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Home , Baroque orchestra, Caroline Stam, Choir, Klaus Mertens, Sophienkirche, Ton Koopman

CAL PRESENTS

Saturday, March 10, 2012, 8pm Zellerbach Hall Amsterdam & Choir , conductor

soloists Teresa Wakim, Bogna Bartosz, Tilman Lichdi, ,

PROGRAM

Johann Sebastian Bach (1685–1750)

Mass in B minor, BWV 232 for soprano, alto, tenor and bass soloists, and orchestra

i. missa Crucifixus Et resurrexit Christe Et in Spiritum Sanctum Kyrie Confiteor Gloria Et expecto Laudamus te Gratias INTERMISSION Domine Deus Qui tollis iii. Qui sedes Sanctus Quoniam Cum Sancto Spiritu iv. osanna, benedictus, Osanna ii. symbolum nicenum Benedictus Osanna Et in unum Dominum Agnus Dei Et incarnatus est Dona nobis pacem

This is made possible, in part, by Patron Sponsors Michele and Kwei Ü. Cal Performances’ 2011–2012 season is sponsored by Wells Fargo.

CAL PERFORMANCES 11 ORCHESTRA ROSTER CHOIR ROSTER

AMSTERDAM BAROQUE ORCHESTRA AMSTERDAM BAROQUE CHOIR Ton Koopman, conductor soloists Teresa Wakim, soprano Catherine Manson Bogna Bartosz, alto Joseph Tan 1 Tilman Lichdi, tenor John Meyer violin 1 Klaus Mertens, bass Anna Eunjung Ryu violin 1 soprano Persephone Gibbs violin 1 David Rabinovich violin 2 Dorothee Wohlgemuth Marc Cooper violin 2 Andrea Van Beek Ann Roux violin 2 Els Bongers Liesbeth Nijs violin 2 Vera Lansink Esther Ebbinge Emilia Benjamin Gela Birckenstaedt Laura Johnson viola Isabel Delemarre Werner Matzke Margareth Iping (doubling alto) Robert Smith cello Michele Zeoli alto Annemieke Marion Moonen Hugo Naessens Brian Berryman flute Annette Stallinga Antoine Torunczyk Peter de Groot Michel Henry oboe Anne-Marieke Evers Matthieu Loux oboe tenor Wouter Verschuren Henk Gunneman Rebecca Mertens bassoon Joost van der Linden David Hendry Otto Bouwknegt Robert Vanryne trumpet Tilmann Kögel James Ghigi trumpet Jörg Krause Thomas Müller horn bass Luuk Nagtegaal Matthijs Mesdag Kathryn Cok organ Hans Wijers Donald Bentvelsen René Steur Ralf Ernst Johan Lippens

