ALICE TUllY HAll Home of The Chamber Music Society of Lincoln Center

The presents the JEROME L. GREENE CONCERT Monday Evening, February 5, 2007, at 8:00 JUILLIARD CHAMBER ORCHESTRA JUILLIARD CHORAL UNION JUDITH CLURMAN, Conductor 7'7JeJttiliiard Chamber Orchestra, part of the Orpheus Institute at [uilliard, will also perform several works without conductor

BIBER Battalia (Sonata di rnarche) Sonata Die leiderliche Geseltschaft von allerey Humor: Allegro Presto DerMars Presto Aria Die Schlacht Lamento der Verwundten Musquetirer: Adagio ]UILLIARD Ca. ....MBER ORCHESTRA

).S. BACH Orchestral Suite in C major, BWV 1066 Ouvcrture Courante Gavottes 1 and II Forlane Menuets I and II Bourrees I and II Passepieds I and II ]UILUARD CHAMBER ORCHESTRA {centinued}

This performance is supported in part by Goldman, Sachs & Co.

At> a cent..-a!part of the Orpheus Institute at Juilliard, the Juilliard Chamber Orchestra is supported by a grant to Orpheus from the Peter Jay Sharp Foundation, along with additional funding from the Skirball Foundation and individual donors to Orpheus.

Please make certain that the electronic signal on your watch, pager, or ceil phone is turned off during the concert.

The raking of photographs and the use of recording equipment an: not permitted in this auditorium.

Further information regarding gifts to the School may be obtained from: The Juilliard School Development Office 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, Ext. 278 wwwjuilliard.eduj/giving J.S. BACH Es ist ein trotzig und verzagt Ding (Cantata for Trinity, BWV 176) Es ist ein trotzig wnd- verzagt Ding (Chorus) Lch meine, recht verzagt (Recitative: Contralto) Dein sonst hell beliebter Schein (Aria: Soprano) So wundre dich, 0 Meister) nicht (Recitative: Bass) Ermuruert euch (Aria: Contralto) Auf dass wir also allzugleich (Choral) ERIN MORLEY, Soprano TBD, Mezzo-soprano DAVID WILLIAMS, Baritone

Intermission

PURCELL Chacony for Strings in G minor, Z.730

JUILLIARD CHAMBER ORCHESTRA

J.S. BACH Christ lag in Todes Bandon (Cantata for the First Day of Easter, BWV 4) Sinfonia Versus I: Christ lag in Todes Baruien (Chorus) Versus II: Den Tad niemand zwil1iJen kmwt (Chorus, Soprano, Contralto) Versus III: Jesus Cbristns, Gottes Sohn (Chorus, Tenor) Versus IV: Es /Var in wunderlicher Krieg (Chorus) Versus V: Hier ist das rechte Osterlatnni (Bass) Versus VI: So[eiern wir das bobe Fest (Chorus, Soprano, Tenor) Versus VII: Wir essen 1wd Leben wobl (Choral) ARIANA WYAIT, