Program

Fantasie Johann Georg Pisendel “Imitation des caractères de la danse” (1687–1755)

Loure Rigaudon Canarie Bourée Musette: Lentement Passepied: Gay, accelerando poco a poco Polonaise: Majesteusement Concertino: Presto

Peter Lemberg and Debbie Busch, oboes

Magnificat, BWV 243 (1685-1750)

Magnificat Et exultavit spiritus meus Quia respexit humilitatem Omnes generationes Quia fecit mihi magna Et misericordia Fecit potentiam Deposuit potentes Esurientes implevit bonis Suscepit Israel Sicut locutus est Gloria Patri

Deirdre Lobo D'Cunha,, soprano Casey Walker, soprano Elspeth Franks, mezzo-soprano Corey Head, tenor Jordan Eldredge, bass Peter Lemberg, oboe and oboe d’amore

Intermission

Gaudete English arr. J. David Moore Carla von Merz, soprano, Tim Cooney, tenor

The Christmas Season Latvian arr. Andrejs Jansons

Kings Came Riding Brian W. Holmes Barbara Gehrels, alto, Bill Treddway, bass, Deirdre Lobo D'Cunha, soprano, Tim Cooney, tenor

Mi Zeh Y’maleil Sephardic arr. Joshua R. Jacobson Jordan Eldredge, bass

Wana Baraka Kenyan arr. Shawn L. Kirchner

The Wexford Processional Irish arr. Richard B. Evans

El Cielo Canta Argentinian arr. Ed Henderson Ed Daranciang, guitar Pamela Ravinelle, flute

Hallelujah George Frideric Handel

The First Noël English arr. Dwight Bigler

Notes, Texts, and Translations

Fantasie Johann Georg Pisendel “Imitation des caractères de la danse”

Loure Rigaudon Canarie Bourée Musette: Lentement Passepied: Gay, accelerando poco a poco Polonaise: Majesteusement Concertino: Presto

Dancing was the favored pastime of the French, from Versailles to Parisian dance-halls. At the beginning of the 18th Century, public dance-halls sprang up on the outskirts of Paris. Cheap eating houses opened in tandem, and working-class Parisians would come at the end of the work week to dance and carouse. There were 644 dance-halls in Paris by the end of the 18th Century. Pisendel’s suite reflects this predilection, and contains both courtly and more earthy dances.

Johann Georg Pisendel was concertmaster and conductor of the esteemed Court Orchestra. He knew Bach, Telemann, and Vivaldi, and played or studied with all of them. His own compositional output, while small, is of high quality. He shows a certain worldliness in choosing French dances for his Fantasie, for two solo oboes and string orchestra.

His suite opens with a loure, a dignified dance of moderate tempo, in compound duple meter (6/4). An anacrusis (pickup) emphasizes the strong first beat of the measure and dotted notes add a ceremonious touch.

Rigaudon is a sprightly folk dance in a lively duple metre. Conjecture assigns its origins to Rigaud, a dance master from Marseille, who reputedly introduced the dance to Parisian society in 1630. Its hopping steps were adopted by the skillful dancers of the French and English courts.

Canarie was so named for the dance’s place of origin, the Canary Islands, which form an archipelago off the coast of Spain. The dance is in a fast 6/8 meter with excitement unbuttoned in a tantalizing dotted rhythm.

Bourée is a dance common in Auvergne and Biscay. In quick double time, it has a dactylic (long-short- short) rhythm. Johann Mattheson (1739) wrote of the bourée, “its distinguishing feature resides in contentment and a pleasant demeanor, at the same time it is somewhat carefree and relaxed, a little indolent and easygoing, though not disagreeable.”

Musette takes its name from the musical instrument of the same moniker, a kind of bagpipe. The music is characterized by a bass drone typical of the instrument. This musette is leisurely and meandering.

Passepied, from the French word for “passing feet,” originated in Brittany. The music, in compound duple (6/8) meter and fast tempo, is in happy mood.

Polonaise, the French term to describe something of Polish origin (polonez), is a slow dance in 3/4 time, with some intricate and enticing rhythms.

