) Recitative: Mein Herze schwimmt im Blut Aria: Stumme Seufzer, stille Klagen — Recitative: Mein Herz ist itzt ein Tränenbrunn Recitative: Doch Gott muss mir genädig sein Aria: Tief gebückt und voller Reue Recitative: Auf diese Schmerzens-Reu Chorale: Ich Dein betrübtes Kind Recitative: Ich lege mich in diese Wunden Aria: Wie freudig ist mein Herz

Joanne Lunn, soprano Masamitsu San’Nomiya, oboe

Bach Collegium Japan records for BIS.

Bach Collegium Japan’s North American tours are arranged by the International Arts Foundation (www.internationalartsfoundation.org).

This performance is made possible, in part, by Patron Sponsors Kit and Hayne Leland. Cal Performances’ #!"$–#!"% season is sponsored by Wells Fargo. PROGRAM NOTES

Johann Sebastian Bach (;@B?–;A?:) Johann Sebastian Bach met Christian “Brandenburg” Concerto No. ? in D major, Ludwig, Margrave of Brandenburg, in 1719, BWV ;:?: during his tenure as music director at the court of Leopold of Anhalt-Cöthen, the young Composed ca. 1720. prince who had recently signed up some of the musicians fired by Frederick William I. Brandenburg, in Bach’s day, was a political and Bach worked at Anhalt-Cöthen from 1717 to military powerhouse. It had been part of the 1723, and he and Leopold seem to have gotten Holy Roman Empire since the mid-twelfth along splendidly. The Prince enjoyed travel, century, and its ruler—the Markgraf , or fine art and, above all, music, and he respected Margrave —was charged with defending and and encouraged Bach in his work, even occa - extending the northern imperial border sionally participating in the court concerts as (“ mark ,” or “ marche ” in Old English and Old violinist, gambist, or harpsichordist. Provided French), in return for which he was allowed to by Leopold with an excellent set of instru - be an Elector of the Emperor. The house of ments and a group of fine players (and the Hohenzollern acquired the margraviate of second-highest salary of any of his court em - Brandenburg in 1415, and the family em - ployees), Bach enjoyed a fruitful period at braced the Reformation a century later with Cöthen—many of his greatest works for key - such authority that they came to be regarded board, chamber ensembles, and date as the leaders of German Protestantism; from those years. Potsdam was chosen as the site of the electoral Early in 1719, Leopold sent Bach to Berlin court in the 17th century. Extensive territorial to finalize arrangements for the purchase of a acquisitions under Frederick William, the new harpsichord, a large, two-manual model “Great Elector,” before his death in 1688 al - made by Michael Mietke, instrument-builder lowed his son Frederick III to secure the title to the royal court. While in Berlin, Bach and the rule of Brandenburg’s northern neigh - played for Christian Ludwig, who was so bor, Prussia, with its rich (and nearby) capital taken with his music that he asked him to city of Berlin; he became King Frederick I of send some of his compositions for his library. Prussia in 1701. Frederick, a cultured man and Bach lost an infant son a few months later, a generous patron, founded academies of sci - however, and in 1720, his wife died and he re - ences and arts in Berlin, and built the magnif - jected an offer to become organist at the icent palace Charlottenburg for his wife, Jacobkirche in Hamburg, so it was more than Sophie Charlotte, which became one of the two years before he fulfilled Brandenburg’s re - most important musical centers in early–18th- quest. By 1721, however, Leopold had become century Germany. When Frederick William I engaged to marry a woman who looked succeeded his father in 1713, however, he askance at his huge expenditures for musical turned the court’s focus from music to mili - entertainment. Bach seems to have realized tarism, and dismissed most of the excellent mu - that when she moved in, he would probably sicians his father had assembled; several of them be moved out, so he began casting about for a found employment at the court of Anhalt- more secure position. He remembered the in - Cöthen, north of , where a young prince terest the Margrave Brandenburg had shown was just starting to indulge his taste and talents in his music and thought it a good time to ap - for music. Frederick William did, however, proach him again, so he picked six of the allow his uncle, Christian Ludwig, younger finest concertos he had written at Cöthen, brother of the late King Frederick and possessor copied them out meticulously, had them of the now-lesser title of Margrave of bound into a sumptuous volume (at no little Brandenburg, to remain at the palace and retain cost), and sent them to Christian Ludwig in his own musical establish ment. March 1721 with a flowery dedication in

