at One

The Trinity Choir Trinity Baroque Orchestra

Julian Wachner, Conductor

Bach Cantatas · Schütz Motets Poetry

Mondays at 1pm March 21–June 20, 2011 TRINITY WALL STREET presents

The Trinity Choir & Trinity Baroque Orchestra Julian Wachner, Conductor

at One

weekly service featuring the cantatas of J.S. Bach, with motets of Heinrich Schütz, and transformative readings by contemporary poets

Mondays at 1pm

March 21–June 20, 2011*

St. Paul’s Chapel Broadway at Fulton

* This program booklet May 2 - June 20 welcome

Welcome to Bach at One, a mid-day service of cantatas, prayers, and poetry.

Bach, a devout Lutheran, composed 200 cantatas using both sacred and secular texts. Many of those cantatas are heard in churches around the world every Sunday, but through Bach at One, your Monday lunch hour can be enriched by timeless cantatas. Motets by Heinrich Schütz, an influential predecessor of Bach will also be presented, as will poetry readings by a group of noted poets.

If you enjoy this peaceful and sacred interlude to your day, please know you are warmly invited back—to Bach at One, or to another of the worship opportunities at St. Paul’s or at Trinity Church. In particular, I call your attention to Sunday morning services at 8am and 10am here, and a new service of Compline, or prayers for the end of the day.

Compline is an ancient half-hour candlelit service of chant and new music sung by the Trinity Choir. Imagine your day ending with you and others saying together: It is night after a long day. What has been done has been done; what has not been done has not been done; let it be.

It is a sentiment that is increasingly rare in our busy world, yet one consistent with the sense of spiritual oasis that St. Paul’s has offered for centuries. Compline takes place here at St. Paul’s Chapel on Sunday evenings at 8pm.

Thank you for visiting today. The chapel staff and I look forward to seeing you again.

Blessings,

The Rev. Canon Anne Mallonee Vicar

O rder of Service FEU AT Red POETS

P rELude My a 2 Lee Bricchetti Welcome My a 9 Molly Peacock Motets My a 16 Rick Moody Readings My a 23 Elaine Sexton offertory My a 30 Cornelius Eady cantatas Jue n 6 Joshua Mehigan Jue n 13 Major Jackson Jue n 20 J. Chester Johnson

1 Progrm a Notes

Johann Sebastian Bach (1685–1750) has long been and butter of the concert repertoire begins with Bach, regarded as the foundational figure on which all Western and specifically Bach’s “discovery” of equal temperament, Art Music of the so-called “common practice period” and his mastery and invention of a hierarchically based has stood. All of the great composers from this massive tonal system. period (1700–1900) have seen Bach as this type of epic cornerstone, and indeed, his life’s work does provide From the modern performer’s perspective, Bach’s solo an encyclopedic lexicon of compositional praxis, defining suites provide the young string player a requirement for and illustrating a sophisticated mastery of “tonality,” the dry technical mastery (albeit with full and constant vibrato) underlying presupposition for Mozart, Beethoven, before moving on to the concerto repertoire of Tchaikovsky, Brahms, and Wagner. Brahms, and Sibelius. And the pianist-in-training gains the ability to realize multiple independent parts by practicing Although Bach’s work has always been lauded as the the 3-part Inventions, the Preludes and Fugues and, for fun, epitome of contrapuntal technique, the reception of Bach perhaps the Italian Concerto. Generally, Bach is still passed and his work has followed a rather bizarre trajectory: from down as the old stern schoolmaster — the unreachable relative obscurity in the years following his death, to the inaugurator of all things good and pure in music underground appreciation of his keyboard works during composition and basic instrumental technique in the the classical period by Baron van Swieten, Mozart, Haydn, Western Art tradition. and Beethoven; the impressive public re-introduction of the St. Matthew Passion by a young Felix Mendelssohn In the late 20th century, there arose a new paradigm in 1827, and Bach’s subsequent coronation as a romantic surrounding the work of J. S. Bach which attempted to hero-like figure in the 19th century — and as the Godfather cast new light on the context of his output, instrumental of an ethically “pure” music as defined by Schoenberg and and vocal. Several watershed 20th-century events, specific his disciples within the Second Viennese School of the to Bach, occurred within the greater movement for the early 20th century. quest of historical authenticity specific to the performance practice of “early” music. Bach, in light of these recent When the musicologists got hold of him in the mid-20th discoveries, moves from the throne of the great century, his work was seen as the objective output of a “inaugurator” to that of the master “culminator.” mathematical genius, and sophisticated studies of Bach’s unconscious neurological patterns and intentional In brief, Bach’s own annotated Calov edition of the Bible, numerological design were the accepted analytical (although discovered in 1934), became known in Bach methodology. By the late ’60s and ’70s, the mainstream circles following World War II. The resulting studies academic appreciation of his music mirrored the anti- illuminated that Bach was indeed theologically savvy and ecclesiastical thrust of the then current philosophical that his compositional choices were intentionally focused thought, and thus Bach’s music was objectively consumed, on a sophisticated understanding of hermeneutics and thoroughly divorced from its Theological and Liturgical liturgy. All of the musico-rhetorical devices of the late-17th underpinnings. Indeed, poor Bach was pitied for his and early-18th century were then put to use in order to seemingly imprisoned, cloistered existence and as a interpret the text in exactly the same manner that a grudgingly accepting servant of the Lutheran church. preacher would utilize traditional rhetoric to persuade. Thus, motivic shapes bearing specific emotional Affekt Still today, in the modern academy, Bach’s expert voice would combine with meaning-laden choices of key, time leading—as evidenced in his 4-part harmonizations of the signature, instrumentation, voice part, number of parts chorales; his use of invertible counterpoint in the relatively and references to pre-existing tunes (both secular and simple 2-part inventions; and the epic collection of preludes sacred) to create musical essays rich in text painting, and fugues written in every key (Das Wohltemperierte emotionality, and a clear theological message. Klavier) form the basis of any music undergraduate’s six-semester sequence of music theory. These studies are Second, Joshua Rifkin, through an intensive analysis mathematical in nature, and are not unlike the problem of Bach’s original performance materials, came to the sets of an engineering student at a technological institution. practical realization that the majority of Bach’s vocal works Thus, most musicians have had it drummed into their were intended to be performed primarily with one singer to minds that Bach is the beginning of musical science, a part, completely turning the concept of massed choral and that the trajectory of the development of the bread realizations of Bach’s major works on its head. Thus the

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performance ideal for his vocal music is subjectively based So in this early 21st-century series where we present and emotionally rich — the opposite of traditional objective, J. S. Bach’s cantatas and other vocal music — we enter Apollonian renderings of his music by large choral societies. this arena with a collective pre-disposition to realize these works within liturgical surroundings, with an awareness of And, perhaps most fascinating from a performer’s point of the performance practice of Bach’s time, and shedding off view—Bradley Lehman’s recent deciphering of the “squiggle” the previously accepted Apollonian shroud of objective on the original cover of Das Wohltemperierte Klavier provided recreation by intentionally interpreting and emotionally the solution to Bach’s handling of the tuning “wolf” or realizing the Dionysian, pietistic, and eschatological “comma” that exists in pure tuning systems, thus debunking dangers that lurk within this body of repertoire. the myth that Bach created “equal” temperament. Bach’s tuning system, although individual and specific to Bach, We welcome you and look forward to having you join was no different in methodology than all of his colleagues us on this adventure. and predecessors, all of whom were collectively attempting to provide a solution to a fully useable 12-note keyboard that —Julian Wachner could realize the entire circle of fifths. (For more on this Director of Music and the Arts subject see Bach’s temperament, Occam’s razor, and the Neidhardt factor by John O’Donnell.) What this means is that all of Bach’s key choices are based in an old-fashioned sense of rhetorical tuning and key association. B minor “sounds” serious and studied, while D major reflects jubilation and victory, E represents the Trinity, F major represents the Pastoral etc…b

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Suggested Reading for bach at one and the St. Matthew Passion ( avaILABLE to view on demand at trinitywallstreet.org)

Boyd, Malcolm (ed.), Oxford Composer Companions: Bach, Oxford UP, 1999 Butt, John (ed.), The Cambridge Companion to Bach, Cambridge UP, 1997. Butt, John: Bach in the twenty-first century. BuNachwelt iv (2005), 169-182. Butt, John: Bach’s vocal scoring: what can it mean? EarlyM xxvi/1 (1998), 99-107. Butt, John: Performer’s View: Bach and the Performance of Meaning. AmerBachSocNL Fall (2001), 5, 10. Chafe, Eric Thomas. “Bach’s Ascension Oratorio (BWV 11): God’s Kingdoms and their Representation” Bach Perspectives 8 8. (2010). Chafe, Eric Thomas. “Bach and Hypocrisy Appearance and Truth in Cantatas 136 and 179.” The Century of Bach and Mozart (2008): 121-144. Chafe, Eric Thomas. Analyzing Bach Cantatas. Oxford University Press, 1999. Chafe, Eric Thomas. Tonal Allegory in the Vocal Music of J.S. Bach. University of California Press, 1991. Chafe, Eric. “Key Structure and Tonal Allegory in the Passions of J.S. Bach: An Introduction,” Current Musicology 31 (1981) 39-54. Hans T. David, Arthur Mendel & Christoph Wolff, The New Bach Reader, Norton, 1998. Kenyon, Nicholas (ed.), Authenticity and Early Music, Oxford UP, 1988. Leaver, Robin, J.S. Bach and Scripture: Glosses from the Calov Bible Commentary. St. Louis, 1985. Leaver, Robin: “Music and Lutheranism,” in The Cambridge Companion to Bach, ed. John Butt, pp. 35-45. Lehman, Bradley: Bach’s extraordinary temperament: our Rosetta Stone. Early Music Feb 2005 (Part I), May 2005 (Part II) Marissen, Michael and Melamed, Daniel, An Introduction to Bach Studies, Oxford UP, 1998. Marissen, Michael: Blood, People, and Crowds in Matthew, Luther, and Bach. LutheranQ xix/1 (2005), 1-22. Marissen, Michael: On the Musically Theological in J. S. Bach’s Cantatas. LutheranQ xvi/1 (2002), 48-64. Marissen, Michael: The theological character of J. S. Bach’s Musical Offering. BachStudies ii (1995), 85-106. Marshall, Robert: The Music of , Schirmer, 1989. Michael Marissen, “Religious Aims in Mendelssohn’s 1829 Berlin-Singakademie Performances of Bach’s St. Matthew Passion,” The Musical Quarterly 77 (1993) pp. 718- 726. Parrot, Andrew, The Essential Bach Choir, Oxford University Press, 2004 Pelikan, Jaroslav: “Meditation on Human Redemption in the Saint Matthew Passion,” Bach among the Theologians. Philadelphia, 1986. pp. 89-101. Pelikan, Jaroslav: “The Four Seasons of J. S. Bach,” “The Musical Heritage of the Reformation,” in Bach Among the Theologians, pp. 2-28 and ”Rationalism and Aufklärung in Bach’s Career,” pp. 29-41. Pelikan, Jaroslav: “Confessional Orthodoxy in Bach’s Religion,” Bach among the Theologians. Philadelphia, 1986. pp. 42-55 and “Pietism, Piety, and Devotion in Bach’s Cantatas,” pp. 56-71 Taruskin, Richard, Text and Act, Oxford UP, 1995. Wolff, Chistoph (ed.), The World of the Bach Cantatas, Norton, 1995-. Wolff, Christoph: B ach’s cantata ‘Ein feste Burg’: History and Performance Practice. AmerChoralReview xxiv/2-3 (1982), 27-38. Wolff, Christoph: J. S. Bach and the legacy of the seventeenth century. BachStudies ii (1995), 192-201. Wolff, Christoph: Musical Forms and Dramatic Structure in Bach’s St. Matthew Passion. Bach xix/1 (1988), 6-20. Wolff, Christoph: The Organ in Bach’s Cantatas. Wolff (1991), 317-323.

