Easter Oratorio Sunday, April 1, 2012 • 3:00 PM First Free Methodist Church

Orchestra Seattle Seattle Chamber Singers Darko Butorac, conductor

JOHANN SEBASTIAN BACH (1685–1750) Kommt, eilet und laufet, ihr flüchtigenFüßen, BWV 249

Sinfonia—Adagio Chorus: Kommt, eilet und laufet Recitative: O kalter M¨annerSinn Aria: Seele, deine Spezereien Recitative: Hier ist die Gruft Aria: Sanfte soll mein Todeskummer Recitative: Indessen seufzen wir Aria: Saget, saget mir geschwinde Recitative: Wir sind erfreut Chorus: Preis und Dank Chorale: Weil unser Trost

Karen Urlie, soprano (Mary, mother of James) Melissa Plagemann, alto (Mary Magdalene) Stephen Wall, tenor (Peter) Michael Dunlap, baritone (John)

—Intermission—

JEAN SIBELIUS (1865–1957) Valse triste, Op. 44, No. 1

RICHARD STRAUSS (1864–1949) Suite from Der Rosenkavalier

Please disable cell phones and other electronics. The use of cameras and recording devices is not permitted during the performance. OSSCS wishes to thank the Seattle Philharmonic Orchestra (www.seattlephil.org) for use of their celesta.

Orchestra Seattle • Seattle Chamber Singers • George Shangrow, founder PO Box 15825, Seattle WA 98115 • 206-682-5208 • www.osscs.org Solo Artists at Gallery Concerts and worked with Tony Award-winning composer Adam Guettel on a recording of his original work Guest conductor Darko Butorac serves as music director of for a production of Uncle Vanya at Intiman Theater. An avid the Missoula Symphony Orchestra and principal conductor recitalist, Karen draws upon repertoire that ranges from of the Fidenza Opera Festival in Italy. Critics have lauded Purcell and Mozart to Wolf, Strauss, Rodrigo and Barber. his performances as marked by a “great range of expres- siveness,” “extraordinary refinement of dynamic shading” Mezzo-soprano Melissa Plagemann has been praised by and a “fine sense of shape and color.” Since taking the helm audiences and the press for her “clear, burnished voice” of the Missoula Symphony in 2007, Mr. Butorac has pro- (Tacoma News Tribune) and “attractively expressive mezzo” pelled that orchestra to a new level of musical achievement, (Crosscut Seattle). She performs frequently with the finest with an expanded repertoire and local premieres of works musical organizations throughout the Pacific Northwest, by established and emerging composers. An enthusiastic and is rapidly becoming known for the passion and musical ambassador for classical music, he also produces the award- intelligence she brings to performances on opera and con- winning Downbeat DownLow podcast with Leah Lewis. cert stages alike. A first-prize winner in competitions of the Mr. Butorac has appeared as a guest conductor with Ladies’ Musical Club, the Seattle Musical Art Society and such ensembles as the National Arts Centre Orchestra, the Seattle Gilbert and Sullivan Society, she holds degrees Charleston Symphony, Canton Symphony and Montana from the University of Victoria and Indiana University. Lyric Opera, and served as principal conductor of the North- west Mahler Festival. His guest-conducting engagements Tenor Stephen Wall has appeared frequently with OSSCS abroad include performances with the Trondheim Sym- since 1985 and can be heard on the OSSCS recording of Han- phony in Norway, Mendoza Symphony in Argentina, Xia- del’s Messiah. During that time he has also been featured men Philharmonic in China, Kharkov Symphony Orchestra in leading and supporting roles with Seattle Opera, in ad- and Kharkov Philharmonic in Ukraine, and the Giuseppe dition to roles with Portland Opera, Utah Festival Opera Verdi Orchestra of Parma. Engagements this season include and Tacoma Opera, and appearances with the symphonies performances with the Belgrade Philharmonic Orchestra of Seattle, Vancouver, Spokane, Everett, Bellevue, Yakima, and the Charleston Symphony Orchestra as well as OSSCS. Pendleton, Great Falls and Sapporo (Japan). Mr. Wall has Darko Butorac earned his Master of Music degree from also served as the director for many musical theater produc- Indiana University, where he conducted over 30 concerts tions and maintains an active voice studio in Seattle. with the school’s major ensembles. He has also worked ex- tensively at the Brevard Music Center, Aspen Music Festival Baritone Michael Dunlap began his musical studies as a and the University of Toronto, his alma mater. His principal violist, focusing on instrumental music at Western Washing- mentors are David Effron, Jorma Panula and David Zinman. ton University, where he studied composition with Roger Briggs. After college, he began performing musical theater Soprano Karen Elizabeth Urlie appears on opera, concert and singing in choirs. A Seattle Opera chorister for the past and recital stages across the Pacific Northwest, appearing as several years, his notable performances include Dr. Bartolo featured soloist with Northwest Sinfonietta, Bellevue Cham- in Rossini’s Barber of Seville at Tacoma Opera and Colline ber Chorus, Bellevue Opera and the Seattle Opera Guild in Puccini’s La Bohème for Kitsap Opera and Vashon Opera. Previews, and has sung as a member of the Seattle Opera His own setting of Psalm 8 for chorus and piano premiered Chorus since 1999. Ms. Urlie has also been a frequent soloist at West Seattle Peace Lutheran Church in February 2009.