PLAYBILL PROGRAM NOTES

French—but to no avail. No job materialized The soloists in the “Brandenburg” Concerto at Brandenburg, and in 1723 Bach moved to No. 5 are flute, violin, and harpsichord, which Leipzig’s Thomaskirche, where he remained was featured to show off the new instrument for the rest of his life. It is possible that the Bach had brought back from Berlin. The first Margrave never heard any of these magnifi - movement opens with a vigorous tutti theme cent works that immortalized his name, since for the orchestra, after which the trio of records indicate that his modest Kapelle might soloists—the concertino —is introduced. It be - not have been able to negotiate their difficul - comes clear as the movement progresses that ties and instrumental requirements. The the harpsichord is primus inter pares of the Concertos apparently lay untouched in his li - concertino instruments, and its part grows brary until he died 13 years after Bach had more elaborate with the passing measures, fi - presented them to him, when they were in - nally erupting in a sparkling ribbon of unac - ventoried at a value of four groschen each— companied melody and figuration in the only a few cents. Fortunately they were closing pages. A brief statement of the main preserved by the noted theorist and peda - theme brings the movement to an end. The gogue Johann Philipp Kirnberger, a pupil of second movement is an impassioned trio for Bach, and came eventually into the collection the concertino alone. The entire ensemble of the Royal Library in Berlin. They were joins the soloists for the finale, one of Bach’s brought to light during the 19th-century Bach most joyous flights of contrapuntal ingenuity revival, published in 1850, and have since and rhythmic vivacity. come to be recognized as the supreme exam - ples of Baroque instrumental music. The “Brandenburg” Concertos differ from Bach those of later eras in both instrumental dispo - Concerto for Oboe d’amore and Orchestra in sition and form. These are concerti grossi A major, BWV ;:??R (“great concertos”), works in which a small group of soloists ( concertino ) rather than a Composed ca. 1720. single instrument is pitted against the orches - tra ( ripieno ). Most of the fast movements of Like the musical talent of the , the “Brandenburgs” use a formal procedure many of Johann Sebastian’s compositions went known as “ ritornello ,” which is based on the through several generations. It was a common contrast of sonority between concertino and 18th-century practice for composers to rework ripieno . First the orchestra presents a collec - their own music (and that of others, in those tion of thematic kernels from which much of pre-copyright days) to fill a new need. Among the movement grows. Then the soloists take the best-known of such pieces in the Bach over for an episode, sometimes borrowing canon are the concertos for harpsichord, all of material from the opening orchestral intro - which seem to be arrangements of some of his duction, sometimes providing something earlier music, much identified, some conjec - new. The orchestra then returns ( ritornello is tured. The Third and Seventh concertos, for Italian for “ return ”), and is followed by an - example, are arrangements of the E major and other solo episode, and that by another or - A minor violin concertos; the Sixth corre - chestral ritornello , and so forth. The sponds to the Fourth “Brandenburg.” Bach remaining fast movements are based on dance needed these pieces in harpsichord or orches - types, while the slow movements are usually tra form for the programs of the Leipzig lyrical and through-composed, a sort of elab - Collegium Musicum, a public concert-giving orate wordless aria. organization whose direction he assumed soon PROGRAM NOTES after arriving in Leipzig in 