4 Lt is of Works (Season)

MARCH 21 BWV 21 Ich hatte viel Bekümmernis SWV 369 Es wird das Szepter von Juda nicht entwendet werden SWV 372 Verleih uns Frieden genädiglich 28 BWV 80 Ein feste Burg ist unser Gott SWV 370 Er wird sein Kleid in Wein waschen SWV 371 Es ist erschienen die heilsame Gnade Gottes all Menschen APRIL 4 BWV 131 Aus der Tiefen rufe ich, Herr, zu dir SWV 377 Herr, auf dich traue ich SWV 373 Gib unsern Fürsten und aller Obrigkeit Fried und gut Regiment SWV 378 Die mit Tränen säen 11 BWV 198 Trauerode: Laß, Fürstin, laß noch einen Strahl SWV 374 Unser keiner lebet ihm selber SWV 379 So fahr ich hin zu Jesu Christ SWV 381 O lieber Herre Gott, wecke uns auf 18 BWV 182 Himmelskönig, sei willkommen SWV 375 Viel werden kommen von Morgen und von Abend SWV 376 Sammlet zuvor das Unkraut SWV 387 Herzlich lieb hab ich dich, o Herr 25 BWV 4 Christ lag in Todes Banden SWV 390 Unser Wandel ist im Himmel SWV 386 Die Himmel erzählen die Ehre Gottes MAY 2 BWV 42 Am Abend aber desselbigen Sabbats SWV 385 Das Wort ward Fleisch SWV 388 Das ist je gewißlich wahr und ein teuer wertes Wort SWV 383 Ich bin eine rufende Stimme 9 BWV 106 Gottes Zeit ist allerbeste Zeit—Actus tragicus SWV 394 Sehet an den Feigenbaum und alle Bäume SWV 395 Der Engel sprach zu den Hirten SWV 396 Auf dem Gebirge hat man ein Geschrei gehöret SWV 397 Du Schalksknecht, alle diese Schuld habe ich dir erlassen 16 BWV 158 Der Friede sei mit dir 23 BWV 51 Jauchzet Gott in allen Landen BW V 170 Vergnügte Ruh, beliebte Seelenlust 30 BWV 50 Nun ist das Heil und die Kraft BW V 11 Lobet Gott in seinen Reichen BWV 812 French Suite no. 1 in D (Introducing new harpsichord) JUNE 6 BWV 150 Nach dir, Herr, verlanget mich 13 BWV 230 Motette: Lobet den Herrn, alle Heiden SWV 382 Tröstet, tröstet mein Volk SWV 380 Also hat Gott die Welt geliebt (Aria) 20 BWV 191 Gloria in excelsis Deo BWV 147 Herz und Mund und Tat und Leben

5 mus ic and the arts staff

Julian Wachner Director of Music and the Arts Richard Lippold Administrator, Music and the Arts Robert Ridgell Organist and Director of Music Education Adam Alexander Program Coordinator, Music and the Arts Marilyn Haskel Program Manager, Liturgical Arts and New Initiatives

Tri nity Choir

S oPRANO Elizabeth Baber (191) Tenor Eric Dudley (42, 147, 191 & Conducts 150) Martha Cluver (191) Matthew Hensrud (11, 147, 191) Jolle Greenleaf (106, 191) Timothy Hodges (131, 106, 191) Mellissa Hughes (150, 191) Stephen Sands (150) Molly Quinn (147) Melanie Russell (42, 51, 191) B aSS Raymond Bailey Wesley Chinn A ltO Melissa Attebury (11, 150, 191,147) Charles Wesley Evans (147, 191) James Blachly (106) Steven Hrycelak (150) Luthien Brackett (191) Thomas McCargar (158, 11) Virginia Warnken (42, 170, 147, 191) Jonathan Woody (42, 147, 191) Richard Lippold (106) Cantata numbers in parentheses indicate soloists.

Tri nity Baroque Orchestra

My a 2, 2011 BWV 42 MAY 9, 2011 BWV 106

Violin Robert Mealy, concertmaster C eLLO Jacques Wood Owen Dalby, principal second Violone Motomi Igarashi Claire Jolivet Johanna Novom Viola da gamba Lisa Terry, principal Theresa Salomon John Mark Rozendaal

Viola Jessica Troy, principal O rgaN Avi Stein Daniel Elyar Rrecorde Matthias Maute, principal C eLLO Katie Rietman Sophie Larivière Bssa Anne Trout

O rgaN Avi Stein MAY 16, 2011 BWV 158 Oboe Washington McClain, principal Priscilla Smith Violin Daniel Lee, concertmaster C eLLO Jacques Wood B aSSOON Dennis Godburn O rgaN Donsok Shin Tpetrum John Thiessen, principal Nathan Botts Oboe Washington McClain Timothy Will

Timpani James Baker

6 ti r nity baroque orchestra

MAY 23, 2011 BWV 51 & 170 J UNE 6, 2011 BWV 150

Violin Robert Mealy, concertmaster Violin Daniel Lee, concertmaster Cynthia Roberts, principal second Liv Heym Owen Dalby C eLLO Ezra Seltzer Claire Jolivet Daniel Lee O rgaN Avi Stein

Viola Jessica Troy, principal B aSSOON Andrew Schwartz Daniel Elyar

C eLLO Katie Rietman

B aSS Anne Trout J UNE 13, 2011 BWV 230 C eLLO Ezra Seltzer O rgaN Avi Stein B aSS Douglas Balliett O’ boe d aMORE Washington McClain O rgaN Bradley Brookshire T rumPET Nathan Botts

MAY 30, 2011 BWV 50, 812 & 11 J UNE 20, 2011 BWV 191 & 147 Violin Robert Mealy, concertmaster Violin Robert Mealy, concertmaster Claire Jolivet, principal second Cynthia Roberts, principal second Johanna Novom Daniel Lee Theresa Salomon Claire Jolivet Jae-Won Bang Theresa Salomon Viola Jessica Troy, principal Viola Daniel Elyar, principal Alissa Smith Daniel Elyar C eLLO Ezra Seltzer C eLLO Ezra Seltzer B aSS Wen Yang B aSS Anne Trout O rgaN Avi Stein O rgaN Avi Stein Felut Sandra Miller, principal Felut Sandra Miller, principal Anne Briggs Anne Briggs Oboe Gonzalo Ruiz, principal Oboe Washington McClain, principal Priscilla Smith Priscilla Smith Sarah Davol B aSSOON Andrew Schwartz

B aSSOON Andrew Schwartz Tpetrum John Thiessen, principal Nathan Botts Tpetrum John Thiessen, principal Nathan Botts Brian Shaw Caleb Hudson Timpani Maya Gunji Timpani James Baker

Harpsichord Peter Watchorn John Thiessen, orchestral contractor

7 Texs t and Translations

Mny o da , MAY 2, 2011

Das Wort ward Fleisch, SWV 385 Heinrich Schütz (1585-1672) Das Wort ward Fleisch The Word was made flesh, und wohnet unter uns, and dwelt among us, und wir sahen seine Herrlichkeit, and we beheld his glory, eine Herrlichkeit, als des eingebornen Sohns the glory as of the only begotten vom Vater voller Gnade und Wahrheit. of the Father, full of grace and truth. –John 1:14

Das ist je gewißlich wahr und ein teuer wertes Wort, SWV 388 Das ist je gewißlich wahr und ein teuer wertes Wort, This is a faithful saying, and worthy of all acceptation, daß Christus Jesus kommen ist that Christ Jesus came in die Welt, die Sünder selig zu machen, into the world to save sinners; unter welchen ich der fürnehmste bin. of whom I am chief. Aber darum ist mir Barmherzigkeit widerfahren, But that is my mercy, auf daß an mir fürnehmlich Jesus Christus that in me first Jesus Christ erzeigete alle Geduld zum Exempel denen, showeth all patience for an example to them die an ihn glauben sollen zum ewigen Leben. which should hereafter believe in him to life everlasting. Gott dem ewigen Könige, Now unto the King eternal, dem Unvergänglichen und Unsichtbaren immortal, invisible, the only wise God, und allein Weisen sei Ehre und Preis be honour and glory in Ewigkeit! Amen. for ever and ever. Amen. –I Timothy:15–17

Ich bin eine rufende Stimme, SWV 383 Ich bin eine rufende Stimme in der Wüsten: I am the voice of one crying out in the wilderness, Richtet den Weg des Herren. “Make straight the way of the Lord, Ich taufe mit Wasser; I baptize with water. aber er ist mitten unter euch getreten, Among you stands one den ihr nicht kennet, whom you do not know, der ist’s der nach mir kommen wird, the one who is coming after me; welcher vor mir gewesen ist, who is preferred before me, des ich nicht wert bin, I am not worthy to untie daß ich seine Schuhriemen auflöse. the thong of his sandal.” –John 1:23, 26–27

Cantata No. 42: Am Abend aber desselbigen Sabbats Johann Sebastian Bach (1685-1750)

1. Sinfonia 1. Sinfonia 2. Rezitativ (Tenor) 2. Recitative (Tenor) Am Abend aber desselbigen Sabbats, da die Jünger On the evening, however, of the same Sabbath, when the versammlet und die Türen verschlossen waren aus Furcht disciples had gathered and the door was locked out of fear für Verfolgung, kam Jesus und trat mitten ein. of persecution, Jesus came and walked among them. 3. Arie (Alt) 3. Aria (Alto) Wo zwei und drei versammlet sind Where two or three are gathered together In Jesu teurem Namen, in Jesus’ dear name, Da stellt sich Jesus mitten ein there Jesus will stand among them

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Und spricht darzu das Amen. and say Amen to them. Denn was aus Lieb und Not geschicht, For whatever happens out of love and necessity Das bricht des Höchsten Ordnung nicht. does not break the law of the Highest. 4. Arie – Duett (Sopran, Tenor) 4. Aria – Duet (Soprano, Tenor) Verzage nicht, o Häuflein klein, Do not despair, O little flock, Obschon die Feinde willens sein, although your enemies might plan Dich gänzlich zu verstören, to destroy you utterly, Und suchen deinen Untergang, and seek your undoing, Davon dir wird recht angst und bang: for which you are rightfully anxious and fearful: Es wird nicht lange währen. it will not last long. 5. Rezitativ (Bass) 5. Recitative (Bass) Man kann hiervon ein schön Exempel sehen One can find a perfect message An dem, was zu Jerusalem geschehen; in what happened in Jerusalem; Denn da die Jünger sich versammlet hatten for the disciples had gathered there Im finstern Schatten, in dark shadows, Aus Furcht für die Verfolgern, out of fear of their persecutors, So trat mein Heiland mitten ein, then my Savior walked into their midst Zum Zeugnis, daß er seiner Kirche Schutz will sein. as a sign that He will be the protector of His Church. Drum laßt die Feinde wüten! Therefore let the enemy rage! 6. Arie (Bass) 6. Aria (Bass) Jesus ist ein Schild der Seinen, Jesus is the shield of His own, Wenn sie die Verfolgung tritt. when persecution follows them. Ihnen muß die Sonne scheinen For them the sun must shine Mit der güldnen Überschrift: with a golden message: Jesus ist ein Schild der Seinen, Jesus is the shield of His own, Wenn sie die Verfolgung trifft. when persecution follows them. 7. Choral 7. Chorale Verleih uns Frieden gnädiglich, Grant us peace graciously, Herr Gott, zu unsern Zeiten; Lord God, in our time; Es ist doch ja kein andrer nicht, there is indeed no other Der für uns könnte streiten, who could fight for us Denn du, unsr Gott, alleine. than You, our God, alone. Gib unsern Fürsten und all’r Obrigkeit Give our rulers and all lawgivers Fried und gut Regiment, peace and good government, Daß wir unter ihnen that under them Ein geruhig und stilles Leben führen mögen we might lead a quiet and peaceful life In aller Gottseligkeit und Ehrbarkeit. in all blessedness and honor. Amen. Amen. –translation courtesy Pamela Dellal/Emmanuel Music, Boston Mn o day, May 9, 2011

