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Program Fantasie Johann Georg Pisendel 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 Johann Sebastian Bach (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 Dresden 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 Leipzig 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 Leipzig University, 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.
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