12 CAL PERFORMANCES CAL PERFORMANCES 13 PROGRAM NOTES PROGRAM NOTES

Johann Sebastian Bach d’amore (a mezzo-soprano instrument pitched University and enjoyed the occasional venture appointment to a royal court. Such awards were in B minor, BWV 232 a minor third below the soprano oboe), bassoon, into the old monkish tongue. not unlike the recognition given today, for ex- horn, strings and continuo (bass and keyboard). Bach had no complaint against the practice ample, to suppliers to the British royal houses, Born March 21, 1685, in Eisenach, Germany. Died The vocalists include two soprano and alto, tenor of Latin in the Lutheran service. Not only was who are allowed to display the prestigious seal July 28, 1750, in . and bass soloists. The mixed chorus is divided into he interested in Latin (he cop- noting that they are a “Purveyor to the Crown.” as many as eight parts. ied and arranged sacred works by Palestrina, Most of the appointments of Bach’s time were Bach composed the Kyrie and Gloria of his Mass Pergolesi, Lotti, Caldara and others), but his tal- von Haus aus (“not part of the household”), and in B minor in 1733, and dedicated them to King artin luther published the text for ent easily allowed him to produce whatever kind required that the supply such music as Friedrich August II of Prussia. The remaining Mhis “German Mass” in 1526 with a cer- of music was required: , orchestral was demanded and that he attend at court if or- movements, based on music from as early as 1724, tain reluctance. As strong as were his schismatic or vocal; Latin or German; religious or secular dered. Bach had a fortunate run of such distinc- were revised and compiled into the finished work theological views, Luther still revered the old made little difference to him. In the 1730s, he tions. He came to Leipzig in 1723 as honorary around 1747–1748. The Kyrie and Gloria were traditional Latin language of worship, and he wrote four “Short” Masses, which were probably Kapellmeister to his previous employer, Prince probably heard in Leipzig on April 21, 1733. There was not eager to replace it with the vernacular. heard in Leipzig but seem to have been intended Leopold of Cöthen. Upon Leopold’s death in was no performance of the complete score during He did so for the simple reason that few wor- primarily for the Catholic court of Count Franz 1728, Bach was awarded a similar position with Bach’s lifetime. Individual movements were per- shipers understood Latin. He realized that for Anton von Sporck in Lissa, Bohemia. These the Duke of Weissenfels, which continued until formed in Hamburg (1786, by Bach’s son Carl his revolutionary religious movement to gain Masses, mostly of earlier 1736. In 1733, with the accession of Friedrich Philipp Emanuel), Vienna (1816), Berlin (1827, converts, it was necessary that it appeal to a movements fitted with the appropriate Latin August, Bach made a bid for the most coveted 1828, 1834) and Frankfurt (1828). The earliest wide audience—an uneducated audience in text, consisted of only a Kyrie and a Gloria, appointment of all, that of Court Composer to known performance of the full work was in Berlin, 16th-century Germany—and it could only do the two items that would have been most use- the King-Elector of . To this end, he sent but it was divided into two parts, with the first half so in their native tongue. However, Luther, ful for a Lutheran , and lack the other the new Kyrie and Gloria—this “trifling exam- given on February 20, 1834, and the second half himself a composer who supplied music for the Mass sections. ple of my skill” as he called it—to Friedrich in a year later, on February 12, 1835. Karl Riedel, early Protestant services, allowed some Latin to In 1733, Bach had the opportunity to on July 27, 1733. It is uncertain if the the distinguished German choral conductor and remain in the new liturgy, partly to relieve the compose another “Short” Mass. The death Kyrie or Gloria was performed there, though it specialist in old sacred music, seems to have been sting of breaking with the old ways, partly out of Friedrich August I, Elector of Saxony, on is possible that , the the first to produce the complete B minor Mass of necessity. “On festival days,” he wrote, “like February 1 began a period of mourning during oldest son of Johann Sebastian, who was ap- for a single performance when he presented it in Christmas, Michaelmas, Purification, etc., it which polyphonic music was forbidden in the pointed only the month before at the Leipzig in 1859—more than a century after Bach’s must go on as hitherto, in Latin, until we have churches. Plans were immediately begun for the local Sophienkirche, may have produced the death and 135 years after the score’s earliest mu- enough German , because this work is in installation of his son as successor, and, as part work. At any rate, Bach heard about his sic had been written. A truncated version of the its early beginnings; therefore, everything that of the celebration, Friedrich August II was to re- request for the next three years, not least because Mass (with 13 of its 24 numbers eliminated) was belongs to it is not yet ready.” ceive the homage of the city of Leipzig in April. the Elector was busy dealing with demonstra- given in America at the Cincinnati May Festival Certain Lutheran service items remained Bach, taking advantage of the time opened up tions in Poland against his rule. It was not un- in 1886 under the direction of Theodore Thomas. stubbornly in Latin for years. When Bach ar- by the lessening of his duties during the mourn- til November 1736 that Count von Keyserling, Performances in 1900 in Bethlehem, Pennsylvania, rived in Leipzig in 1723, it was customary for ing weeks, composed grand new settings of the the Russian ambassador at the Saxon court and and New York City gave more full accounts of the great Protestant churches of that city to Kyrie and Gloria that would be appropriate to an admirer of the composer, encouraged the the work. include in the order of worship polyphonic set- the solemnity of the upcoming occasion. These Elector to name Bach Hofkomponist (“Court An edition of the Mass was printed in 1812 tings of the Kyrie on the first Sunday of Advent works were probably performed on April 21, Composer”). Bach paid his respects by giv- by the Swiss educator and publisher Hans Georg and the Gloria at Christmas, and plainchant 1733, in the Thomaskirche as part of the official ing a two-hour recital on the newly installed Nägeli; the orchestral score was brought out settings of those texts much more frequently. In ceremonies; but the Elector, a Catholic, would Silbermann organ in Dresden’s Frauenkirche on by Simrock in 1845. It was among the earliest addition, polyphonic settings of those and other not have entered the Lutheran church to hear December 1. works to appear (1856) in the edition of the Bach remnants of the Catholic Mass found their way them sung. The Mass remained a torso, consisting of Gesellschaft, the gallant venture (for which into several of the most important services and Though Bach’s religious and civic motiva- only the first two sections, until around 1747, was an editor) that published, celebrations of the church and civic year. Since tions cannot be discounted when consider- when Bach gathered together some of his exist- over a half century beginning in 1850, the collected before the turn of the 18th century, the Leipzig ing this Kyrie and Gloria—the nucleus of the ing German-language movements to complete works of Bach. The individual movements of the town council had tried to supplant these items B minor Mass—he had another, more practi- the collection by fitting them with the remain- Mass encompass several styles and call for a wide with ones in German, but had had little success cal, reason for their composition. In Bach’s ing texts. It was the German custom variety of instrumental combinations. The total because they lacked strong support from the lo- time, one of the chief means for a musician to at that time for men of great learning to gather instrumental complement required is three trum- cal congregations, whose leaders were trained in strengthen his public and professional posi- up their thoughts on a lifetime of work as they pets and timpani, two , three , two oboes Latin through their associations with Leipzig tions was through the granting of an honorary approached their last years, compiling a sort