Sehet an den Feigenbaum und alle Bäume, SWV 394 Heinrich Schütz Sehet an den Feigenbaum und alle Bäume, Behold the fig tree and all the trees; wenn sie jetzt ausschlagen, as soon as they sprout leaves so sehet ihrs an ihnen und merket, you can see for yourselves and know daß jetzt der Sommer nahe ist. that summer is already near. Also auch ihr, wenn ihr dies alles sehet angehen, So also, when you see these things taking place, so wisset, daß das Reich Gottes nahe ist. you know that the kingdom of God is near. Himmel und Erde vergehen, Heaven and earth will pass away, aber meine Wort vergehen nicht. but my words will not pass away. –Luke 21:29–31, 33

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Der Engel sprach zu den Hirten, SWV 395 Heinrich Schütz Der Engel sprach zu den Hirten: And the angel said to the shepherds, Ich verkündige euch große Freude, Behold, I bring you good tidings of great joy; denn euch ist heute der Heiland geborn, For unto you is born this day welcher ist Christus, der Herr a Saviour, which is Christ the Lord, in der Stadt David und er heißt: in the city of David and he says: Wunderbar, Rat, Kraft, Held, “Wonderful, counselor, power, hero, ewig Vater, Friedefürst. Alleluja eternal Father, Prince of Peace. Alleluia.” –Luke 2:10–11; Isaiah:9, 16

Auf dem Gebirge hat man ein Geschrei gehöret, SWV 396 Auf dem Gebirge hat man ein Geschrei gehöret, On the mountain was a voice heard, viel Klagens, Weinens und Heulens, lamentation, and weeping, and great mourning; Rahel beweinete ihre Kinder Rachel weeping for her children, und wollt sich nicht trösten lassen, and would not be comforted, denn es war aus mit ihnen. because they are not. –Matthew 2:18

Du Schalksknecht, alle diese Schuld habe ich dir erlassen, SWV 397 Du Schalksknecht, O thou wicked servant, alle diese Schuld hab ich dir erlassen, I forgave thee all that debt, weil du mich batest. because you pleaded with me: Solltest du denn dich nicht auch erbarmen Shouldest not thou also have had compassion über deinen Mitknecht, on thy fellow servant, wie ich mich über dich erbarmet habe. even as I had pity on thee? –Matthew 18:32–33

Cantata No. 106: Gottes Zeit ist allerbeste Zeit Johann Sebastian Bach Actus tragicus Funeral Cantata 1. Sonatina 1. Sonatina 2a. Chor 2a. Chorus Gottes Zeit ist die allerbeste Zeit. God’s time is the best of all times. In ihm leben, weben und sind wir, solange er will. In Him we live, move and are, as long as He wills. In ihm sterben wir zur rechten Zeit, wenn er will. In Him we die at the appointed time, when He wills. 2b. Arioso (Tenor) 2b. Arioso (Tenor) Ach, Herr, lehre uns bedenken, daß wir sterben müssen, Ah, Lord, teach us to consider that we must die, so that we auf daß wir klug werden. might become wise. 2c. Arie (Bass) 2c. Aria (Bass) Bestelle dein Haus; denn du wirst sterben und Put your house in order; for you will die and not nicht lebendig bleiben! remain alive! 2d. Chor und Arioso (Sopran) 2d. Chorus and Arioso (Soprano) Es ist der alte Bund: Mensch, du mußt sterben! It is the ancient law: human, you must die! Ja, komm, Herr Jesu! Yes, come, Lord Jesus! (Instrumental Chorale: (Instrumental Chorale: Ich hab mein Sach’ Gott heimgestellt I have brought my affairs home to God, Er mach’s mit mir wie’s ihm gefällt He does with me as it pleases Him, Soll ich all hier noch länger lebn if I should live yet longer here, Nicht wider strebn I shall not struggle against it; Seim Willn tu ich mich ganz ergebn.) rather I do His will with total devotion).

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3a. Arie (Alt) 3a. Aria (Alto) In deine Hände befehl ich meinen Geist; du hast mich Into Your hands I commit my spirit, You have redeemed me, erlöset, Herr, du getreuer Gott. Lord, faithful God. 3b. Arioso und Choral (Bass, Alt) 3b. Arioso and Chorale (Bass, Alto) Heute wirst du mit mir im Paradies sein. Today you will be with Me in Paradise. Mit Fried und Freud ich fahr dahin With peace and joy I depart In Gottes Willen, in God’s will, Getrost ist mir mein Herz und Sinn, My heart and mind are comforted, Sanft und stille. calm, and quiet. Wie Gott mir verheißen hat: As God had promised me: Der Tod ist mein Schlaf worden. death has become my sleep. 4. Chor 4. Chorus Glorie, Lob, Ehr und Herrlichkeit Glory, praise, honor, and majesty Sei dir, Gott Vater und Sohn bereit’, be prepared for You, God the Father and the Son, Dem Heilgen Geist mit Namen! for the Holy Spirit by name! Die göttlich Kraft The divine power Mach uns sieghaft makes us victorious Durch Jesum Christum, Amen. through Jesus Christ, Amen. –translation courtesy Pamela Dellal/Emmanuel Music, Boston

Mny o da , May 16, 2011

Cantata No. 158: Der Friede sei mit dir Johann Sebastian Bach 1. Rezitativ (Bass) 1. Recitative (Bass) Der Friede sei mit dir, Peace be with you, Du ängstliches Gewissen! O anxious conscience! Dein Mittler stehet hier, Your Intercessor stands here, Der hat dein Schuldenbuch who the record-book of your guilt Und des Gesetzes Fluch and the curse of the law Verglichen und zerrissen. has reconciled and torn up. Der Friede sei mit dir, Peace be with you, Der Fürste dieser Welt, The prince of this world, Der deiner Seele nachgestellt, which obstructed your soul, Ist durch des Lammes Blut bezwungen und gefällt. is through the Lamb’s blood conquered and appeased. Mein Herz, was bist du so betrübt, My heart, why are you so troubled, Da dich doch Gott durch Christum liebt? when God so loves you through Christ? Er selber spricht zu mir: He Himself says to me: Der Friede sei mit dir! peace be with you! 2. Arie (Bass) und Choral (Sopran) 2. Aria (Bass) and Chorale (Soprano) Welt, ade, ich bin dein müde, World, farewell, I am tired of you, Salems Hütten stehn mir an, the tents of Salem stand before me, Welt, ade! ich bin dein müde, World, farewell! I am tired of you, Ich will nach dem Himmel zu, I want to go to heaven, Wo ich Gott in Ruh und Friede where in rest and peace, Ewig selig schauen kann. forever happy, I shall behold God. Da wird sein der rechte Friede true peace Und die ewge, stolze Ruh. and eternal, glorious rest will be there. Da bleib ich, da hab ich Vergnügen zu wohnen, There I shall stay, there I shall delight to dwell, Welt, bei dir ist Krieg und Streit, World, war and conflict are yours, Nichts denn lauter Eitelkeit, nothing but pure vanity;

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Da prang ich gezieret mit himmlischen Kronen. there I shall sparkle resplendent with a heavenly crown. In dem Himmel allezeit in heaven eternally Friede, Freud und Seligkeit. is peace, joy, and happiness. 3. Rezitativ und Arioso (Bass) 3. Recitative and Arioso (Bass) Nun, Herr, regiere meinen Sinn, Now, Lord, govern my mind, Damit ich auf der Welt, so that I may, in the world, So lang es dir, mich hier zu lassen, noch gefällt, as long as it still pleases You to leave me here, Ein Kind des Friedens bin, be a child of peace, Und laß mich zu dir aus meinen Leiden and let me depart out of my sorrows Wie Simeon in Frieden scheiden! in peace to You like Simeon! Da bleib ich, da hab ich Vergnügen zu wohnen, There I shall stay, there I shall delight to dwell, Da prang ich gezieret mit himmlischen Kronen. there I shall sparkle resplendent with a heavenly crown. 4. Choral 4. Chorale Hier ist das rechte Osterlamm, Here is the true Easter-lamb, Davon Gott hat geboten, offered up by God, Das ist hoch an des Kreuzes Stamm which was, high on the cross’ stalk In heißer Lieb gebraten, roasted in hot love, Das Blut zeichnet unsre Tür, the blood marks our door, Das hält der Glaub dem Tode für, faith holds it against death, Der Würger kann uns nicht mehr schaden. the strangler can no longer harm us. Halleluja! Hallelujah! –translation courtesy Pamela Dellal/Emmanuel Music, Boston

Mny o da , May 23, 2011

Cantata No. 51: Jauchzet Gott in allen Landen Johann Sebastian Bach

1. Arie (Sopran) 1. Aria (Soprano) Jauchzet Gott in allen Landen! Exult in God in every land! Was der Himmel und die Welt Whatever creatures are contained An Geschöpfen in sich hält, by heaven and earth Müssen dessen Ruhm erhöhen, must raise up this praise, Und wir wollen unserm Gott and now we shall likewise Gleichfalls itzt ein Opfer bringen, bring an offering to our God, Daß er uns in Kreuz und Not since He has stood with us Allezeit hat beigestanden. at all times during suffering and necessity. 2. Rezitativ (Sopran) 2. Recitative (Soprano) Wir beten zu dem Tempel an, We pray at your temple, Da Gottes Ehre wohnet, where God’s honor dwells, Da dessen Treu, where this faithfulness, So täglich neu, daily renewed, Mit lauter Segen lohnet. is rewarded with pure blessing. Wir preisen, was er an uns hat getan. We praise what He has done for us. Muß gleich der schwache Mund von seinen Wundern lallen, Even though our weak mouth must gape before His wonders, So kann ein schlechtes Lob ihm dennoch wohlgefallen. our meager praise is still pleasing to Him. 3. Arie (Sopran) 3. Aria (Soprano) Höchster, mache deine Güte Highest, renew Your goodness Ferner alle Morgen neu. every morning from now on. So soll vor die Vatertreu Thus, before this fatherly love, Auch ein dankbares Gemüte a thankful conscience shall display, Durch ein frommes Leben weisen, though a virtuous life, Daß wir deine Kinder heißen. that we are called Your children.

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4. Choral (Sopran) 4. Chorale (Soprano) Sei Lob und Preis mit Ehren Glory, and praise with honor Gott Vater, Sohn, Heiligem Geist! be to God the Father, Son, and Holy Spirit! Der woll in uns vermehren, He will increase in us Was er uns aus Gnaden verheißt, what He has promised us out of grace, Daß wir ihm fest vertrauen, so that we trust fast in Him, Gänzlich uns lass’n auf ihn, abandon ourselves completely to Him, Von Herzen auf ihn bauen, rely on Him within our hearts, Daß uns’r Herz, Mut und Sinn so that our heart, will, and mind Ihm festiglich anhangen; depend strongly on Him; Drauf singen wir zur Stund: therefore we sing at this time: Amen, wir werdn’s erlangen, Amen, we shall succeed, Glaub’n wir aus Herzensgrund. if we believe from the depths of our hearts. 5. Arie (Sopran) 5. Aria (Soprano) Alleluja! Alleluia! –translation courtesy Pamela Dellal/Emmanuel Music, Boston

Cantata No. 170: Vergnügte Ruh, beliebte Seelenlust Johann Sebastian Bach

1. Arie (Alt) 1. Aria (Alto) Vergnügte Ruh, beliebte Seelenlust, Delightful rest, beloved pleasure of the soul, Dich kann man nicht bei Höllensünden, you cannot be found among the sins of hell, Wohl aber Himmelseintracht finden; but rather in the concord of heaven; Du stärkst allein die schwache Brust. you alone strengthen the weak breast. Drum sollen lauter Tugendgaben Therefore the pure gifts of virtue In meinem Herzen Wohnung haben. shall have their dwelling in my heart. 2. Rezitativ (Alt) 2. Recitative (Alto) Die Welt, das Sündenhaus, The world, that house of sin, Bricht nur in Höllenlieder aus erupts only in hellish songs, Und sucht durch Haß und Neid and attempts, through hatred and envy, Des Satans Bild an sich zu tragen. to carry Satan’s image upon itself. Ihr Mund ist voller Ottergift, Its mouth is full of adder’s venom, Der oft die Unschuld tödlich trifft, which often mortally attacks the innocent, Und will allein von Racha! sagen. and will only utter Vengeance! Gerechter Gott, wie weit Righteous God, how far Ist doch der Mensch von dir entfernet; has humanity distanced itself from You; Du liebst, jedoch sein Mund You love, yet its mouth Macht Fluch und Feindschaft kund proclaims curses and enmity Und will den Nächsten nur mit Füßen treten. and wishes only to trample a neighbor under its feet. Ach! diese Schuld ist schwerlich zu verbeten. Alas! this crime is difficult to atone for. 3. Arie (Alt) 3. Aria (Alto) Wie jammern mich doch die verkehrten Herzen, How the perverted hearts afflict me, Die dir, mein Gott, so sehr zuwider sein; which are so sorely, my God, set against You; Ich zittre recht und fühle tausend Schmerzen, I truly tremble and feel a thousand pangs, Wenn sie sich nur an Rach und Haß erfreun. when they rejoice only in vengeance and hate. Gerechter Gott, was magst du doch gedenken, Righteous God, what might You be thinking, Wenn sie allein mit rechten Satansränken when they, with the very intrigues of Satan, Dein scharfes Strafgebot so frech verlacht. only scorn Your sharp proscriptions so boldly. Ach! ohne Zweifel hast du so gedacht: Alas! Without a doubt You have thought: Wie jammern mich doch die verkehrten Herzen! how the perverted hearts afflict Me!