Program Notes who appear in the Biblical resurrection drama—present the Easter story: After rushing to the tomb early in the morn- Johann Sebastian Bach ing, the disciples discover that the women have found Jesus’ Kommt, eilet und laufet, ihr fluchtigen¨ Fußen¨ , BWV 249 tomb empty. An angel has told them that Jesus is risen. Jesus’ Bach was born in Eisenach, Germany, on March 21, 1685, followers decide that burial spices are now not as appro- and died in Leipzig on July 28, 1750. His Easter Oratorio began priate as a victor’s laurel wreath and understand, through life in early 1725 as a birthday cantata, which the composer revised finding Jesus’ shroud, that death can now be seen as a peace- as a sacred work that premiered on Easter Sunday, April 1, 1725. ful slumber because it has been conquered through Jesus’ Further revisions occurred around 1735 and again during the late resurrection. They thus replace their mourning of Jesus’ 1740s. In addition to four vocal soloists and chorus, the work death by rejoicing that their future will be eternal life in his calls for 2 flutes, 2 oboes (one doubling oboe d’amore), bassoon, 3 presence. trumpets, timpani, strings and continuo. Bach had composed the celebratory cantata Entfliehet, Bach’s Easter Oratorio is really a large-scale Sunday can- verschwindet, entweichet, ihr Sorgen (“Flee, vanish, fade, you tata consisting of 11 movements. Four of Jesus’ followers— sorrows,” BWV 249a) in the form of a Baroque pastoral Mary Magdalene, Mary the mother of James, Peter and John, fantasy for the February 23, 1725, birthday of Duke Chris- tian of Saxe-Weißenfels. He soon thereafter transformed it characterize this concluding gigue of joy bring to mind the into the cantata Kommt, gehet und eilet for Easter Sunday of glorious “Sanctus” from the monumental Mass in B Minor. that year by setting a new text (which likely represented Jesus’ triumph over the grave opens the gates of Heaven, one of Bach’s earliest collaborations with the poet Chris- and the bonds of time are burst in the final measure as Bach tian Friedrich Henrici, known as Picander) to existing arias achieves his goal: “The ultimate end of true music is the (shepherds and shepherdesses in the birthday cantata be- honor of God and the recreation of the soul.” came the four characters in the Easter play) while adding Although Bach’s other Easter cantatas include a con- new recitatives. The practical Bach again reworked the orig- cluding chorale, his Easter Oratorio does not—yet it is likely inal secular cantata as Verjaget, zerstreuet, zerrüttet,ihr Sterne the composer employed a pre-existing chorale when per- (”Dispel them, disperse them, you heavens,” BWV 249b) to forming the work. Following the practice of many mod- commemorate the birthday of Count Joachim Friedrich von ern recordings and performing editions, this afternoon’s Flemming, Governor of the City of Lepizig and a patron of performance concludes with a chorale taken from Bach’s the composer, on August 25, 1726. Sometime during the cantata BWV 130, composed for the feast day of St. Michael mid-1730s, Bach expanded the Easter cantata into a work he on September 29, 1724, which—like the Easter Oratorio— called an “oratorio” (a large work for soloists, chorus and employs three trumpets and timpani. The chorale melody 3 orchestra that tells a story, often from the Old Testament) is a 4 version of the tune most commonly known as the and revised it again a decade later, rearranging the work’s “Doxology” or “Old Hundredth.” third movement—originally a duet for tenor and bass—for —Lorelette Knowles four-part chorus. The oratorio, filled with dance rhythms that express the Jean Sibelius varying emotions evoked by Jesus’ death and resurrection, Valse Triste, Op. 44, No. 1 opens with an orchestral sinfonia whose brisk triple-meter Sibelius was born in Tavestehus, Finland, on December first section welcomes the rising of the sun—and of the 8, 1865, and died at Järvenpääon September 20, 1957. This Son—with joyful trumpet fanfares. Sixteenth-note passages waltz originated as part of his incidental music for the 1903 play for the violins, oboes and bassoon run breathlessly about Kuolema. On April 25, 1904, Sibelius conducted the Helsinki the garden that surrounds Jesus’ tomb, chased by trumpet Philharmonic in the premiere of the revised Valse Triste, which flourishes. In the following adagio (a sarabande), the wist- calls for flute, clarinet, 2 horns, timpani and strings. ful solo woodwinds contemplate, above dotted rhythms in Throughout his active compositional career, Sibelius the strings, the sorrows that have preceded this miraculous provided incidental music for a number of stage plays, from morning. After this unusual beginning, the jubilant mood 1888—when he collaborated on music for a Helsinki Mu- of the sinfonia returns to usher in the chorus, whose voices sic Institute production of Gunnar Wennerberg’s The Water scamper and leap upward, inviting listeners to hurry with Sprite—to a 1926 Copenhagen staging of Shakespeare’s The them to the tomb from which Jesus has risen. Tempest. Other dramatic works to which Sibelius contributed