1723. Bach or one Bach of his talented sons was soloist at the keyboard for Flute, Violin, and Continuo for many of those regular Friday concerts held in C minor from the Musical Offering, at a local coffee house. BWV ;:AC The harpsichord concertos were based on works Bach wrote for his duties at Cöthen be - Composed in 1747. tween 1717 and 1723, where he was responsi - ble for the instrumental rather than the sacred Though Johann Sebastian Bach never enjoyed music. Most of the model works were originally an international fame comparable to that of for solo violin, but Sir Donald Tovey showed Handel during his lifetime, he was, next to that the Concerto in A major (BWV 1055) was , the most highly re - written for oboe d’amore , an ancestor of the garded composer in northern Germany, par - modern English horn. Though the original ticularly valued as a player and evaluator of manuscript of the oboe d’amore concerto is lost, organs and as a master of the ancient disci - the score of the harpsichord concerto based on pline of counterpoint. The reputation of Bach it clearly differentiates between the neat nota - and his family was certainly familiar to tion copied from the earlier version, and the or - Frederick II, King of Prussia, a cultivated mu - naments and elaborations later written sician and a flute player of considerable talent, spontaneously to adapt the solo line to the key - and probably played no little part in the ap - board. (The orchestral accompaniment re - pointment of Carl Philipp Emanuel Bach, mained largely unchanged in all these Johann Sebastian’s second oldest son, as the concerted works.) The reconstruction (the “R” royal harpsichordist in 1740, the year of in the number appended to Wolfgang Frederick’s coronation. Perhaps with some Schmieder’s original catalog listing in the Bach hope of securing a position for himself, Werke Verzeichnis [=BWV]), a most attractive Johann Sebastian visited his son in Berlin in affair, was accomplished by eliminating the 1741, but Frederick was busy skirmishing keyboard decorations to reveal the simpler, with Austria at the time, and no meeting be - original version. tween the two could be arranged. Five years The opening movement begins with a viva - later, Count Hermann von Keyserlingk ar - cious orchestral ritornello whose returns give rived in Berlin as Russian ambassador to the the form its structure. Between the recurring Prussian court. Keyserlingk had been sta - columns of the ritornelli , the solo instrument tioned at Dresden during the preceding develops a complementary motive. The regu - decade, and while there he conceived a deep lar phrases, disposed in eight-measure blocks, admiration for Johann Sebastian’s music. (In give this movement a dance-like quality. The 1742 , Bach wrote for him the Aria with following Larghetto offers a stark contrast in Sundry Variations , BW V 988. Bach’s student mood from the jolly opening movement. J. T. Goldberg was entrusted with the work’s Above a chromatically descending, passacaglia- performance, and he played the piece night like bass, the soloist intones a mournful song after night to ease the Count’s insomnia, thus full of rich emotion. (Such music reminds us giving the music its familiar name— that the Baroque era was essentially a romantic “Goldberg” Variations. Keyserlingk sent Bach age in the deeply expressive nature of its art.) a golden goblet filled with a hundred louis d’or The jubilant finale, modeled perhaps on the in appreciation.) Keyserlingk again excited gigue, returns the dancing motion and high Frederick’s curiosity about “Old Bach,” as spirits of the first movement. Johann Sebastian was commonly called (even by his sons) during the last decade of his life, and an invitation for him to visit Berlin was extended through Emanuel. Bach was delayed

PLAYBILL PROGRAM NOTES in making the journey for some time because treatment, and may have been the musically of the press of his duties in Leipzig, but he fi - knowledgeable King’s challenge to Bach’s nally arrived in Berlin on May 7, 1747. renowned skill.) In all, Bach constructed upon Wilhelm Friedemann, Bach’s oldest son, gave the subject ten canons (pieces in strict imita - the following account of the subsequent tion with all the lines derived from a single events to for use in melody according to a given instruction—a the first full biography (1802) of his father: “canon,” Latin for a “rule”; “Row, Row, Row Your Boat” is a canon), in three and six At this time, the King had a chamber con - voices (which he called by the ancient name cert every evening, at which he himself for the genre: ), and a full sonata for played some concerto on the flute. One flute (the King’s instrument), violin, and con - evening, just as he had got his flute ready, tinuo. Bach had most of these numbers and his musicians were assembled, an of - printed at his own expense in a sumptuous, ficer brought to him a list of the strangers gold-embossed folio by Breitkopf in Leipzig who had arrived. He looked over the using plates engraved by Johann Georg paper with his flute in hand, immediately Schübler, a former pupil, affixed to it a flowery turned round to the musicians, and said dedication to Frederick dated July 7, 1747, and with some excitement, “Gentleman, Old the title Musical Offering , and sent it to Berlin. Bach has come!” The flute was thereupon (The remaining items of the Musical Offering laid aside, and Old Bach, who had gone were published separately during the follow - to his son’s quarters, was at once com - ing months, so that the concerns about their manded to come to the castle. He did not order of performance and textural complica - even have time to exchange his traveling tions have absorbed many a scholarly assault, clothes for the black coat of a cantor.... including a full-length book in 1945 by Hans That evening the King gave up his flute David.) There is no record in the account concerto, and invited Bach to try his books of the Prussian court nor in Bach’s per - Silbermann forte-pianos, of which he had sonal records that he ever received compen - several in different rooms of the castle. sation of any sort for this magnificent musical After he had done this for some time, homage, nor that a note of it was ever played Bach asked the King to give him a in royal performance. Though there was a subject upon which he could improvise. mild flurry of interest in this extraordinary The King was astonished at the erudite work when it was new (Bach could not supply way in which his theme was developed a copy of the score to his cousin Johann Elias extempore, and, apparently in order to in October 1748 because the printing of 100 see how far such an art could be carried, had been exhausted), the Musical Offering expressed also a wish to hear a fugue in soon fell into somnolent neglect until it was six parts. As, however, it is not every published in 1884 as part of the first complete theme that is suited for this kind of edition of Bach’s works. polyphony, Bach chose one himself, and The Trio Sonata from the Musical Offering developed it immediately, to the great ad - follows the form of the traditional sonata da miration of all present. chiesa (“church sonata”) in the slow–fast– slow–fast ordering of its movements, its con - Upon Bach’s return to Leipzig from Berlin sistently contrapuntal texture, and its serious from what proved to be his last journey, he set mode of expression. Hans David described the about writing a series of works in strict con - opening Largo as “a free fantasy on certain trapuntal style based upon the royal theme. principal motives,” including a transformation (The melody, apparently original with of the royal theme in the bass. The following Frederick, is particularly resistant to fugal Allegro is in the da capo (A–B–A) form usually PROGRAM NOTES associated with the vocal rather than the in - director of instrumental music at the court of strumental genres of the German Baroque. Anhalt-Cöthen in August 1717, and got the The royal theme is clearly displayed in longer job. When Bach returned to Weimar the fol - notes by the flute at the end of the movement’s lowing month to settle his affairs and clear up central section, following a single Adagio the formalities surrounding his release, measure. The Andante eschews Frederick’s Wilhelm Ernst was so incensed at his cele - melody in favor of a touching paragraph of brated organist’s defection (and by Bach’s gruff surpassing melodic delicacy. The closing stubbornness) that he had him clapped into Allegro is an elaborate fugal construction built jail. A month was deemed long enough for this on the varied version of the royal theme given penal exercise to have its effect (but not quite in the flute’s opening statement. long enough to stir up a row with Bach’s new employer, Prince Leopold of Cöthen), and Bach was sent on his way in November “with Bach notice of his unfavorable discharge.” Cantata, Mein Herze schwimmt im Blut , Among the sacred works that Bach com - BWV ;CC posed for Duke Wilhelm Ernst in Weimar was Mein Herze schwimmt im Blut (“My Heart Is Composed in 1714. Premièred on August 12, Bathed in Blood”), BWV 199, which was first 1714, in Weimar, directed by the composer. heard in the Himmelsburg on Augu st 12, 1714, the eleventh Sunday after Trinity. Bach fre - After serving in positions as organist and quently performed the piece in later years. church musician at Arnstadt and Mühlhausen The score was long thought to be lost, and was from 1703 to 1708, Bach won a more presti - not rediscovered until 1911, in the Royal gious job at the court of Weimar, presided over Library, Copenhagen. The Cantata’s text, with iron will by the Saxon Duke Wilhelm which had been set two years earlier by Ernst, a stern religionist who insisted that his Johann Christoph Graupner, was by Georg servants attend daily devotions and be always Christian Lehms, the court librarian at prepared to answer questions about the minu - Darmstadt. Bach’s setting was influenced by tiae of the morning’s sermon. The Duke’s fer - the then modern style of the Italian secular vent Lutheranism did not, however, prevent his cantata, with its clear division of recitatives appreciating Bach’s genius as an organist and and arias, scoring for a single solo voice, and composer, so when authorities in Halle tried to use of da capo arias (A–B–A) in florid style. win him away from Weimar in 1712, the am - The literary progression of the Cantata begins bitious musician leveraged a higher salary, a with the anguished “mute sighs, silent lamen - new title, and increased responsibilities for tations” of the first aria (which has an unex - composing and preparing the court chapel’s pected recitative passage inserted into its vocal music from Wilhelm Ernst. In 1716, the middle section) and the humble confession of court Kapellmeister , Johann Samuel Drese, the second aria, and continues through the died, and Bach, having largely performed comforting sentiments of the chorale, a set - Drese’s duties for the pre vious four years, ex - ting of the third verse of Johann Heermann’s pected to be named his successor. Local cus - Wo soll ich fliehen hin of 1630. The work ends tom prevailed, however, and Drese’s son was with a joyous song of thanksgiving. appointed to the post. Bach, humiliated and disappointed, auditioned for an opening as © 2015 Dr. Richard E. Rodda