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4. Rezitativ (Alt) 4. Recitative (Alto) Wer sollte sich demnach Who should hereafter Wohl hier zu leben wünschen, wish, indeed, to live here, Wenn man nur Haß und Ungemach when only hatred and hardship Vor seine Liebe sieht? is the answer to love? Doch, weil ich auch den Feind Yet, since even my enemy, Wie meinen besten Freund like my best friend, Nach Gottes Vorschrift lieben soll, I should love according to God’s commandment, So flieht mein herze thus my heart flees from Zorn und Groll anger and bitterness, Und wünscht allein bei Gott zu leben, and wishes only to live with God, Der selbst die Liebe heißt. who is Love itself. Ach, eintrachtvoller Geist, Ah, spirit filled with mildness, Wenn wird er dir doch nur sein Himmelszion geben? when only will He grant you His heavenly Zion? 5. Arie (Alt) 5. Aria (Alto) Mir ekelt mehr zu leben, It sickens me to live longer, Drum nimm mich, Jesu, hin! therefore take me away, Jesus! Mir graut vor allen Sünden, I shudder before all sins, Laß mich dies Wohnhaus finden, let me find this dwelling-place Woselbst ich ruhig bin. where I myself shall be at peace. –translation courtesy Pamela Dellal/Emmanuel Music, Boston

Mny o da , May 30, 2011

Cantata No. 50: Nun ist das Heil und die Kraft Johann Sebastian Bach 1. Chor 1. Chorus Nun ist das Heil und die Kraft und das Reich und die Macht Now is the salvation and the power and the kingdom and the unsers Gottes seines Christus worden, weil der verworfen might of our God and of His Christ come, since he is cast down ist, der sie verklagete Tag und Nacht vor Gott. who accused them day and night before God. –Revelation 12:10 –translation courtesy Pamela Dellal/Emmanuel Music, Boston

Introducing the Moermans–Zuckermann MMIX Harpsichord Peter Watchorn, Harpsichord French Suite no. 1 in D minor, BWV 812 Johann Sebastian Bach Prelude Allemande Courante Sarabande Minuet 1 - Minuet 2 - Minuet 1 Gigue

Improvisation

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Cantata No. 11: Lobet Gott in seinen Reichen Johann Sebastian Bach ASCENSION ORATORIO 1. Chor 1. Chorus Lobet Gott in seinen Reichen, Praise God in His riches, Preiset ihn in seinen Ehren, praise Him in His honor, Rühmet ihn in seiner Pracht; extol Him in His splendor; Sucht sein Lob recht zu vergleichen, seek to rightly imitate His praise Wenn ihr mit gesamten Chören when with full chorus Ihm ein Lied zu Ehren macht! you make a song in His honor! 2. Rezitativ (Tenor) 2. Recitative (Tenor) Der Herr Jesus hub seine Hände auf und segnete seine The Lord Jesus lifted up His hands and blessed Jünger, und es geschah, da er sie segnete, schied er von His disciples, and it so happened, that as He blessed them, ihnen. He departed from them. 3. Rezitativ (Bass) 3. Recitative (Bass) Ach, Jesu, ist dein Abschied schon so nah? Ah, Jesus, is Your departure already so near? Ach, ist denn schon die Stunde da, Ah, is the hour then already there Da wir dich von uns lassen sollen? when we must let You leave us? Ach, siehe, wie die heißen Tränen Ah, behold, how hot tears Von unsern blassen Wangen rollen, roll down our pale cheeks, Wie wir uns nach dir sehnen, how we yearn after You, Wie uns fast aller Trost gebricht. How all our consolation is nearly destroyed. Ach, weiche doch noch nicht! Ah, do not withdraw from us yet! 4. Arie (Alt) 4. Aria (Alto) Ach, bleibe doch, mein liebstes Leben, Ah, just stay, my dearest Life, Ach, fliehe nicht so bald von mir! ah, don’t flee so soon from me! Dein Abschied und dein frühes Scheiden Your farewell and Your early departure Bringt mir das allergrößte Leiden, brings me the greatest of all sorrows, Ach ja, so bleibe doch noch hier; ah, truly, just stay awhile here; Sonst werd ich ganz von Schmerz umgeben. otherwise I will be completely undone with grief. 5. Rezitativ (Tenor) 5. Recitative (Tenor) Und ward aufgehoben zusehends und fuhr auf gen Himmel, And He was apparently lifted up and journeyed to Heaven, eine Wolke nahm ihm weg vor ihren Augen, und er sitzet a cloud enveloped Him before their eyes, zur rechten Hand Gottes. and He sits at the right hand of God. 6. Choral 6. Chorale Nun lieget alles unter dir, Now everything is subject to You, Dich selbst nur ausgenommen; You Yourself only excepted; Die Engel müssen für und für the angels must for ever and ever Dir aufzuwarten kommen. come to wait upon You. Dir Fürsten stehn auch auf der Bahn The princes stand still on their way Und sind dir willig untertan; and are willingly in service to You; Luft, Wasser, Feuer, Erden air, water, fire and earth Muß dir zu Dienste werden. must be of service to You. 7. Rezitativ (Tenor) & Duet (Tenor, Bass) 7. Recitative (Tenor) & Duet (Tenor, Bass) Und da sie ihm nachsahen gen Himmel fahren, And as they watched Him ascending to Heaven, siehe, da stunden bei ihnen zwei Männer in weißen behold, two men in white garments stood beside them, Kleidern, welche auch sagten: who also said: Ihr Männer von Galiläa, was stehet ihr und sehet Himmel? You men of Galilee, why do you stand and look Dieser Jesus, welcher von euch ist aufgenommen gen at Heaven? This Jesus, who has been taken from you Himmel, wird kommen, wie ihr ihn gesehen habt gen to Heaven, will return, just as you have seen Him Himmel fahren. ascend to Heaven.

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8. Rezitativ (Alt) 8. Recitative (Alto) Ach ja! So komme bald zurück; Ah yes! Then come back soon; Tilg einst mein trauriges Gebärden, remove at last my sorrowful bearing, Sonst wird mir jeder Augenblick otherwise every moment Verhaßt und Jahren ähnlich werden. shall be hateful to me and all the years alike. 9. Rezitativ (Tenor) 9. Recitative (Tenor) Sie aber beteten ihn an, wandten um gen Jerusalem They however prayed to Him, turned around toward Jerusalem von dem Berge, der da heißet der Ölberg, welcher ist away from the mountain, which is called the Mount of Olives, nahe bei Jerusalem und liegt einen Sabbater-Weg davon, which is near Jerusalem and lies a Sabbath-day’s journey away, und sie kehreten wieder gen Jerusalem mit großer Freude. and they returned again to Jerusalem with great joy. 10. Arie (Sopran) 10. Aria (Soprano) Jesu, deine Gnadenblicke Jesus, Your merciful gaze Kann ich doch beständig sehn. I can continually see. Deine Liebe bleibt zurücke, Your love remains behind, Daß ich mich hier in der Zeit so that here, in mortal time, I can An der künft’gen Herrlichkeit refresh myself in spirit Schon voraus im Geist erquicke, already with future glory, Wenn wir einst dort vor dir stehn. when one day we shall stand there before You. 11. Choral 11. Chorale Wenn soll es doch geschehen, When shall it happen, Wenn kömmst die liebe Zeit, when will the dear time come, Daß ich ihn werde sehen that I shall see Him In seiner Herrlichkeit? in His glory? Du Tag, wenn wirst du sein, O day, when will you be, Daß wir den Heiland grüßen, when we will greet the Savior, Daß wir den Heiland küssen? when we will kiss the Savior? Komm, stelle dich doch ein! Come, present yourself now! –translation courtesy Pamela Dellal/Emmanuel Music, Boston

Mny o da June 6, 2011

Cantata No. 150: Nach dir, Herr, verlanget mich Johann Sebastian Bach

1. Sinfonia 1. Sinfonia 2. Chor 2. Chorus Nach dir, Herr, verlanget mich. Mein Gott, ich hoffe auf Lord, I long for you. My God, I hope in you. dich. Laß mich nicht zuschanden werden, daß sich meine Let me not be put to shame, so that my enemies will not rejoice Feinde nicht freuen über mich. over me. 3. Arie (Sopran) 3. Aria (Soprano) Doch bin und bleibe ich vergnügt, Yet I am and remain content, Obgleich hier zeitlich toben although at the moment here may rage Kreuz, Sturm und andre Proben, cross, storm and other trials, Tod, Höll, und was sich fügt. Death, Hell, and what is theirs. Ob Unfall schlägt den treuen Knecht, Though misfortune strike the true servant, Recht ist und bleibet ewig Recht. Right is and remains eternally right. 4. Chor 4. Chorus Leite mich in deiner Wahrheit und lehre mich; Lead me in your Truth and teach me; for you are the God, denn du bist der Gott, der mir hilft, täglich harre ich dein. who helps me, I await you daily.