14 CAL PERFORMANCES CAL PERFORMANCES 15 PROGRAM NOTES TEXTS & TRANSLATIONS of autobiography of their contribution to their at the modern practice of performing the work Johann Sebastian Bach discipline. Bach, in his sixties and beginning to at a single sitting (or, perhaps, of performing it , BWV 232 have trouble with his eyesight, was not immune at all), and some modern scholars do not suffer to this need for summing-up, and the Musical this situation gratefully, any more than they do missa Offering, the Schübler and The Art of an integrated performance of . Fugue were meant as demonstration exercises However, Bach did make some attempt to unify Kyrie: Coro Chorus showing the highest technical skill attainable portions of the Mass by recalling music from the in the field of rather than Kyrie and the Gloria in the closing Dona nobis Kyrie eleison. Lord, have mercy. as scores for public performance. The work now pacem. Terry noted the work achieved musical known as the Mass in B minor is another that re- integrity because it is “the design of a superb ar- Christe: Duetto (Soprano I & II) : (Soprano I & II) cent research shows must be added to this group. chitect, perfect in proportion and balance. Even Bach considered this work a compendium of the in their adaptation, the borrowed movements re- Christe eleison. Christ, have mercy. various ways in which Mass texts could be com- veal his creative genius, while a collation of them Kyrie: Coro Chorus posed rather than as a single, monolithic span with their originals exposes the sensitiveness of music. “Bach’s aim,” wrote Christoff Wolff of his judgment and self-criticism.” Whatever Kyrie eleison. Lord, have mercy. in the Grove Dictionary of Music and , scholarly exegesis washes up against the Mass, “seems to have been to bring together a collec- there remains, first and last, the music, and there Gloria: Coro Chorus tion of large-scale Mass movements to serve as is no argument for the performance of this mag- models rather than to create a single, multi- nificent work that can be made in words that is . Glory to God in the highest. movement work on an unprecedented scale.” any stronger than that Bach makes for himself Et in terra pax hominibus bonæ voluntatis. And on earth peace to men of good will. Charles Sanford Terry found additional motiva- with his notes. Laudamus te: Aria (Soprano II) Aria (Soprano II) tions behind the compilation of this Mass: “Two Space does not allow consideration here of reasons, themselves complementary, moved the individual movements of Bach’s Mass. It Laudamus te, We praise you, Bach to expand his original idea. In the first will have to suffice to point out that much of benedicimus te, we bless you, place, the Mass is neither Roman nor Lutheran the greatness of this music lies in its synthesis of adoramus te, we worship you, in intention and outlook, but the expression contrasting elements: of monumental choruses glorificamus te. we glorify you. of a catholic [lower case] Christianity. In the beside delicate solos; of blazing full orchestral second place, Bach’s genius was Teutonic in sonorities beside intimate chamber ensembles; Gratias: Coro Chorus its inclination to complete a design. If another of the sweeping, transcendent grandeur of the Gratias agimus tibi propter magnam gloriam tuam. We give you thanks for your great glory. reason is sought, it is found in the compulsion eternal words coupled to music of the greatest to express himself in an art-form which he had personal expression. All listeners find in this Domine Deus: Duetto (Soprano I & Tenore) Duet: (Soprano I & Tenore) studied deeply.” work a renewal of their faith, whether it be in To the Kyrie and Gloria composed in 1733, the power of a religious belief or in the power of Domine Deus, Rex cœlestis, Lord God, heavenly King, Bach added a Sanctus that was originally written music to sing with a profound beauty across the Deus pater omnipotens. God the Father almighty. for Christmas in 1724, and performed at least ages. Wrote Karl Geiringer, “The Mass in B mi- Domine Fili unigenite, The only-begotten Son, three times in subsequent years. The Osanna, nor is an abstract composition of monumental Jesu Christe altissime, Lord Jesus Christ, Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Benedictus, Agnus Dei and Dona nobis pacem dimensions, a gigantic edifice conceived by were all based on the music of earlier canta- the composer as the crowning glory of his life- Qui tollis: Coro Chorus tas and vocal works fitted with the appropri- work in the field of sacred music.” Hans Georg ate Latin text, a process known as “parody.” Nägeli, the Swiss publisher who made the first Qui tollis peccata mundi: You take away the sin of the world: Only the Credo and Confiteor sections were printed edition of the Mass in 1812, was com- miserere nobis; have mercy on us; composed anew in 1747–1748. The resulting pletely robbed of any adverse comment in the qui tollis peccata mundi: you take away the sin of the world: “Mass in B minor” is far too large for practical face of such sublime music. He called the Mass suscipe deprecationem nostram. receive our prayer. liturgical use (half again as long as Beethoven’s in B minor, simply, “the greatest musical work of Qui sedes: Aria (Alto) Aria (Alto) Missa Solemnis), has twice as many movements art of all ages and all peoples.” in the key of D major as in B minor and en- Qui sedes ad dexteram Patris: miserere nobis. You are seated at the right hand of the Father: have compasses a wide variety of musical styles and mercy on us. techniques. Bach might well have been surprised © 2012 Dr. Richard E. Rodda