PLAYBILL TEXTS & TRANSLATIONS

Johann Sebastian Bach Cantata, Mein Herze schwimmt im Blut, BWV ;CC

Recitativo Recitative

Mein Herze schwimmt im Blut, My heart swims in blood Weil mich der Sünden Brut because the brood of my sins In Gottes heilgen Augen in God’s holy eyes Zum Ungeheuer macht. makes me into a monster. Und mein Gewissen fühlet Pein, And my conscience feels pain Weil mir die Sünden nichts because my sins are nothing Als Höllenhenker sein. but Hell’s hangmen. Verhaßte Lasternacht! Detested night of vice! Du, du allein You, you alone Hast mich in solche Not gebracht; have brought me into such distress; Und du, du böser Adamssamen, and you, you evil seed of Adam, Raubst meiner Seele alle Ruh rob my soul of all inner peace Und schließest ihr den Himmel zu! and shut it off from heaven! Ach! unerhörter Schmerz! Ah! unheard of pain! Mein ausgedorrtes Herz My withered heart Will ferner mehr kein Trost befeuchten, will in future be moistened by no comfort Und ich muss mich vor dem verstecken, and I must conceal myself from him Vor dem die Engel selbst ihr Angesicht verdecken. before whom the angels themseves conceal their faces.

Aria e Recitativo Aria and Recitative

Stumme Seufzer, stille Klagen, Silent sighs, quiet moans, Ihr mögt meine Schmerzen sagen, you may tell of my pains Weil der Mund geschlossen ist. since my mouth is closed. Und ihr nassen Tränenquellen And you wet springs of tears Könnt ein sichres Zeugnis stellen, can offer certain witness Wie mein sündlich Herz gebüßt. of how my sinful heart has repented.

Mein Herz ist itzt ein Tränenbrunn, My heart is now a well of tears, Die Augen heiße Quellen. my eyes hot springs. Ach Gott! wer wird dich doch zufriedenstellen? Ah God! Who then will give you satisfaction!

Recitativo Recitative

Doch Gott muss mir genädig sein, But God must be gracious to me Weil ich das Haupt mit Asche, because I wash my head with ashes Das Angesicht mit Tränen wasche, my face with tears, Mein Herz in Reu und Leid zerschlage I beat my heart in remorse and sorrow Und voller Wehmut sage: and full of grief say: Gott sei mir Sünder gnädig! God, be gracious to me, a sinner Ach ja! sein Herze bricht, Ah yes! his heart breaks Und meine Seele spricht: and my soul says: TEXTS & TRANSLATIONS

Aria Aria

Tief gebückt und voller Reue Deeply bowed and full of remorse Lieg ich, liebster Gott, vor dir. I lie, dearest God, before you Ich bekenne meine Schuld, I acknowledge my guilt, Aber habe doch Geduld, but still have patience, Habe doch Geduld mit mir! still have patience with me!

Recitativo Recitative

Auf diese Schmerzensreu Amidst these pains of remorse Fällt mir alsdenn dies Trostwort bei: this word of comfort comes to me.