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5. Terzett (Alt, Tenor, Bass) 5. Trio (Alto, Tenor, Bass) Zedern müssen von den Winden Cedars must, before the winds, Oft viel Ungemach empfinden, often feel much hardship, Oftmals werden sie verkehrt. often they will be destroyed. Rat und Tat auf Gott gestellet, Place your words and deeds before God, Achtet nicht, was widerbellet, Heed not what howls against you, Denn sein Wort ganz anders lehrt. Since his Word teaches otherwise. 6. Chor 6. Chorus Meine Augen sehen stets zu dem Herrn; My eyes gaze continually at the Lord; denn er wird meinen Fuß aus dem Netze ziehen. For he will draw my foot out of the net. 7. Chor 7. Chorus Meine Tage in den Leiden My days in suffering Endet Gott dennoch zur Freuden; God will nevertheless end in joy; Christen auf den Dornenwegen Christians upon the thorny pathways Führen Himmels Kraft und Segen. are led by Heaven’s power and blessing. Bleibet Gott mein treuer Schatz, If God remains my dearest treasure, Achte ich nicht Menschenkreuz; I need not heed mankind’s cruelty; Christus, der uns steht zur Seiten. Christ, who stands by our side, Hilft mir täglich sieghaft streiten. Helps me daily fight to victory. –translation courtesy Pamela Dellal/Emmanuel Music, Boston

Mny o da , June 13, 2011

Tröstet, tröstet mein Volk, SWV 382 Heinrich Schütz Tröstet, tröstet mein Volk, Comfort ye, comfort ye my people. redet mit Jerusalem freundlich, Speak ye comfortably to Jerusalem, prediget ihr, daß ihre Ritterschaft ein Ende hat, and cry unto her, that her warfare is accomplished, denn ihre Missetat ist vergeben, that her iniquity is pardoned: denn sie hat zwiefältiges empfangen for she hath received double von der Hand des Herren um alle ihre Sünde. from the Lord’s hand for all her sins. Es ist eine Stimme eines Predigers in der Wüste: The voice of him that crieth in the wilderness, Prepare ye the Bereitet dem Herren den Weg, way of the Lord, machet auf dem Gefilde ebene Bahn unserm Gott. make straight in the desert a highway for our God. Alle Tal soll erhöhet werden Every valley shall be exalted, und alle Berge und Hügel sollen erniedriget werden, and every mountain and hill shall be made low: and the und was ungleich ist, soll eben werden, crooked shall be made straight, und was höckerig ist, soll schlecht werden, and the rough places plain: denn die Herrlichkeit des Herren soll offenbar werden. And the glory of the Lord shall be revealed, Und alles Fleisch miteinander wird sehen, and all flesh shall see it together: daß des Herren Mund redet. for the mouth of the Lord hath spoken it. Isaiah 40:1–5

Also hat Gott die Welt geliebt, SWV 380 Also hat Gott die Welt geliebt For God so loved the world, daß er seinen eingebornen Sohn gab that he sent his only begotten Son, auf daß alle die an ihn glauben that whosoever believeth in him nicht verloren werden should not perish, sondern das ewige Leben haben. but have everlasting life. –John 3:16

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Motet: Lobet den Herrn, alle Heiden, BWV 230 Johann Sebastian Bach Lobet den Herrn, alle Heiden, Praise the Lord, all nations, und preiset ihn, alle Völker! and praise Him, all peoples! Denn seine Gnade und Wahrheit For His grace and truth waltet über uns in Ewigkeit. rule over us for eternity. Alleluja! Alleluia. –Psalm 117 –translation courtesy Pamela Dellal/Emmanuel Music, Boston

Mny o da June 20, 2011 Brian Jones, Guest Conductor Cantata No. 191: Gloria in excelsis Deo Johann Sebastian Bach ERSTER TEIL PART ONE 1. Chor 1. Chorus Gloria in excelsis Deo. Et in terra pax hominibus bonae Glory be to God on high, and on earth peace, good will towards voluntatis. men. ZWEITER TEIL PART TWO 2. Arie (Duett): Sopran, Tenor 2. Aria (Duet): Soprano, Tenor Gloria Patri et Filio et Spiritui sancto. Glory be to the Father and the Son and the Holy Ghost. 3. Chor 3. Chorus Sicut erat in principio et nunc et semper et in saecula As it was in the beginning, is now, and ever shall be, world saeculorum, amen. without end, amen.

Julian Wachner, Conductor Cantata No. 147: Herz und Mund und Tat und Leben ERSTER TEIL PART ONE 1. Chor 1. Chorus Herz und Mund und Tat und Leben Heart and mouth and deed and life Muß von Christo Zeugnis geben must give testimony of Christ Ohne Furcht und Heuchelei, without fear or hypocrisy, Daß er Gott und Heiland sei. that He is God and Savior. 2. Rezitativ (Tenor) 2. Recitative (Tenor) Gebenedeiter Mund! Blessed mouth! Maria macht ihr Innerstes der Seelen Mary makes the inmost part of her soul Durch Dank und Rühmen kund; known through thanks and praise; Sie fänget bei sich an, she begins to narrate to herself Des Heilands Wunder zu erzählen, the miracle of the Savior, Was er an ihr als seiner Magd getan. which He has worked in her as His handmaiden. O menschliches Geschlecht, O human race, Des Satans und der Sünden Knecht, slave to Satan and to sin, Du bist befreit you are freed Durch Christi tröstendes Erscheinen through Christ’s reassuring appearance Von dieser Last und Dienstbarkeit! from this burden and servitude! Jedoch dein Mund und dein verstockt Gemüte However your mouth and your stubborn spirit Verwschweigt, verleugnet solche Güte; supresses, denies such goodness; Doch wisse, daß dich nach der Schrift yet know, that according to the scripture, Ein allzuscharfes Urteil trifft! an all-too-harsh judgment will be yours!

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3. Arie (Alt) 3. Aria (Alto) Schäme dich, o Seele nicht, Do not be ashamed, O soul, Deinen Heiland zu bekennen, to acknowledge your Savior, Soll er dich die seine nennen so shall He name His own Vor des Vaters Angesicht! before His Father’s face! Doch wer ihn auf dieser Erden Yet whomever, on this earth, Zu verleugnen sich nicht scheut, is not shy to deny Him, Soll von ihm verleugnet werden, shall be denied by Him Wenn er kommt zur Herrlichkeit. when he approaches glory. 4. Rezitativ (Bass) 4. Recitative (Bass) Verstockung kann Gewaltige veblenden, Astonishment might dazzle the mighty, Bis sie des Höchsten Arm vom Stuhle stößt; until the arm of the Highest throws them down from their thrones; Doch dieser Arm erhebt, yet this arm uplifts, Obschon vor ihm der Erde Kreis erbebt, although the orb of the earth trembles before it, Hingegen die Elenden, the wretched, on the other hand, So er erlöst. which He has redeemed. O hochbeglückte Christen, O most delighted Christians, Auf, machet euch bereit, arise, make yourselves ready, Itzt ist die angenehme Zeit, now the pleasant time is here, Itzt ist der Tag des Heils: der Heiland heißt now is the day of salvation: the Savior calls Euch Leib und Geist you to arm body and soul Mit Glaubensgaben rüsten, with the gifts of faith, Auf, ruft zu ihm in brünstigem Verlangen, arise, call to Him in fervent longing, Um ihn im Glauben zu empfangen! in order to embrace Him in faith! 5. Arie (Sopran) 5. Aria (Soprano) Bereite dir, Jesu, noch itzo die Bahn, Prepare, Jesus, even now the path for Yourself, Mein Heiland, erwähle my Savior, select Die gläubende Seele the faithful souls Und siehe mit Augen der Gnade mich an! and look upon me with eyes of mercy! 6. Choral 6. Chorale Wohl mir, daß ich Jesum habe, Happy I, who has Jesus, O wie feste halt ich ihn, O how tightly I cling to Him, Daß er mir mein Herze labe, so that He delights my heart Wenn ich krank und traurig bin. when I am sick and sad. Jesum hab ich, der mich liebet I have Jesus, who loves me Und sich mir zu eigen gibet; and gives Himself to me as my own; Ach drum laß ich Jesum nicht, ah, therefore I will not let go of Jesus, Wenn mir gleich mein Herze bricht. even if my heart is breaking. ZWEITER TEIL PART TWO 7. Arie (Tenor) 7. Aria (Tenor) Hilf, Jesu, hilf, daß ich auch dich bekenne Help, Jesus, help that I may also acknowledge You In Wohl und Weh, in Freud und Leid, in prosperity and in woe, in joy and in sorrow, Daß ich dich meinen Heiland nenne so that I may call You my Savior Im Glauben und Gelassenheit, in faith and calmness, Daß stets mein Herz von deiner Liebe brenne. that my heart may always burn with Your love.

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8. Rezitativ (Alt) 8. Recitative (Alto) Der höchsten Allmacht Wunderhand The wondrous hand of the exalted Almighty Wirkt im Verborgenen der Erden. is active in the mysteries of the earth. Johannes muß mit Geist erfüllet werden, John must have been filled with the Spirit, Ihn zieht der Liebe Band the bond of love drew him Bereits in seiner Mutter Leibe, already in his mother’s body, Daß er den Heiland kennt, so that he knew the Savior, Ob er ihn gleich noch nicht even though he could not yet Mit seinem Mund nennt, name Him with his mouth, Er wird bewegt, er hüpft und springet, he became lively, he leapt and stirred, Indem Elisabeth das Wunderwerk ausspricht, while Elizabeth expressed the miracle, Indem Mariae Mund der Lippen Opfer bringet. while Mary’s mouth made her lip’s offering. Wenn ihr, o Gläubige, des Fleisches Schwachheit merkt, If you, O believers, note the weakness of the flesh, Wenn euer Herz in Liebe brennet, if your hearts burn in love, Und doch der Mund den Heiland nicht bekennet, and yet your mouths do not acknowledge the Savior, Gott ist es, der euch kräftig stärkt, then it is God who will powerfully strengthen you, Er will in euch des Geistes Kraft erregen, He will stir up the power of the spirit in you, Ja Dank und Preis auf eure Zunge legen. indeed lay thanks and praise upon your tongues. 9. Arie (Bass) 9. Aria (Bass) Ich will von Jesu Wundern singen I will sing of Jesus’ wonders Und ihm der Lippen Opfer bringen, and bring my lip’s offering to Him, Er wird nach seiner Liebe Bund He will compel weak flesh, the earthly mouth Das schwache Fleisch, den irdschen Mund powerfully, through the holy fire, Durch heilges Feuer kräftig zwingen. towards the bond of His love. 10. Choral 10. Chorale Jesus bleibet meine Freude, Jesus shall remain my joy, Meines Herzens Trost und Saft, my heart’s comfort and sap, Jesus wehret allem Leide, Jesus shall fend off all sorrow, Er ist meines Lebens Kraft, He is the strength of my life, Meiner Augen Lust und Sonne, the delight and sun of my eyes, Meiner Seele Schatz und Wonne; the treasure and wonder of my soul; Darum laß ich Jesum nicht therefore I will not let Jesus go Aus dem Herzen und Gesicht. out of my heart and sight. –translation courtesy Pamela Dellal/Emmanuel Music, Boston

20 abt ou the artists

Julian Wachner

Born in Hollywood, California, Last season, Wachner made history and raised in New York City, when he was selected as both conductor and composer at Julian Wachner is one of the company’s annual VOX festival of contemporary opera. North America’s most exciting His original music has been variously described as “bold and versatile musicians, sought- and atmospheric” (The New York Times), “jazzy, energetic, after as conductor, composer, and ingenious” (The Boston Globe), and “a compendium and keyboard artist. In his of surprises” (The Washington Post). new position as the inaugural Director of Music and the Arts An award-winning organist and improvisateur, Wachner’s at Trinity Wall Street, Wachner solo recital at the Spoleto Festival USA featured an serves as Principal Conductor improvised finale that inspired one reviewer to conclude: of the Trinity Choir and of the Trinity Baroque Orchestra, “This stupefying wizardry was the hit of the recital, and in addition to overseeing Trinity’s numerous and varied it had to be heard to be believed” (The Post and Courier, concert offerings, museum expositions, dance and theatre South Carolina). And as a concert pianist, in his recent performances, poetry and literary readings, and educational Kennedy Center all-Rachmaninoff performance, The and outreach initiatives in lower Manhattan and Brooklyn. Washington Post noted that “Wachner dazzled with some bravura keyboard work, both in the rhapsodic This appointment complements his existing roles as accompaniments to the songs and … in the highly Music Director of the Kennedy Center’s GRAMMY® virtuosic transcription of the Dances.” E. C. Schirmer Award-winning Washington Chorus and as Principal publishes Wachner’s complete catalogue of compositions, Conductor of Opera McGill, Montreal. Wachner has comprising over 80 titles, and his recordings are with also made memorable guest appearances with such major the Chandos, Naxos, Atma Classique, Arsis, Dorian, organizations as The Philadelphia Orchestra, the Montreal Musica Omnia, and Titanic labels. and Pittsburgh Symphonies, the , Glimmerglass Opera, New York City Opera, and the Boston Pops. A Baroque specialist, he was the founding Music Director of the Boston Bach Ensemble and the Bach Académie de Montréal, besides serving as Artistic Director of International Bach Festivals in Boston and Montreal.