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Quoniam: Aria (Basso) Aria (Bass) Et iterum venturus est He will come again cum gloria judicare vivos et mortuos, in glory to judge the living and the dead, Quoniam tu solus sanctus, For you alone are the Holy One, cujus regni non erit finis. and his kingdom will have no end. tu solus Dominus, you alone are the Lord, tu solus altissimus Jesu Christe. you alone are the Most High, Jesus Christ. Et in Spiritum Sanctum: Aria (Basso) Aria (Bass)

Cum Sancto Spiritu: Coro Chorus Et in Spiritum Sanctum, Dominum et vivificantem, And in the Holy Spirit, the Lord, the giver of life, qui ex Patre Filioque procedit; who proceeds from the Father and the Son. Cum Sancto Spiritu, in gloria Dei Patris. With the Holy Spirit, in the glory of God the Father. qui cum Patre et Filio simul adoratur et conglorificatur; With the Father and the Son he is worshipped and Amen. Amen. qui locutus est per Prophetas. glorified. He has spoken through the Prophets. Et unum sanctam catholicam et apostolicam ecclesiam. And in one holy catholic and apostolic Church. symbolum nicenum Confiteor: Coro Chorus

Credo: Coro Chorus Confiteor unum baptisma in remissionem peccatorum. We acknowledge one baptism for the forgiveness of sins.