The remainder of the oratorio follows the usual struc- music include: the 1893 historical pageant Karelia; the 1898 ture of arias (songs) that alternate with recitatives (brief play King Christian II, by Adolf Paul, a close friend of the musical passages in speech rhythm) for diminishing num- composer; the 1903 play Kuolema (Death) by Arvid Jarnefelt,¨ bers of the soloists. In the first recitative, all four lament their Sibelius’ brother-in-law; a 1905 Swedish production of Mau- loss. In the following aria (a slow minuet), Bach intertwines rice Maeterlinck’s Pelléasand Mélisande; Hjalmar Procope’s´ the soprano voice of Mary Jacobi with the curling tendrils of 1906 play Belshazzar’s Feast (markedly different from the a solo flute, the “circling” musical line reminding one of the William Walton work performed by OSSCS last month); and laurel wreath and God’s perfection and infinity. The second August Strindberg’s 1908 Swanwhite. For a 1916 production recitative, for Mary Magdalene, Peter and John, leads to the of Hugo von Hofmannsthal’s 1912 adaptation of the 15th heart of the oratorio, a gentle “bourree-lullaby”´ in which century morality play Everyman, the composer aimed to the tenor sings Death to sleep to the accompaniment of a synchronize his incidental music precisely to the dialogue pulsating bass line and a gorgeous rippling river of flutes and stage action, much as film composers would come to and soft strings that flows continuously, bringing peace and do several years later. refreshment to an exhausted soul. After the two Marys join Sibelius biographer Erik Tawaststjerna wrote about in a recitative to express their longing to see their Savior for Kuolema: “The play is very much of its period. In the first themselves, an alto aria, in the rhythm of a gavotte, features act in particular, one is reminded of Strindberg’s A Dream a vocal line decorated by a delighted oboe d’amore and Play. Reality and dreams intermingle, and in the moment steadied by a “walking” bass. before her death the mother relives a ball scene from her The final recitative, for John’s reassuring bass voice, youth: phantom-like figures in evening dress glide noise- introduces trumpets and chorus that praise and give thanks lessly while Sibelius’ music tries to mirror an interplay be- for the conquest of the devil and hell by Jesus, the “Lion tween this vivid memory and the sense of oncoming death.” 4 of Judah.” The bipartite structure (an opening section in 4 As the play opens, a young boy sits beside his sick mother, meter yields to one in triple meter in which the voices enter who sleeps in her bed. When she starts to dream of dancers, imitatively), swaying triplet figures and dotted notes that the stage directions dictate: “We begin to hear the quiet playing of orchestral violins which, as the lights go up, be- The Marschallin suggests Octavian for the task, and when comes clearer and finally becomes a graceful waltz.” The he and Sophie meet, they quickly fall in love. Octavian de- mother rises to dance with the imaginary guests, who avoid vises a plan to derail Ochs’ engagement to Sophie, and in the her gaze. When the activity exhausts her, she returns to bed opera’s moving final scene the Marschallin relinquishes her and “the playing ceases as well.” The dancers begin to leave claim on the affections of Octavian. Sophie and Octavian the stage, but return when the mother regains her strength declare their love for each other as the story concludes. and begins dancing anew. In response, the music revisits its It was Hofmannsthal, not Strauss, who suggested the faster tempo but halts suddenly when Death knocks three (anachronistic) musical device of a waltz. “Try to think of an times on the door. old-fashioned Viennese waltz, the librettist wrote to the com- At the December 2, 1903, premiere of Kuolema (which poser, “sweet and saucy, which should pervade the whole closed after six performances) Sibelius conducted a string or- of the last act.” The Munich-born Richard Strauss was no chestra from behind the stage in the waltz described above, relation to the famous Viennese Strauss family, but he did plus five other numbers. The following year he rescued his draw inspiration from at least one work of Josef Strauss waltz, revising it and rescoring it for a slightly larger ensem- (1820–1870): the first four bars of a theme from that com- ble. In the revision, four solo violins conclude the work with poser’s Geheime Anziehungskräfte (“Secret Magnetic Forces”) three quiet chords to represent Death’s three knocks. The Waltzes and the Act II waltz for Baron Ochs are identical, composer soon sold the work, which he dubbed Valse Triste and in the same key. (or “Sad Waltz”), for a small amount of money (approxi- Upon its Dresden premiere, Rosenkavalier instantly be- mately $25) to a Finnish publisher, who in 1905 bundled came a phenomenon, creating such a stir that special trains it with other Sibelius music in his catalog for resale to Bre- carried operagoers from Berlin expressly to attend perfor- itkopf & Hartel.¨ Valse Triste quickly became a smash hit mances of the work. The popularity of Strauss’ music— for Breitkopf—but Sibelius received no royalties (although particularly the waltzes—resulted in all manner of arrange- he often conducted it as an encore in his appearances with ments, for ensembles ranging from salon orchestras to brass orchestras around Europe). bands. Strauss himself arranged selections from his score to be played as accompaniment to a 1926 silent film based Richard Strauss on the opera and sanctioned the publication of a “waltz Suite from Der Rosenkavalier sequence”—later creating a second waltz sequence himself Strauss was born June 11, 1864, in Munich, and died Septem- after growing dissatisfied with the first. Several famous ber 8, 1949, at Garmisch-Partenkirchen, Germany. He began work conductors also arranged their own orchestral suites from on the opera Der Rosenkavalier during 1909, completing it on the opera, but the provenance of the most familiar of these, September 26, 1910. The Dresden Court Opera presented the dating from 1944 (and published by Boosey & Hawkes the world premiere on January 26, 1911. This orchestral suite drawn following year) remains a mystery. While many sources from the opera, which received its first performance on October credit it to Polish maestro Artur Rodzinski, who led the 5, 1944, with Artur Rodzinski conducting the New York Phil- New York Philharmonic in its first performance, the Philhar- harmonic, calls for 3 flutes (one doubling piccolo), 3 oboes (one monic program book from that concert makes no mention of doubling English horn), 2 clarinets, E[ clarinet, bass clarinet, 3 an arranger. A program for a 1953 Boston Symphony perfor- bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 mance of the same suite claims it “was made anonymously trombones, tuba, percussion, celesta, 2 harps and strings. for its publisher.” Richard Strauss’ third opera, Salome, shocked the world The suite opens with the opera’s instrumental prelude, and brought the composer fame and fortune. His fourth, during which the Marschallin and young Octavian engage Elektra, moved even further toward musical modernism, in an amorous encounter. Next comes the presentation of after which the composer declared, “Now I shall write a the silver rose from the beginning of Act II, closely followed Mozart opera.” Together with his Elektra librettist, Hugo by the duet in which Octavian and Sophie fall in love. A von Hofmannsthal, Strauss conjured up a tale set in 18th brief energetic passage announces the arrival of Valzacchi century Vienna, with elements of love and comic intrigue and Annina, two “spies” who play a role in the opera’s that recalled the plot of Mozart’s Marriage of Figaro yet, as intrigue, followed by Ochs’ waltz from the end of Act II, Hofmannsthal wrote, containing “more subtle psychological in which he celebrates a forthcoming assignation with a contours. . . now already latent in the characters like Figaro, chambermaid (in reality, Octavian in disguise). A brief in- Susanna, Cherubino.” strumental passage from the opening of the second act leads The story centers around Princess Marie Ther` ese´ von to the famous Act III trio—more precisely, three simultane- Werdenberg, known as the Marschallin because she is the ous monologues—followed by a few bars of the simple duet wife of a Field Marshal. In her husband’s absence, she car- between Sophie and Octavian from the end of the opera. ries on an affair with young Octavian, who disguises himself The suite then jumps back to the middle of Act III for a as a female servant when Baron Ochs, the Marschallin’s spirited waltz during which a befuddled Ochs reacts to the lecherous cousin, arrives unannounced. Ochs seeks a arrival of a veiled Annina (with several children in tow), Rosenkavalier (“knight of the rose”) to present a silver rose claiming to be the baron’s wife. to the much younger Sophie as part of a courtship ritual. —Jeff Eldridge Orchestra Seattle Cello Clarinet Trombone Kaia Chessen Steven Noffsinger* Moc Escobedo* Violin Peter Ellis Kristin Schneider David Holmes Susan Beals Patricia Lyon Chad Kirby Lauren Daugherty Katie Sauter Messick E[ Clarinet Dean Drescher Annie Roberts Chris Peterson Tuba Stephen Hegg Valerie Ross David Brewer Susan Herring Morgan Shannon Bass Clarinet Jason Hershey Matthew Wyant* Cynthia Ely Percussion Manchung Ho Eric Daane Maria Hunt Bass Bassoon Kathie Flood Fritz Klein** Jo Hansen Jeff Eldridge* Shane Henderson Pam Kummert Ericka Kendall Bridget Savage Dan Oie* James Lurie Nick Masters James Truher Gregor Nitsche Kevin McCarthy Contrabassoon Susan Ovens Steven Messick* Michel Jolivet Harp Stephen Provine* Naomi Kato* Elizabeth Robertson Flute Horn Bethany Man Theo Schaad Shari Muller-Ho* Barney Blough Janet Showalter Melissa Underhill Don Crevie Harpsichord Kenna Smith-Shangrow Laurie Heidt* Robert Kechley Nicole Tsong Piccolo Jim Hendrickson Elana Sabovic Matt Carey LaMothe Celesta Viola Lisa Michele Lewis Hakan˚ Olsson Oboe Trumpet Katherine McWilliams John Dimond* Ethan Eade ** concertmaster Genevieve Schaad Gina Lebedeva Rabi Lahiri ** principal Alexandra Takasugi Janet Young* Sam Williams* English Horn Kailee Wright David Barnes