Choral Chorale

Ich, dein betrübtes Kind, I, your troubled child Werf alle meine Sünd, cast all my sins, So viel ihr in mir stecken that are fixed so many within me Und mich so heftig schrecken, and frighten me so fiercely, In deine tiefen Wunden, into your deep wounds Da ich stets Heil gefunden. where I have always found salvation.

Recitativo Recitative

Ich lege mich in diese Wunden I lay myself in these wounds Als in den rechten Felsenstein; as upon the true solid rock: Die sollen meine Ruhstatt sein. they should be my place of rest. In diese will ich mich im Glauben schwingen In these I want to soar in faith Und drauf vergnügt und fröhlich singen: and content and happy to sing:

Aria Aria

Wie freudig ist mein Herz, How joyful is my heart Da Gott versöhnet ist since God is reconciled Und mir auf Reu und Leid and through my remorse and sorrow Nicht mehr die Seligkeit no longer from salvation Noch auch sein Herz verschließt. or from his heart shuts me away.

English translation by Francis Browne (2011) © Bach website (www.bach-cantatas.com).

PLAYBILL ABOUT THE ARTISTS e v e r g g r o B o c r a M

ACH COLLEGIUM JAPAN was founded in embarked upon extending their repertoire B1990 by Masaaki Suzuki, its inspirational with a recent release of Mozart’s . music director, with the aim of introducing Bach Collegium Japan and Mr. Suzuki have Japanese audiences to period instrument per - shared their interpretations across the interna - formances of great works from the baroque tional music scene with performances in ven - period. Comprising both ues as far afield as Amsterdam, Berlin, Hong and chorus, their activities include an annual Kong, London, Los Angeles, Melbourne, New concert series of J. S. Bach’s cantatas and a York, and Seoul, and at such major festivals as number of instrumental programs. the BBC Proms, the Edinburgh International They have acquired a formidable interna - Festival, the Hong Kong Arts Festival, the New tional reputation through their acclaimed Zealand International Festival, and Ghent’s recordings of Bach’s major choral works for Festival of Flanders. the BIS label; 2014 saw the triumphant con - In 2010, the ensemble celebrated their 20th clusion of their recorded cycle of the complete anniversary with a series of special concerts Church Cantatas, a huge undertaking com - in Tokyo, and in 2013 they were invited to ap - prising over 50 CDs, initiated in 1995. This pear at New York’s Lincoln Center, where major achievement was recognized with a Masaaki Suzuki and the choir collaborated 2014 “Editorial Achievement with the Orchestra of the Year” award. Their recent recording of to open its “Bach Variations” festival. Last sea - Bach’s motets was honored with a Preis der son’s highlights included the ensemble’s début Deutschen Schallplattenkritik, Diapason d’Or in Mexico at the Festival Cervantino and in de l’Année 2010, and 2011 BBC Music the Czech Republic at the Prague Spring Magazine Award. Mr. Suzuki and the ensem - Festival. This season’s highlights include a ble received the prestigious 45th Suntory tour of North America, performing in such Music Prize in 2014. The ensemble has now cities as Boston, Chicago, Los Angeles, New ABOUT THE ARTISTS

York, Toronto, and Washington, as well as a recording of the complete Church Cantatas, major European tour, including a weekend initiated in 1995 and comprising 55 volumes. residency at the Barbican Centre in London; This major achievement was recognized with re-invitations to Amsterdam’s Concertgebouw a 2014 ECHO Klassik “Editorial Achievement and the Théâtre des Champs-Élysées in ; of the Year” award. In 2010, Mr. Suzuki and and début appearances at Dublin’s National his ensemble were awarded both a Preis der Concert Hall and the Vienna Konzerthaus. Deutschen Schallplattenkritik and a Diapason Bach Collegium Japan is managed world - d’Or de l’Année for their recording of Bach wide (excluding North America) by Hazard motets, which was also honored in 2011 with Chase, (www.hazardchase.com). The ensem - a BBC Music Magazine Award. ble is represented in North America by Frank This season’s highlights with Bach Salom on Associates (www.franksalomon.com). Collegium Japan include a tour of North America to perform in such cities as Boston, Since founding Bach Chicago, Los Angeles, New York, Toronto, and Collegium Japan in Washington, as well as a European tour, in - 1990 , Masaaki Suzuki cluding a weekend residency at the Barbican (Artistic Director and Centre, London; return visits to the Conductor ) has estab - Amsterdam Concertgebouw and the Théâtre e v lished himself as a lead - des Champs-Élysées in Paris; and début ap - e r g g r ing authority on the pearances at Dublin’s National Concert Hall o B