Credo in unum Deum. We believe in one God. Et expecto: Coro Chorus

Credo in unum Deum, We believe in one God, Et expecto resurrectionem mortuorum We look for the resurrection of the dead, Patrem omnipotentem, the Father, the Almighty, et vitam venturi seculi. Amen. and the life of the world to come. Amen. factorem cœli et terræ, maker of heaven and earth, visibilium omnium et invisibilium. of all that is seen and unseen. sanctus sanctus Et in unum Dominum: Duetto (Soprano I & Alto) Duet (Soprano I & Alto) Sanctus: Coro Chorus Et in unum Dominum Jesum Christum, And in one Lord, Jesus Christ, Filium Dei unigenitum the only Son of God, Sanctus, sanctus, sanctus Holy, holy, holy et ex patre natum ante omnia sæcula. eternally begotten of the Father. Dominus, Deus Sabaoth, Lord, God of power and might, Deum de Deo, God from God, pleni sunt cœli et terra gloria tua ejus. heaven and earth are full of your glory. lumen de lumine, Light from Light, Deum verum de Deo vero, true God from true God, genitum, non factum, consubstantialem Patri, begotten, not made, of one Being with the Father. osanna, benedictus, agnus dei, dona nobis pacem osanna, benedictus, agnus dei, dona nobis pacem per quem omnia facta sunt. Through him all things were made. Qui propter nos homines For us men and for our salvation Osanna: Coro Chorus et propter nostram salutem descendit de cœlis. he came down from heaven. Osanna in excelsis. in the highest. Et incarnatus est: Coro Chorus Benedictus: Aria (Tenore) Aria (Tenor) Et incarnatus est By the power of the Holy Spirit de Spiritu Sancto ex Maria virgine, he became incarnate from the Virgin Mary, Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. et homo factus est. and was made man. Osanna: Coro Chorus Crucifixus: Coro Chorus Osanna in excelsis. Hosanna in the highest. Crucifixus etiam pro nobis, For our sake he was crucified sub Pontio Pilato, under Pontius Pilate; Agnus Dei: Aria (Alto) Aria (Alto) passus et sepultus est. he suffered death and was buried. Agnus Dei, qui tollis peccata mundi: Lamb of God, you take away the sins of the world: Et resurrexit: Coro Chorus miserere nobis. have mercy on us.

Et resurrexit tertia die On the third day he rose again Dona nobis pacem: Coro Chorus secundum scripturas, in accordance with the Scriptures, et ascendit in cœlum, and ascended into heaven Dona nobis pacem. Grant us peace. sedet ad dexteram Dei Patris. and is seated at the right hand of the Father.

18 CAL PERFORMANCES CAL PERFORMANCES 19 ABOUT THE ARTISTS ABOUT THE ARTISTS

baroque orchestra. In 1979 he founded the inspirations of the young J. S. Bach. The final Amsterdam Baroque Orchestra, followed by the release amounted to 30 CDs. Mr. Koopman Amsterdam Baroque Choir in 1992. is President of the International Dieterich Mr. Koopman’s extensive activities as a so- Buxtehude Society. loist, accompanist and conductor have been re- Mr. Koopman is very active as a guest con- corded on a large number of LPs and CDs for ductor, and he has collaborated with the most labels like Erato, Teldec, Sony, Philips and DG, prominent of Europe, United States besides his own record label, Antoine Marchand, and Asia, including the Royal Concertgebouw distributed by Challenge Records. Amsterdam, Orchester des Bayerischen Over the course of a 45-year career Rundfunks in Munich, DSO Berlin, Tonhalle Mr. Koopman has appeared in the most im- Orchestra Zurich, Boston Symphony, Chicago portant halls and festivals on the five Symphony, Orchestre Philharmonique de Radio continents. As an organist he has performed France, Cleveland Orchestra, Santa Cecilia in on the most prestigious historical instru- Rome, Deutsche Kammerphilharmonie and ments of Europe, and as a player Wiener Symphoniker. Mr. Koopman is Artist in and conductor of the Amsterdam Baroque Residence at the Cleveland Orchestra for three Orchestra & Choir he has been a regular guest consecutive years starting in 2011. at venues which include the Concertgebouw in Mr. Koopman publishes regularly, and for