Soprano Alto Seattle Chamber Singers Hilary Anderson Sharon Agnew Crissa Cugini Jane Blackwell Julia Akoury Thiel Kyla DeRemer Rose Fujinaka Annie Thompson Cinda Freece Pamela Ivezicˇ Jill Kraakmo Ellen Kaisse Tenor Bass Peggy Kurtz Jan Kinney Ron Carson Andrew Danilchik Lila Woodruff May Lorelette Knowles Alex Chun Stephen Keeler Nancy Shasteen Theodora Letz Jon Lange Dennis Moore Liesel van Cleeff Sarah Long Tom Nesbitt Stephen Tachell Pat Vetterlein Suzi Means Jerry Sams Skip Viau Gwen Warren Laurie Medill Sterling Tinsley Richard Wyckoff Text and Translation

Kommt, eilet und laufet, ihr ﬂuchtigen¨ Fuße,¨ Come, hasten and hurry, ye ﬂeet-footed paces, Erreichet die Hohle,¨ die Jesum bedeckt! Make haste for the grotto which Jesus doth veil!

O kalter Manner¨ Sinn! O men so cold of heart! Wo ist die Liebe hin, Where is that love then gone Die ihr dem Heiland schuldig seid? Which to the Savior ye now owe? Ein schwaches Weib muss euch beschamen!¨ A helpless woman must upbraid you! Ach, ein betrubtes¨ Gramen¨ Ah, our sore-troubled grieving Und banges Herzeleid And anxious, heartfelt woe Hat mit gesalznen Tranen¨ Here, joined with salty weeping Und wehmutsvollem Sehnen And melancholy yearning, Ihm eine Salbung zugedacht, For him an unction did intend, Die ihr, wie wir, umsonst gemacht. Which ye, as we, in vain have brought.