Wachner’s performances inspire uncommon praise. The New York Times pronounced his Trinity Wall Street debut “superbly performed” and, later that season, noted that “he succeeded admirably” in presenting his first Messiah in New York City. Of his interpretation of Bach’s St. Matthew Passion, according to The Boston Globe, “there was genius here and no mistaking it.” Also from The Globe: “Wachner has shown the kind of technical command, large-spiritedness, and fiery imagination that all but shout to the skies: ‘Major Talent!’” The Washington Post declared a recent performance “exhilarating,” commenting: “Julian Wachner knows how to draw maximum drama from a score.” Following his account of Messiah with the Philadelphia Orchestra, The Inquirer’s David Patrick Stearns observed: “Few conductors have drawn such focused, committed, and meticulous music- making as Julian Wachner … [He] built the music, line by line, as an architectural edifice, serving both the music’s emotional and more purely aesthetic elements.”

21 gt ues artists may 30 Ju ne 20

Peter Watchorn (b.1957) has studied the harpsichord, its Guest Conductor Brian Jones, one of America’s most highly history, repertoire and construction in great detail since regarded church musicians, is Emeritus Director of Music 1974, introduced to the instrument through his teacher, and Organist at Trinity Church, Copley Square, Boston, Margaret Lloyd. In the years since, he has achieved an where he directed a widely acclaimed program from 1984 international reputation for his consistently high standard to 2004. In addition to numerous lauded recordings, the of performance. In 1985 he was presented with the Erwin Trinity Choir (Copley Square) has been heard on National Bodky Memorial Award by the Cambridge Society of Early Public Radio, as well as on the BBC in Great Britain. In Music for his performance of J. S. Bach’s solo harpsichord recent years, Mr. Jones has served in three interim positions: music. Born in Newcastle, NSW (Australia), he moved to Director of Cathedral Music at the Cathedral of St John, Cambridge, MA in 1987, becoming a dual Australian/US Albuquerque, New Mexico; Director of Music at Old South citizen in 2005. He has continued to enjoy an active career Church in Boston; and Associate Organist of Memorial in the USA and Europe as performer, scholar, recording Church, , Cambridge, Massachusetts. artist and participant in several ensembles. He is also An active concert organist, he is also in demand as guest noted as a harpsichord builder and researcher, his most conductor and accompanist. In June, 2009, he was Organist recent efforts resulting in collaboration with Zuckermann in Residence at Grace Cathedral, San Francisco, and in Harpsichords International in re-constructing the 1642 2010 he was Visiting Artist at Christ Church Cathedral, Ioannes Moermans double-manual harpsichord, now in Lexington, Kentucky. He is Director of the Copley Singers, the Russell Collection, Edinburgh. He is closely associated a Boston-based choir he founded in 2006. with the Zuckermann shop and serves as technical advisor and overseer of the musical finishing department. Examples Mr. Jones has taught at many workshops and conferences of this harpsichord have been acquired by the Melbourne for the American Guild of Organists and American Choral Recital Centre (Australia), Oberlin Conservatory and, Director’s Association, and at the Evergreen Music most recently, Trinity Church, Wall Street. Conference, Sewanee Conference, and St. Dunstan’s Workshop. In the summer of 2004 he was invited to From 1985-1992 Peter Watchorn studied with Isolde lecture at the notable Eton Choral Course in England. Ahlgrimm in Vienna and has written extensively about her life and career. His full-length biography of her, Isolde A graduate of Oberlin College Conservatory of Music and Ahlgrimm, Vienna & the Early Music Revival appeared in Boston University, he studied choral directing with Robert 2007 (Ashgate Publishing, London). Dr. Watchorn was a Fountain, orchestral conducting with Hermann Genhart, contributing artist to the 2000 Edition Bachakademie and eurythmics with Inda Howland. Mr. Jones was raised (Hänssler-Klassik), recording the seven harpsichord in Duxbury, Massachusetts, where he traces his ancestors toccatas (BWV 910-916) and the seventeen concertos back to 1632, with the arrival of Christopher Wadsworth, arranged by Bach after other composers (BWV 972-987; who became the first constable in Duxbury, and whose 592a). With the award-winning recording label, Musica great-grandson is the poet Henry Wadsworth Longfellow. Omnia, which he co-founded in 2000 (with David Fox This is Mr. Jones’ second guest conducting appearance and Joel Gordon), and for which he serves as producer with the Trinity Choir (Wall Street). and board president, he has embarked on separate projects devoted to the immense keyboard outputs of J. S. Bach and the English Renaissance composer, Dr. John Bull. He holds the Doctor of Musical Arts degree from Boston University (1995). His articles have been published in professional journals such as Musicology Australia, Early Music, Early Music America, The Diapason and Harpsichord & Fortepiano.

22 music at trinity wall street

TRINITY CHOIR and Glover, and in collaboration with Rebel Baroque Orchestra, the set commemorates the bicentenary of the The Trinity Choir is the premier ensemble of the music composer’s death. Also on Naxos, the Choir has recorded and arts program at Trinity Wall Street. The Choir leads Handel’s Messiah and Christmas from Trinity. In addition to the liturgical music during Sunday morning services, these recordings, Trinity Choir concerts are broadcast on Compline and Bach at One, performs in concerts WQXR 105.9 (a subsidiary of WNYC). throughout the year, and has made world-class recordings for the esteemed Naxos label. It is both a beloved church choir, singing favorite Anglican hymns and historic PRAISE & PREMIERES sacred music, and one of New York City’s most acclaimed A highlight of the Choir’s season is their annual professional vocal ensembles. Particularly well-versed presentation of Handel’s Messiah. With a profusion of in major compositions of the Baroque and Classical Messiah performances in New York City concert halls and periods, the Choir’s repertoire also includes Baltic choral sacred spaces every holiday season, the Trinity Choir’s compositions as well as works by Britten, Brahms, Howells, offering stands out. The New York Times hailed the choir’s Pärt, and other contemporary composers. The New York 2005 performance as, “A Messiah to Beat in a Season Times has praised the Choir as possessing “voices so pure Bursting With Them,” praising the “pure” voices of the they suggest a seraphic chorus beyond the human sphere.” soloists from the Choir. Under the direction of J. Owen Burdick, the Choir offered New York premieres of many TRINITY BAROQUE ORCHESTRA works including Dominick Argento’s The Masque of Angels, and William Albright’s oratorio, A Song to David, which the The Trinity Baroque Orchestra made its debut for composer hailed as the work’s “finest, most accurate and Trinity Choir’s 2009 performances of Messiah. Trinity has moving performance.” Premieres under Larry King used period-instrument orchestras for early music concerts included Iain Hamilton’s Epitaph for This World and Time, for over a decade in presentations of major works of Bach Jean Guillou’s Allen, and several liturgical settings by and Mozart, for Haydn’s Masses and Purcell’s Operas, as Richard Feliciano, as well as much of King’s own music. well as for liturgical performances. The practice began with the core members of the acclaimed Rebel Baroque In addition to their active concert series at Trinity Church, Orchestra, led by Jörg-Michael Schwarz and Karen Marie the Choir has appeared at The Metropolitan Museum of Art, Marmer, combined with a wealth of New York’s finest The Cloisters, and The Tribeca Film Festival, which invited period players. Baroque orchestras in New York are the Choir to perform Arvo Pärt’s Passio in a mixed-media contracted from a relatively small pool of exceptionally collaboration with Paolo Cherchi Usai’s film of the same skilled Baroque and Classical players. name. In March 2010, the Choir traveled to Moscow to perform Purcell’s Dido and Aeneas with the Mark Morris D IRECTORS Dance Group. Julian Wachner is the Director of Music and the Arts at Trinity Wall Street. Previous Directors of Music at Trinity BEHIND THE SCENES include Dr. J. Owen Burdick (1990-2008), Dr. Larry King Interviews and concert notes with Julian Wachner and (1968-1989), and George Mead (1941-1968). In recent guest conductors, as well as profiles of choir members, can years the Choir has collaborated with a number of guest be found on the Trinity Wall Street website. Other feature conductors including Jane Glover, Stefan Parkman, George videos include a history and appreciation of Handel’s Steel, Simon Carrington, Andrew Megill (who also served Messiah and the story of a music camp started in post- as Guest Choirmaster in 2008 and 2009), Steven Fox Katrina New Orleans by several choir members. A rich (Acting Director of Music for 2009-2010), Eric Milnes, archive of past concerts can be found online as well. and Andrew Parrott. To find the “Music at Trinity” channel, go to trinitywallstreet org/webcasts/videos. RECORDINGS & RADIO In 2009, the Trinity Choir released Haydn: The Complete Masses, an eight-disc boxed set on the Naxos label. Twelve masses and the Stabat Mater were recorded over a nine-year period in Trinity Church. Conducted by Burdick

23 ti r nity choir bios

Solo concert engagements for Melissa Attebury (mezzo- Eric Dudley (tenor) performs with the American Symphony soprano) include Handel’s Messiah, Israel in Egypt, and Orchestra, Bard Summerscape Opera, Seraphic Fire, Judas Maccabeus; Bach’s St. Matthew and St. John Passions Roomful of Teeth, and numerous choral ensembles in New and Mass in B minor; and Mozart’s Requiem and Mass in C York. As a conductor he has worked in Finland and Minor. She has appeared with the Australia and with the Cincinnati and Princeton Symphony at Carnegie Hall and , and performs Orchestras. He is also a pianist and composer. regionally and abroad in opera and operetta. Charles Wesley Evans (baritone) is establishing a fine career Elizabeth Baber (soprano) has been praised for her “angelic as an early-music artist, recitalist, and professional chorus brightness and dedication” and her “ability to seduce.” member. An active soloist, he is also on the rosters of some Recent performances include Guido’s Ear, Hesperus, Parthenia, of the nation’s finest choral ensembles. Mr. Evans is a Ex Umbris, and the Play of Daniel at the Cloisters. She also graduate of Brewton-Parker College in Mt. Vernon, GA. performs with lutenist Charles Weaver and is a vocal coach for the New York Continuo Collective. Hailed as a “golden soprano” by The New York Times, Jolle Greenleaf is a leading specialist in early music, Raymond Bailey is a Virginia-born, Yale-educated, performing as soloist in works of J. S. Bach, Charpentier, classically trained multi-instrumentalist who joined the Handel, Monteverdi, and Purcell, among others. She is Trinity Choir as a bass-baritone in 2004. Most of his work is artistic director of Tenet and the Green Mountain Project, as a musical director and coach in musical theatre, but he and frequently collaborates with premier ensembles around also performs with the Antioch Chamber Ensemble and his the country. band, Autobahn-da-Fé. Ray believes that teaching music to children is the best thing he does. Matthew B. Hensrud (tenor) can be regularly heard with ensembles such as Pomerium, Clarion, Antioch, and New James Blachly (alto) is the conductor of the ISO Trinity- York Early Music. Recent projects include Brooklyn Florentine Youth Orchestra and the founder of the Sheep Acadamy of Music’s St. Matthew Passion, Nico Muhly’s Island Ensemble, which promotes great music and Elements of Style, a recording of Frank London’s A Night at community. An established composer and conductor, the Old Marketplace, and the premiere of David Lang’s he has been hailed by Chamber Music America as Anatomy Theatre. “vigorous and assured,” and by The New York Times for his “thoughtful conception.” The active career of Timothy Hodges (tenor) includes performances as a soloist with Rebel Baroque Orchestra, Luthien Brackett (alto) is in great demand as an ensemble Carmel Bach Festival Orchestra, Mark Morris Dance Group, performer, appearing regularly with acclaimed ensembles Garden State Philharmonic, Spoleto Festival Orchestra, and including Tenet, Vox, Voices of Ascension, Pomerium, Princeton Glee Club. He is active in many ensembles Clarion Music Society, and The Antioch Chamber Ensemble. including Vox, Clarion, Fuma Sacra, and the Carmel Bach Her discography includes featured solos in the Trinity Festival Chorale. Choir’s Haydn: The Complete Masses on the Naxos label. Steven Hrycelak (bass) has been a soloist with the Trinity The longest-serving member of the Trinity Choir, Wesley Choir, Musica Sacra, 4x4, the New York Collegium, the Chinn (baritone, countertenor, and instrumentalist) leads a Waverly Consort, the American Symphony Orchestra, and diverse musical life that ranges from playing kazoo at the Collegiate Chorale. Other ensemble work has included Lincoln Center and Carnegie Hall to conducting children’s Early Music New York, Vox, Tenet, Seraphic Fire, the Yale choirs (and new operas). Also an active organizer of musical Whiffenpoofs, and his vocal jazz quintet, West Side 5. mischief, he is Artistic Director of Opera Omnia. Hailed by Time Out New York as a “dazzling diva, adept at Wisconsin native Martha Cluver (soprano) has been a old and new music,” Mellissa Hughes (soprano) performs member of the Trinity Choir since September 2003. As a with Newspeak, Signal, and Eighth Blackbird. Ms. Hughes New Yorker, she has been involved with many vocal groups, has recorded for Nonesuch, Cantelope, and Naxos Records, and has premiered a number of new solo and chamber is a New Amsterdam Records Artist, and holds degrees from works. Martha particularly enjoys performing works of the Westminster Choir College and . Renaissance and Baroque periods.