o works of Bach. He has and the Vienna Konzerthaus. Last season saw c r a

M remained their Music the ensemble début in Mexico and in the Director ever since, taking them regularly to Czech Republic at the Prague Spring Festival. major venues and festivals in Europe and the Mr. Suzuki combines his career United States and building an outstanding with his work as organist and harpsichordist. reputation for the expressive refinement and Born in , he graduated from the Tokyo truth of his performances. University of Fine Arts and Music with a de - In addition to working with renowned pe - gree in composition and organ performance riod ensembles, such as Collegium Vocale and went on to study harpsichord and organ at Gent and Philharmonia Baroque, Mr. Suzuki the Sweelinck Conservatory in Amsterdam is invited to conduct repertoire as diverse as under and Piet Kee Founder. Britten, Fauré, Haydn, Mahler, Mendelssohn, Mr. Suzuki was head of the early music de - Mozart, and Stravinsky, with such partment at the Tokyo University of the Arts as the Baltimore Symphony Orchestra, and, from 2009 to 2013, was on the choral Deutsches Symphonie-Orchester Berlin, conducting faculty at the Yale School of Music Gewandhausorchester Leipzig, Melbourne and Yale Institute of Sacred Music, where he Symphony, New York Philharmonic, remains affiliated as the principal conductor Orchestre Symphonique de Montréal, of . Stuttgart Radio Symphony Orchestra, and In 2012, Mr. Suzuki was awarded with the Tokyo Philharmonic. This season’s débuts in - Leipzig and, in 2013, the Royal clude the Danish National Radio Symphony Academy of Music Bach Prize. In April 2001, Orchestra and the . he was decorated with Das Verdienstkreuz am Mr. Suzuki’s impressive discography on the Bande des Verdienstordens der Bundesrepublik BIS label featuring all of Bach’s major choral from Germany. Mr. Suzuki and Bach works, as well as the complete works for harp - Collegium Japan received the prestigious 45th sichord, has brought him many critical plau - Suntory Music Prize in 2014. dits. Last year marked the triumphant Masaaki Suzuki is represented by Hazard conclusion of Bach Collegium Japan’s epic Chase (www.hazardchase.com).

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Joanne Lunn (soprano ) Gateshead. She has appeared in Mozart’s Mass studied at the Royal in C minor for the City of London Sinfonia College of Music in and the Melbourne Symphony Orchestra; London, where she was Mozart’s Requiem in Moscow and at the awarded the prestigious Mariinsky Theatre in St. Petersburg; Purcell’s h t Tagore Gold Medal. The Blessed Virgin’s Expostulation and The a p d e Ms. Lunn’s operatic Fairy Queen in Salzburg; Bach’s Easter R w e engagements have in - Oratorio with the BBC National Orchestra r d n