The suite closes with a concertino, a short, fast-paced movement in which the two solo oboes playfully compete with the orchestra.

Magnificat Johann Sebastian Bach

Leipzig, in the early 18th Century, was Germany’s intellectual capital, a flourishing, prosperous, cosmopolitan city with an appreciation for the arts and the means to support them. In May 1723, the town council appointed thirty-eight-year-old J. S. Bach as Director of Music for the city of Leipzig and Kantor (Music Director) of St. Thomas school. The high-pressure position included teaching prep- school music and Latin at the church school, directing musical activities at , and overseeing music for the city and its four principal churches—playing the organ, training the choirs and composing the music for the city’s two principal Lutheran churches as well as supervising and training the musicians at two others.

The council had offered the position first to Telemann and then to Graupner, both of whom had turned it down. As the third choice for the position, Bach felt he had to prove himself and, for his first Leipzig Christmas, he pulled out all the proverbial stops and wrote his splendid Magnificat. In twelve movements, it calls for a five-part choir (instead of the usual four), five soloists, and an unusually large orchestra for its time: three trumpets, timpani, two flutes, two oboes, strings, and continuo—all in the interests of the festive and resplendent. The chorus, brilliant and triumphant, describes the mighty masses while the soloists and small ensembles portray the lyrical and reflective moments. Bach displays his mastery of tone-painting: in every movement the music depicts a salient word in the text.

The text for the Magnificat is based on the Canticle of the Blessed Virgin Mary (Luke 1:46-55), Mary’s own astonished words at being told of the holy child she carried in her womb. Scholars conjecture that these words were probably sung by the Blessed Virgin, making a musical setting all the more appropriate. A Gloria Patri, the traditional hymn of praise, is appended at the end.

An ebullient orchestral introduction featuring heraldic trumpets sets the scene for the first choral entrance, Magnificat anima mea Dominum. Et exultavit, an elegant soprano aria, accompanied only by strings and continuo, describes Mary’s awed rejoicing. Quia respexit, a tender duet between the oboe d’amore and soprano, contains many falling motifs that allude to Mary’s humble (“lowly”) state. Out of this unfurls the fervent choral Omnes generationes, depicting swarming throngs of people. Quia fecit for bass describes, with grandeur in its unhurried stride, the mighty things that He has done. Et misericordia, set for alto and tenor soloists, flutes, and muted strings, portrays mercy in a contemplative way with a lilting12/8 rhythm and parts moving in dulcet thirds. Choir and orchestra burst forth from the pastoral calm with torrents of sixteenth-note runs counterpoised with unison chordal punctuations; the text dispersit superbos describes the scattering of the proud and the musical lines scatter into dispersed fragments. It seems that the music has disintegrated into chaos, and the voices just manage to gather themselves together for the closing cadence. In Deposuit potentes, for tenor accompanied by violins and continuo, a proud dotted rhythm offsets the lengthy melismas: these often confidently turn upward at the ends of phrases, giving a purposeful righteousness to the business of casting down the mighty and lifting up the lowly. Two flutes and a pizzicato bass set an elegant backdrop for the alto aria, Esurientes implevit bonis, in which the sense pervades that all’s right with the world. In the ethereal trio for the three women soloists, Suscepit Israel, Bach gives the oboes a plainsong melody in long drawn-out notes, against which the vocal lines of the three soloists are exquisitely interwoven, and suggest mercy. Sicut locutus for choir is a fugue, whose sturdiness conveys God’s promise to the children of Israel. Gloria Patri opens with a unison rhythm and then unfurls like petals of a flower in fast motion as the voices pile one atop the other. For Sicut erat in principio … Amen), Bach appropriately mirrors the words by recalling the music “as it was in the beginning” and the Magnificat ends as exuberantly and dramatically as it began. Program notes © Shulamit Hoffmann Magnificat anima mea Dominum. My soul proclaims the greatness of the Lord,

Et exultavit spiritus meus in Deo salutari meo. My spirit rejoices in God my Savior;

Quia respexit humilitatem ancillae suae. He has looked with favor on his lowly servant.