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Baritone Thomas McCargar’s choral engagements include Virginia Warnken (mezzo-soprano) performs regularly the Trinity Choir, Pomerium, Early Music New York, Musica with renowned early music ensembles such as the Trinity Sacra, New York Virtuoso Singers, Vox Vocal Ensemble, and Choir, Clarion Music Society, Musica Sacra, Tenet, Vox Seraphic Fire in Miami. His solo work includes To Be Certain Vocal Ensemble, and the Green Mountain Project. Recent of the Dawn (Stephen Paulus), Die Schöne Müllerin (Schubert) solo highlights include Monteverdi’s Vespers of 1610, Judd and Carmina Burana (Orff). Greenstein’s Yehudim (world premiere, Merkin Hall), Bach’s Christmas Oratorio, and Handel’s Messiah. Molly Quinn (soprano) has performed with ensembles such as Clarion Music Society, Tenet, Green Mountain Project, Jonathan Woody (bass-baritone) performs with Clarion Musica Sacra, 4X4 festival, and Buxtehude Consort. She has Music Society, Santa Fe Desert Chorale, La Chappelle de appeared in Dido and Aeneas with Mark Morris Dance Québec, Studio de Musique Ancienne de Montréal, and Group and The Coronation of Poppea with Opera Omnia. the Bach Sinfonia of Washington, DC. Some recent roles Her other interests include volunteerism, sewing, and include Sorceress (Dido & Aeneas), Claudio (Agrippina), college basketball. and Escamillo (La Tragédie de Carmen). He is a student of Sanford Sylvan. Melanie Russell (soprano) has performed with the Oregon Bach Festival Choir, Santa Fe Desert Chorale, Etherea Vocal Ensemble, , and Yale Voxtet. Solo engagements in opera, musical theater, and concert repertoire have taken her from her hometown of New Orleans to Carnegie Hall, Moscow, and London.

Stephen Sands (tenor) holds a degree from Westminster Choir College. He has been heard as the Evangelist in numerous performances of Bach’s St. John and St. Matthew Passions. He is a member of the Antioch Chamber Ensemble, Carmel Bach Festival Chorale, Tenet, and Clarion. He is the Vocal Music Director at Bernards High School and the Artistic Director of Music in the Somerset Hills.

25 ti r nity baroque ORCHESTRA BIOS

Robert Mealy (Concertmaster), one of America’s leading recording artist, composer, improviser, and specialist on historical string players, has been praised for his imagination, the historic natural trumpet. On period instruments he taste, subtlety, and daring” (Boston Globe). The New Yorker performs as principal trumpet with Concert Royal and the described him as “New York’s world-class early music Bach Vespers at Holy Trinity series. violinist.” He has recorded over 50 CDs on most major labels, ranging from Hildegard of Bingen with Sequentia, to A graduate of the and a Fulbright scholar, Renaissance consorts with the Boston Camerata, to Rameau Anne Briggs has performed on baroque, classical, and modern operas with Les Arts Florissants. Mr. Mealy has appeared flutes in the Aulos Ensemble, Concert Royal, American at music festivals from Berkeley to Belgrade, and from Classical Orchestra, New York Philharmonic, American Melbourne to Versailles; he has also toured with the Symphony, Orpheus, and is Principal Flute with Sacred Music Mark Morris Dance Group and accompanied Renée Fleming in a Sacred Space, Oratorio Society, and Musica Sacra. on the David Letterman Show. In New York he is a frequent leader and soloist with various ensembles. Since 2004, he has Bradley Brookshire is harpsichordist and assistant conductor been concertmaster for the distinguished Boston Early Music for the Metropolitan Opera. His recording of Bach’s French Festival Orchestra, leading them in three GRAMMY®- Suites was a New York Times “Critic’s Choice.” Ashgate nominated recordings and several festivals. A devoted published his study of Byrd’s Walsingham variations in 2010. chamber musician, he is a member of the medieval ensemble He is Director of Graduate Studies in the Conservatory of Fortune’s Wheel, the Renaissance violin band the King’s Music at Purchase College (SUNY). Noyse, and the ensemble Quicksilver. Sarah Davol, serves as principal oboe of Grand Tour Mr. Mealy is Professor of Music, adjunct, at Yale University, Orchestra and Big Apple Baroque in NYC, Vox Ama where he directs the Yale Collegium and teaches courses on Deus Orchestra in Philadelphia, La Follia in Austin, the rhetoric and performance. For a decade previously, he Connecticut Early Music Festival Orchestra, and is a directed the Harvard Baroque Orchestra. He is also on the founding member of The American Classical Orchestra. faculty of the new Historical Performance program at She is a concerto soloist with Amor Artis, Concert Royal, Juilliard. In 2004 he received Early Music America’s Binkley and Los Angeles Baroque Orchestra, among others. Award for outstanding teaching at both Harvard and Yale. Daniel Elyar (viola) has performed with Tafelmusik, James Baker is Principal Percussionist of the New York City the Utrecht Baroque Consort, Concerto d’Amsterdam, Ballet Orchestra, and Coordinator of Percussion Studies at the Teatro Lirico, Concerto Palatino, the Boston Early Music Mannes College of Music. He has performed with the NY Festival Orchestra, the New York Collegium, Rebel, New Philharmonic and Orpheus Chamber Orchestra, conducts York State Early Music Association, Tempesta di Mare, and New York New Music Ensemble and Speculum Musicae, and Clarion. He has recorded for Chandos, Elektra, Atma, and has won a Bessie award for composition for dance. Hungaroton labels.

Doug Balliett is a prolific artist whose career has spanned Dennis Godburn is a versatile bassoonist performing on classical performance, composition, rap, rock, and conducting. Baroque, Classical and Modern instruments. He lives in As a double bassist he has performed across the globe with California and in NYC. He is a member of St. Lukes and many ensembles and earned fellowships with most leading Orpheus and has appeared with many other ensembles festivals. His compositions have garnered several prizes and concertizing internationally. He has recorded over 70 CDs residency appointments. and enjoys cooking and wine.

Korean-Canadian violinist Jae-Won Bang is a member Timpanist Maya Gunji has appeared as member of St. Luke’s, of the Yale Baroque Ensemble. She received her MMus Orpheus, and at Radio City Music Hall. She has performed from Yale University in 2010 and her BMus degree from with the New York Philharmonic, the Metropolitan Opera Colburn Conservatory in 2008. Jae-Won has studied with Orchestra, the American Ballet Theater, the Berlin Robert Lipsett, Ani Kavafian, and Gerald Stanick, and Philharmonic, Rebel Baroque, and the Israel Philharmonic currently studies with Robert Mealy and Laurie Smukler. with Itzhak Perlman. Broadway productions include The Three Penny Opera, The Man of La Mancha, Les Miserables, Raised as a jazz trumpeter in the San Francisco Bay area, Miss Saigon and Mary Poppins. She holds advanced degrees Nathan Botts now enjoys a diverse career as a soloist, from The Juilliard School.

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Liv Heym pursues a versatile musical career focused on Washington teaches at the Early Music Institute at Indiana chamber music and the approach of historical performance. University in Bloomington, and has recorded extensively. A native of Berlin, Germany, she studied the violin in Berlin He makes his home in Windsor, Ontario (Canada). and Detmold before coming to New York for further studies. She currently studies Baroque violin with Monica Huggett Flautist, composer and conductor Matthias Maute has and Cynthia Roberts at The Juilliard School. achieved an international reputation as one of the finest recorder and baroque flute players of his generation. He Trumpeter Caleb Hudson is in the Juilliard Masters of Music made his Lincoln Center debut in New York in December program as a student of Raymond Mase, Mark Gould, and 2008. In 2003 and 2005, he was the featured recorder soloist John Thiessen. A native of Lexington, KY, Caleb has won first at the Boston Early Music Festival. Mr. Maute is also esteemed place at the National Trumpet Competition, was a soloist with for his artistic direction of Ensemble Caprice, for whom he the Lexington Philharmonic, and was awarded fellowships at produces ingenious and fascinating programs. the Music Academy of the West and the Aspen Music Festival. This summer he will be participating in the Verbier Festival Flautist Sandra Miller is a faculty member of Juilliard’s in Switzerland. Historical Performance program. Winner of the Bodky Competition for Early Music and of a Solo Recitalist’s Motomi Igarashi graduated from The Juilliard School Fellowship from NEA, she performs with many US and and studied in France with Marianne Muller. She has Canadian period-instrument ensembles. Her recordings played the viola da gamba, violone, baroque double bass, include the complete Bach sonatas and Mozart concerti and lirone with American Classical Orchestra, Anima, Artek, on period instruments. Bach Collegium Japan, Boston Early Music Festival, and Concert Royal. The The New York Times has praised her Johanna Novom is associate concertmaster of Apollo’s Fire “deft accompaniment.” in Cleveland, and a first-prize winner of the American Bach Soloists’ Young Artists competition. Recent performances Claire Jolivet regularly appears with Repast, Sarasa, Concert include the American Bach Soloists, Chatham Baroque, Royal, Sinfonia New York, Clarion, and the Trinity Baroque and the Carmel Bach Festival Orchestra. Johanna received Orchestra; is a founding member of the Dodd String Quartet, her Master’s from Oberlin, and is a member of the Yale and is concertmaster of the Grand Tour Orchestra and Opera Baroque Ensemble. Lafayette in Washington, DC. She performs with Paris-based Opera, Fuoco, and has recorded for Deutsche Harmonia Mundi. Katie Rietman (cello) enjoys a career that has taken her to 18 countries on 4 continents (next stop: Peru). She has Flautist Sophie Larivière is a member of Ensemble Caprice recorded over 40 CDs with noted period instrument groups and has been its Artistic Co-Director since 1997. With in the United States, Canada, and Europe. Based in Cologne, Ensemble Caprice, Ms. Larivière has appeared in numerous Germany, for over 10 years, her favorite repertoire to perform is concerts and festivals, including the Lufthansa Festival in Bach’s cantatas and oratorios, especially with the Trinity Choir. England, Tel Aviv and the Mediterranean Arts Festival in Israel, performances in Vienna, Berlin, Stuttgart, Chicago, One of America’s leading baroque violinists, Cynthia Roberts Los Angeles, the Boston Early Music Festival, and in Canada serves as concertmaster of the New York Collegium, she has appeared in Ottawa, Edmonton, and Vancouver. Apollo’s Fire and Concert Royal. She appears as a soloist throughout the US, Europe, and Asia; performs regularly Daniel S. Lee (violin) regularly performs with the American with Tafelmusik and American Bach Soloists; and has Baroque Orchestra, Clarion Music Society, Early Music played with the London Classical and Taverner Players. New York, Trinity Baroque Orchestra, Yale Collegium Her solos are heard in the film Casanova. Musicum, and Sebastian Chamber Players (which he founded and directs). He has studied at The Juilliard School and Yale John Mark Rozendaal has served as principal cellist for School of Music, and currently teaches at Connecticut College. Chicago’s The City Musick and Basically Bach, and as soloist and continuo player with the Newberry Consort, A specialist on Baroque and Classical oboes, Washington King’s Noyse and the Boston Early Music Festival Orchestra. McClain performs with many groups in the United States, He performs with Repast Baroque Ensemble and Trio Canada and Europe. He has performed with Tafelmusik Settecento and directs New York’s Viola da Gamba Dojo. Baroque Orchestra, serving as core oboist for seven years.