Seele, deine Spezereien Spirit, these thy costly spices Sollen nicht mehr Myrrhen sein. Should consist no more of myrrh. Denn allein For alone, Mit dem Lorbeerkranze prangen, Crowned with laurel wreaths resplendent, Stillt dein angstliches¨ Verlangen. Wilt thou still thy anxious longing.

Hier ist die Gruft Here is the crypt Und hier der Stein, And here the stone Der solche zugedeckt. Which kept it tightly closed. Wo aber wird mein Heiland sein? But where, then, is my Savior gone? Er ist vom Tode auferweckt! He is from death now risen up! Wir trafen einen Engel an, We met, before, an angel here Der hat uns solches kundgetan. Who brought to us report of this. Hier seh ich mit Vergnugen¨ I see now with great rapture Das Schweißtuch abgewickelt liegen. The shroud all unwound here lying.

Sanfte soll mein Todeskummer, Gentle shall my dying labor, Nur ein Schlummer, Nought but slumber, Jesu, durch dein Schweißtuch sein. Jesus, through thy shroud be. Ja, das wird mich dort erfrischen Yes, for it will there refresh me Und die Zahren¨ meiner Pein And the tears of all my pain Von den Wangen trostlich¨ wischen. From my cheeks wipe dry with comfort.

Indessen seufzen wir And meanwhile, sighing, we Mit brennender Begier: Here burn with deep desire: Ach, konnt¨ es doch nur bald geschehen, Ah, if it only soon might happen, Den Heiland selbst zu sehen! To see himself the Savior!

Saget, saget mir geschwinde, Tell me, tell me, tell me quickly, Saget, wo ich Jesum finde, Tell me where I may find Jesus, Welchen meine Seele liebt! Him whom all my soul doth love! Komm doch, komm, umfasse mich; Come now, come, and hold me close, Denn mein Herz ist ohne dich For my heart is, lacking thee, Ganz verwaiset und betrubt.¨ Left an orphan and distressed. Wir sind erfreut, We now rejoice Dass unser Jesus wieder lebt, That this our Jesus lives again, Und unser Herz, And these our hearts, So erst in Traurigkeit zerflossen und geschwebt Which once in sadness were dissolved and in suspense, Vergisst den Schmerz Forget their pain Und sinnt auf Freudenlieder; And turn to joyful anthems, Denn unser Heiland lebet wieder. For this our Savior once more liveth.

Preis und Dank Laud and thanks Bleibe, Herr, dein Lobgesang. Bide, O Lord, thy song of praise. Holl¨ und Teufel sind bezwungen, Hell and devil are now vanquished, Ihre Pforten sind zerstort.¨ And their portals are destroyed. Jauchzet, ihr erlosten¨ Zungen, Triumph, O ye ransomed voices, Dass man es im Himmel hort.¨ Till ye be in heaven heard. Eroffnet,¨ ihr Himmel, die prachtigen¨ Bogen, Spread open, ye heavens, your glorious arches, Der Lowe¨ von Juda kommt siegend gezogen! The Lion of Judah with triumph shall enter!

Weil unser Trost, der Herre Christ For our sake, Christ the Lord An diesem Tag erstanden ist. On this day is risen. Freut sich die ganze Christen heit, All of Christendom rejoices, Und sagt ihm Dank zu jeder Zeit. And gives thanks to Him for evermore.

Weil denn die Feind erleget sein, Because the enemies are defeated, So laßt und danken in gemein Let us give thanks together Dem Sieges Fursten¨ Jesu Christ, To our Lord Jesus Christ, Daß er vom Tod erstanden ist. Who is risen from the dead.

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