Ecce enim ex hoc beatam me dicent: Omnes generationes. From this day all generations will call me blessed;

Quia fecit mihi magna, qui potens est, et sanctum nomen eius, The Almighty has done great things for me and holy is His name.

Et misericordia eius in progenies et progenies timentibus eum. He has mercy on those who fear Him, from generation to generation.

Fecit potentiam in bracchio suo, He has shown strength with His arm, dispersit superbos mente cordis sui. and has scattered the proud in their conceit. Deposuit potentes de sede Casting down the mighty from their thrones et exultavit humiles. and lifting up the lowly.

Esurientes implevit bonis He has filled the hungry with good things et divites dimisit inanes. and sent the rich away empty.

Suscepit Israel puerum suum, He has come to the aid of His servant Israel, recordatus misericordiae suae. to remember His promise of mercy.

Sicut locutus est ad patres nostros, The promise made to our ancestors, Abraham et semini eius in saecula. To Abraham and his children forever.

Gloria Patri, Gloria Filio, Gloria et Spiritui Sancto. Glory to the Father, to the Son, and to the Holy Spirit. Sicut erat in principio, in principio et nunc, As it was in the beginning, is now, Nunc et semper et in saecula, et in saecula saeculorum. Amen. And ever shall be. Amen.

(English translation from Common Worship)

Gaudete English

Gaudete, gaudete, Christus est natus Rejoice, rejoice! Christ is born Ex Maria virgine, gaudete! Of the Virgin Mary, rejoice!

Tempus adest gratiæ hoc quod optabamus, The time of grace that we desired is here.; Carmina lætitiæ devote reddamus. Let us devoutly render joyful verses.

Deus homo factus est natura mirante, God has become man, and nature marvels, Mundus renovatus est, a Christo regnante. The world has been renewed by Christ’s reigning.

Ezekelis porta, clausa pertransitur, The closed gate of Ezekiel has been passed through, Unde lux est orta, salus invenitur. Whence the light came salvation is found.

Ergo nostra contio, psallat lam in lustro; Let our gathering now sing in brightness; Benedicat Domino: Salus Regi nostro. Let it give praise to the Lord: Greeting to our King.

The Christmas Season Latvian

Roasting a duck and happily humming, kaladu, kaladu; Roasting a duck and Christmas is coming, kaladu, kaladu.

Mixing a punch with a generous measure, Mixing a punch with a cup full of pleasure.

Chopping a tree when the woods are a-dimming, Propping it up and a-happily trimming,

Slipping away with the gifts and a-wrapping, Kids wanna look and the puppy’s a-yapping.

Sitting around with a log on the fire, Singing along with the family choir.

Bright are the lights and bright is the season, Christ was born and that is the reason.

Kings Came Riding Brian W. Holmes Words: Charles Williams

The composer writes, “In 1973, I started playing horn and doing brass and chorus arrangements for the Christmas Revels in Cambridge, Mass. This gave me a taste for writing Christmas music. Since 1983, I have written a new carol every year to send as a musical Christmas card to friends and relatives. Kings Came Riding, however, was not one of these annual carols. The poem is used by permission of David Higham Associates.”

Over the desert And over the sea Kings came riding One, two, and three.

One in a ship With a silver mast; The fishermen wondered As he went past.

One on a horse With a saddle of gold; The children came running To behold.

One came walking Over the sand, With a casket of treasure Held in his hand.

All the people Said, “Where go they?” But the kings went forward All through the day.

Night came on As those kings went by; They shone like the gleaming Stars in the sky.

Mi Zeh Y’maleil Sephardic

Mi zeh y’maleil nisei Eil yitbonan, I sing of the wonders the Lord has done Biymei Matityahu ben Yochanan, To save Mattathias and Judah his son. Anochi esmach asis badonai Give thanks to the Lord, rejoice and be glad! Higdil laasot im bnei Chashmonai! Sing praise to the Maccabees who set our people free!