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Gonzalo X. Ruiz (oboe) is one of America’s most sought-after Performance program, where she studies baroque oboe with historical woodwind soloists and is a faculty member of The Gonzalo Ruiz. Juilliard School. He performs with Philharmonia Baroque, English Concert, Boston Early Music Festival Orchestra, and Avi Stein teaches harpsichord, vocal repertoire, and chamber Sonnerie. Mr. Ruiz been the principal oboist of LA’s Musica music at Yale University, and is Music Director at St. Matthew Angelica since its inception. & St. Timothy Episcopal Church in New York. He has directed a variety of ensembles including the Opera Français de New Theresa Salomon (violin) came to New York from her native York, OperaOmnia, the critically acclaimed 4x4 Festival, and Germany in 1993. She has appeared at the Gulbenkian and the Young Artists’ Program at the Carmel Bach Festival. Prague Spring Festivals, has performed with the Orchestra of St. Luke’s, Rebel, Concert Royal, American Classical Lisa Terry practices, performs and teaches viola da gamba and Orchestra, and SEM Ensemble, and directs a new chamber cello in New York City, where she is a member of Parthenia, music series at Music Under Construction. the Consort of Viols, the Dryden Ensemble, Baroque Across the River and the Lyra Consort. She teaches privately, and at Andrew Schwartz is principal bassoonist of many of the finest the French-American School of Music in Manhattan. period-instrument organizations including Trinity Baroque Orchestra, Concert Royal, American Classical Orchestra, John Thiessen is Principal Trumpet of Tafelmusik, Handel and Haydn Society, Boston Baroque, and Smithsonian Philharmonia Baroque Orchestra, American Bach Soloists Chamber Players. He is delighted to join Julian Wachner and and the Boston Early Music Festival. He has performed with Trinity Choir in the new Bach at One cantata series. the Academy of Ancient Music, English Baroque Soloists, Amsterdam Baroque Orchestra, and Taverner Players, and Noted for his “beauty of tone and keenness of musicianship” recorded extensively for Sony Classical, EMI, BMG, London (Opera Brittania), Ezra Seltzer is a student of Phoebe Carrai at Decca, Telarc, and CBC. the Juilliard School. He received his BA in history and MMus in cello performance from Yale University, studying with Aldo Anne Trout (bass) regularly appears with Rebel, Aston Magna, Parisot and Ole Akahoshi, and was also a post-graduate fellow in Handel and Haydn Society, the Trinity Baroque Orchestra, early music with Robert Mealy and the Yale Baroque Ensemble. and other prominent ensembles in historically informed performance in the US and Canada. Anne actively Early Music America wrote of Brian Shaw; “[his] tone is commissions new compositions for early instruments. She beautiful, and his playing unfailingly musical… His is a voice teaches at Longy School of Music in Cambridge, Boston that will make a major mark on Baroque trumpet playing.” College, and the Groton School. Mr. Shaw is heard as Principal Trumpet (valved) on CDs with the University of Texas (his current post) and Eastman Wind Jessica Troy, the violist of the Mark Morris Dance Group Music Ensembles, and the Dallas Wind Symphony. Mr. Shaw is an Ensemble since 1998, has toured extensively and performed Assistant Professor of Trumpet and Jazz Studies at Louisiana throughout the US and Japan with Yo-Yo Ma. On baroque viola State University. she performs with the Dodd String Quartet, Four Nations Ensemble, Grand Tour Orchestra, Opera Lafayette, and Alissa Smith holds music degrees from the Australian Washington National Cathedral Baroque Orchestra. National University and the Juilliard School. She has performed with the American and Houston Symphonies, Jacques Lee Wood is gaining attention as a soloist, recitalist Klangforum Wien and The Australian Chamber Orchestra. and chamber musician of the highest caliber. A versatile artist, As a baroque violist, she has appeared with The New York Wood’s interest in teaching, and research supplements a Collegium, The Grand Tour Orchestra, Tempesta di Mare, performance career that covers a broad range of repertoire Four Nations, and has recorded with Apollo’s Fire, Concert and interests: from historically informed performance of the Royal, and the San Francisco Bach Choir. Baroque, Classical, and Romantic periods to newly composed works. He is a Doctoral Candidate at Yale University and a Priscilla Smith has performed with Waverly Consort, Visiting Fellow in Early Music at the Yale School of Music. Portland Baroque Orchestra, Handel and Haydn, Ex Umbris, Mr. Wood is a Swiss Global Artist. Orchester Wiener Akademie, Capilla Flamenca, and Artek. She is a core member of Piffaro, the Renaissance Band, and is Described in one review as “knocking people off their seats,” pursuing a Master’s degree at The Juilliard School’s Historical double bassist Wen Yang has appeared as a member of the

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National Cathedral’s chamber vocal ensemble, Cathedra, Players. She is a graduate of The Juilliard School and Yale Yale Temperament, Yale Schola Cantorum, Yale Collegium School of Music. Wen enjoys cooking and painting. Musicum, New Haven Oratorio, and Sebastian Chamber peoo t bi s

MAY 2 and most recently, Hardheaded Weather (Putnam, 2008). His Lee Briccetti is the long-time Executive Director of Poets awards include Fellowships from the NEA, the Guggenheim House, a 50,000-volume poetry library and meeting place Foundation and the Rockefeller Foundation, a Lila Wallace- for poets and poetry readers at 10 River Terrace in Battery Reader’s Digest Traveling Scholarship, and The Prairie Park City. A graduate of the Iowa Writers’ Workshop, she Schooner Strousse Award. His work appears in many journals, received a New York Foundation for the Arts Award for magazines, and the anthologies Every Shut Eye Ain’t Asleep, Poetry and has been a Poetry Fellow at the Fine Arts Work In Search of Color Everywhere, and The Vintage Anthology of Center in Provincetown. Her first book of poetry, Day Mark, African American Poetry, (1750-2000). He is co-founder of was published in 2005 by Four Way Books. Cave Canem, and is currently The Miller Family Endowed Chair in Literature and Writing and Professor in English MAY 9 at The University of Missouri-Columbia.

Molly Peacock is the author of six volumes of poetry, JUNE 6 including The Second Blush and Cornucopia: New and Selected Poems. Widely anthologized, her work has appeared Joshua Mehigan’s first book, The Optimist, was one of five in both The Best American Essays and The Best American finalists for a 2005 Los Angeles Times Book Prize and winner Poetry. Her latest work of nonfiction is The Paper Garden: of the Hollis Summers Prize. His poems have been featured An Artist Begins Her Life’s Work at 72. She is a member of in many periodicals, including Poetry, The New York Times, the Graduate Faculty of the Spalding University Brief and The New Republic, and on Poetry Daily and The Writer’s Residency MFA Program. Almanac. He is a 2011 NEA Fellow.

MAY 16 JUNE 13 Rick Moody is the author of five novels—including Major Jackson is the author of Holding Company (2010, The Ice Storm, adapted for film by Ang Lee—three Norton), Hoops (2006, Norton), and Leaving Saturn (2002, collections of stories, a memoir, and a forthcoming volume University of Georgia Press). He has published poems and of essays, On Celestial Music. He also plays and sings in essays in American Poetry Review, The New Yorker, and The Wingdale Community Singers. Poetry, among other fine literary periodicals. Mr. Jackson is the Richard Dennis Green and Gold Professor at MAY 23 University of Vermont. He serves as the Poetry Editor of The Harvard Review. Elaine Sexton is the author of two collections of poetry, Sleuth and Causeway, both with New Issues Press. Her J UNE 20 poems, essays, and art and book reviews have appeared in numerous journals including American Poetry Review, Art J. Chester Johnson has written verse and been widely in America, New Letters, Poetry, and O! the Oprah Magazine. published for over four decades. He is the author of numerous She teaches poetry workshops at the Sarah Lawrence College books of poetry, with the most recent, St. Paul’s Chapel & Writing Institute and works in magazine publishing in Selected Shorter Poems, now in its second printing. Of this New York City. volume, one critic said, “Undoubtedly, this is a work headed for literary permanence in our collective ear.” MAY 30 Cornelius Eady is the author of several poetry collections: Kartunes; Victims of the Latest Dance Craze, winner of the 1985 Lamont Prize; The Gathering of My Name, nominated for the 1992 Pulitzer Prize in Poetry; You Don’t Miss Your Water; The Autobiography of a Jukebox; Brutal Imagination;

29 be part of a community for a world of good

Welcome to Trinity Wall Street, a historic Episcopal parish in lower Manhattan that includes both Trinity Church and St. Paul’s Chapel. We are glad you joined us for this concert and hope you will consider this an invitation to all of Trinity’s offerings—daily worship and prayer, educational programs for all ages, concerts and arts events, volunteer and mission opportunities, and more. Trinity is one of the most diverse parishes in New York City, with people from all over the New York metropolitan area and beyond. Our commonality is our shared belief that a relationship with Jesus makes us more vital and that by reaching out to one another, we live more deeply. We endeavor to serve the communities around us as well as those around the world. Your visit means a lot to us. If you liked this concert, keep in mind that the Choir sings Sundays at Trinity’s 9am choral mass and 11:15am worship service and St. Paul’s 8pm Compline service, and at many other services. We welcome you and look forward to meeting you. To learn more about us, visit us on the web at trinitywallstreet.org. Faithfully,

The Rev. Dr. James H. Cooper Rector

W oRSHIP Services About Trinity Church and St. Paul’s Chapel Trinity Church St. Paul’s Chapel Broadway at Wall Street Broadway and Fulton Street Trinity Church · Part of New York City since 1697 Sunday Sunday · Burial site of Alexander Hamilton Holy Eucharist 9am and 11:15am Holy Eucharist 8am and 10am · Home of the renowned Compline 8pm MndayF o – riday Trinity Choir Morning Prayer 8:15am Daily S ult. Pa ’s Chapel Eucharist 12:05pm Prayers for Peace 12:30pm · Survivor of the Great Fire of 1776 Evening Prayer 5:15pm · Host to George Washington mondays on his inaugural day Thursdays in All Saints’ Chapel Bach at One 1pm · H ome to September 11 Contemplative Prayer at 8:30am rescue workers

Laying on of Hands for Healing Webcast live from Trinity Church following the 12:05pm Eucharist at trinitywallstreet.org Evensong 5:15pm trinitywallstreet.org Wori sh p Services

Trini ty Church · Broadway at Wall Street

Sunday

Holy Eucharist 9am and 11:15am

Monday–Friday Morning Prayer 8:15am Eucharist 12:05pm Evening Prayer 5:15pm

On Thursdays · in All Saints’ Chapel Contemplative Prayer 8:30am Laying on of Hands for Healing following the 12:05pm Eucharist Evensong 5:15pm

S t. Paul’s Chapel · Broadway and Fulton Street

Sunday Holy Eucharist 8am and 10am Compline 8pm

Daily Prayers for Peace 12:30pm Mondays about Bach at One 1pm Trinity Church Webcast live from Trinity Church at trinitywallstreet.org & St. Paul’s Chapel

Trini ty Church · Part of New York City since 1697 · Burial site of Alexander Hamilton · Home of the renowned Trinity Choir

S t. Paul’s Chapel · Survivor of the Great Fire of 1776 · Host to George Washington on his inaugural day · Home to September 11 rescue workers

trinitywallstreet.org