A cluded her English and Chorus of Wales under Nicholas National Opera début in Steven Pimlott’s pro - Kraemer; Haydn’s Nelson Mass with the Ulster duction of Monteverdi’s L’Incoronazione di Orchestra; Mr. Rutter’s Mass of the Children at Poppea , conducted by Harry Christophers; St. Paul’s Cathedral in London and at the role of Helena in Britten’s A Midsummer Symphony Hall in Birmingham; Night’s Dream in Venice, conducted by Sir Harmoniemesse with the Scottish Chamber and directed by David Orchestra; L’Allegro, Il Penseroso ed il Pountney; a tour of Purcell’s Dido and Aeneas Moderato at the Handel Festival in Göttingen; in Spain; and semi-staged productions of Haydn’s The Creation at Cadogan Hall; Monteverdi’s Orfeo in Paris and for the Beijing Zelenka’s Missa Votiva for Musik Podium International , directed by Sir Stuttgart; and Mozart’s Exsultate, jubilate and Jonathan Miller. Mahler’s Symphony No. 4 at the Tchaikovsky In concert, Ms. Lunn has performed in Concert Hall in Moscow. Further concert per - Bach’s St. Matthew Passion with the Orchestra formances have ranged from Handel’s Saul of the Age of Enlightenment under Sir Roger with Cappella Amsterdam and the Estonian Norrington, with the Rotterdam Philharmonic Chamber Choir, to the first Philharmonic Orchestra, and with the performances of J. C. Bach’s Mailänder London Symphony Orchestra at the Barbican Vesperpsalmen with Concerto Köln at the Centre. She has appeared as a soloist in Frauenkirche, Dresden; J. S. Bach’s cantatas Handel’s Messiah at the Halle Handel Festival, with Le Concert Lorrain; Belinda in Dido and at St. Mark’s in Venice, with Bach Collegium Aeneas in Warsaw; Handel’s Israel in Egypt Japan under Masaaki Suzuki, and with the with the Düsseldorfer Symphoniker; Bach’s Mozarteum Orchester in Salzburg, as well as St. John Passion with Les Musiciens du Louvre in Handel’s L’Allegro, Il Penseroso ed il and Mr. Minkowski; and Graun’s Der Tod Jesu Moderato and Haydn’s Heiligmesse , with Collegium Vocale Ghent. She also ap - Harmoniemesse , and Paukenmesse with the peared at the Niedersächsische Musiktage Monteverdi Choir under Sir John Eliot with Bach Collegium Japan in programs of Gardiner. Her busy concert schedule has also Bach’s cantatas, in the at featured Bach’s at the BBC Proms the Tonhalle in Zürich under Mr. Suzuki, and with the and Bach in concerts with Bachakademie Stuttgart Collegium Japan; John Rutter’s Requiem with and . the Royal Liverpool Philharmonic Orchestra, Ms. Lunn features as a soloist on many CD conducted by the composer; Haydn’s The recordings. Her discography includes Vivaldi’s Seasons with the Huddersfield Choral Society; Laudate Pueri with the King’s Consort Fauré’s Requiem in Toulouse, directed by (Hyperion); Haydn’s Masses with Mr. Gardiner Marc Minkowski; Bach’s Mass in B minor and the Monteverdi Choir (Philips); Mr. Rutter’s with Bach Collegium Japan and Mr. Suzuki, Mass of the Children with the City of London the Academy of Ancient Music in Alzenau, Sinfonia, conducted by the composer Les Musiciens du Louvre and Mr. Minkowski, (Collegium); Mr. Gardiner’s Bach cantata the Akademie der alte Musik, and at the Sage, cycle, recorded during the Bach Pilgrimage in ABOUT THE ARTISTS

2000 (Deutsche Grammophon/ Soli Deo con certs at the Oregon ; and Gloria); Bach’s Easter Oratorio with Frieder Monteverdi’s Vespers with the Dunedin Consort. Bernius and the Stuttgart Kammerchor Ms. Lunn’s 2015–2016 engagements include (Carus); Bach’s motets with the Hilliard a tour of L’Allegro, Il Penseroso ed il Moderato Ensemble (ECM); Messiah with the Royal with Rudolf Lutz; Bach cantatas with Philharmonic Orchestra and Mr. Rutter; Bach’s Ensemble Pygmalion and Raphaël Pichon; a Wedding Cantata with Bach Collegium Japan U.S. tour with Bach Collegium Japan; Messiah (BIS); and the St. John Passion with the with Tafelmusik; Israel in Egypt and the Dunedin Consort (Linn), which was nomi - St. John Passion with Concerto Copenhagen; nated for a Gramophone Award. and concerts with the Dunedin Consort and Her recent engagements include The Fairy Knabenchor Hannover. Queen at the Konzerthaus in Vienna; concerts at Joanne Lunn is represented by Hazard the Rhine Valley Music Festival; a series of Chase (www.hazardchase.com).

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