Ram hu al ramim nigla v’sinai, High above the heavens, enthroned is our God, Richbo ribotayim alfei shinan. His glory, His majesty, revealed for all to see. Anochi esmach asis badonai, Higdil la asot im bnei Chashmonai!

Dor vador rabim kamim aleinu Year after year as they tried to enslave us, lechalot zeicher sh’eiriteinu, we prayed to God that He would come and save us. lulei Adonai ts’vaot malkeinu In each generation oppressors arose, marom laarets hishlich karnan. But who could oppose the Lord of Hosts?

Long, long ago Antiochus decreed all people must bow down to idols made of stone. He tried every torture, but could not succeed! We worship none other but God alone!

Powerful the armies, formidable the foe! From Asia, from Africa they came to draw the bow On God’s chosen people, the priests of the Lord; To God’s holy temple they marched in bold accord.

Wana Baraka Kenyan

Wana Baraka wale waombao; They have blessings, those who pray; Yesu mwenyewe alisema. Alleluya! Jesus himself said so. Alleluia! Wana amani They have peace Wana furaha They have joy Wana uzima They have well-being.

The Wexford Processional Irish

Good people all, this Christmas time, Consider well and bear in mind What our good God for us has done, In sending His belovèd Son. With Mary holy we should pray To God with love this Christmas Day; In Bethlehem upon that morn There was a blest Messiah born.

Near Bethlehem did shepherds keep Their flocks of lambs and feeding sheep; To whom God’s angels did appear Which put the shepherds in great fear. “Prepare and go,” the angels said, “To Bethlehem, be not afraid; For there you’ll find, this happy morn, A princely Babe, sweet Jesus born.”

With thankful heart and joyful mind, The shepherds went the babe to find, And as the angel had foretold, They did our Savior Christ behold. Within a manger He was laid, And by His side the virgin maid Attending on the Lord of Life, Who came on earth to end all strife.

El Cielo Canta Argentine

El cielo canta alegria. Alleluia! Heaven is singing for joy, Alleluia!

Por que en tu vida y la mia brilla la Gloria de Dios. For in your life and in mine is shining the glory of God.

Por que en tu vida y la mia nos una el Amor de Dios. For your life and mine unite in the love of the Lord.

Hallelujah George Frideric Handel Hallelujah!

For the Lord God omnipotent reigneth. The kingdom of the world is become The Kingdom of our Lord and of His Christ. And He shall reign forever and ever, King of Kings, Lord of Lords.

The First Noël English The First Noël the Angels did say Was to certain poor shepherds in fields as they lay In fields where they lay keeping their sheep On a cold winter's night that was so deep. Noël, Noël, Noël, Noël Born is the King of Israel!

They lookèd up and saw a star Shining in the East beyond them far And to the earth it gave great light And so it continued both day and night.

Then let us all with one accord Sing praises to our heavenly Lord Whose light doth shine and life hath taught And with his blood mankind has bought.

Silent Night Franz Gruber

Silent night, holy night, All is calm, all is bright Round yon Virgin Mother and Child Holy infant so tender and mild, Sleep in heavenly peace.

Silent night, holy night, Shepherds quake at the sight, Glories stream from heaven afar, Heav’nly hosts sing Alleluia; Christ, the Savior, is born!

Silent night, holy night, Son of God, Love’s pure light, Radiant beams from Thy holy face, With the dawn of redeeming grace, Jesus, Lord, at Thy birth.

Joy to the World! Frederic Handel

Joy to the World! The Lord is come; Let earth receive her King; let ev’ry heart prepare Him room. And heav’n and nature sing.

Joy to the earth! The Savior reigns; Let men their songs employ: While fields and floods, rocks, hills, and plains, Repeat the sounding joy.

He rules the world with truth and grace, And makes the nations prove The glories of His righteousness, and wonders of His love.

“In researching and designing the image selections for this concert, the goal was to choose visuals that illuminate the story being told, its unique time in history, the region of the world in which it is set, and the cultural milieu of the music and the composer.” —Ann Keiffer

For image sources and credits, see www.vivalamusica.org.