Marco Borggreve Marco Amsterdam, the Théâtre des Champs-Elysées a number of years he has been engaged in ed- in Paris, the Philharmonie in Munich, the Alte iting the complete Händel organ concertos for he amsterdam baroque orchestra was and two Edison Awards. In 2008, the ensemble Oper in Frankfurt, the Lincoln Center and Breitkopf & Härtel. Recently he has published Tfounded by Ton Koopman in 1979. The and Mr. Koopman were honored with the pres- Carnegie Hall in New York and leading con- Händel’s and Buxtehude’s Das Jüngeste group consists of internationally renowned ba- tigious BBC Award, and in 2009, for the second cert halls in Vienna, London, Berlin, Brussels, Gericht for Carus. roque specialists who meet up several times a time, with the Echo Klassik Award for Vol. VII Madrid, Rome, Salzburg, Tokyo and Osaka. Ton Koopman leads the class of harpsi- year and work together to prepare and perform of : Omnia. Between 1994 and 2004 Mr. Koopman chord at the Royal Conservatory in The Hague, new exciting programs. For the musicians, each All-new CDs and DVDs of Ton Koopman has been engaged in a unique project, con- is Professor at the University of Leiden, and is concert is a new experience and Mr. Koopman’s and the Amsterdam Baroque Orchestra & ducting and recording all the existing canta- a Honorary Member of the Royal Academy of boundless energy and enthusiasm are a guaran- Choir are published by Antoine Marchand, a tas by Johann Sebastian Bach, a massive un- Music in London. He is artistic director of the tee of the highest quality. sub-label of Challenge Classics. The latest re- dertaking for which he has been awarded the French Festival Itinéraire Baroque. The Amsterdam Baroque Choir was found- leases include all 22 boxes of the Bach’s canta- Deutsche Schallplattenpreis Echo Klassik, the ed in 1992 and it made its debut during the tas, Bach’s St. Matthew and St. Mark BBC Award 2008, the Prix , has Holland Festival of in Utrecht per- (on CD and DVD), the first nine volumes of the been nominated for the Grammy Award and forming the world première of the (for Buxtehude: Opera Omnia Edition and Bach’s the Gramophone Award. Accompanying CD 15 voices) and Vespers (for 32 voices) by H.I.F. Musical Offering. recordings, three books have been edited and Biber. The recording of both of these works won published by Mr. Koopman and musicologist the Cannes Classical Award for the best per- Ton Koopman was born in Christoph Wolff, and a series of six documen- formance of 17th- or 18th-century choral mu- , , in taries was produced and broadcasted by various sic. For its rare combination of textural clarity 1944. After a classical educa- TV stations. In 2000 Mr. Koopman has received and interpretative flexibility, the Amsterdam tion he studied organ, harpsi- an honorary degree from the Utrecht University Baroque Choir is considered among today’s chord and in for his academic work on the Bach and most outstanding choirs. Amsterdam and was awarded Passions and has been awarded both the pres- Beyond Bach’s music, the Amsterdam the Prix d’Excellence for both tigious Silver Phonograph Prize and the VSCD Baroque Orchestra & Choir has recorded all of instruments. From the begin- Award. In 2006, he received the the major baroque and classical works. Major Jaap van de Klopmp ning of his musical studies he Bach-Medaille from the City of Leipzig. recognitions include the Gramophone Award, was fascinated by authentic instruments and a In 2010 Mr. Koopman finished another Diapason d’Or, 10 de Répertoire, Stern des performance style based on sound scholarship large-scale project: the recording of the complete Monats-Fono Forum, the Prix Hector Berlioz and in 1969, at the age of 25, he created his first works by Dietrich Buxtehude, one of the great

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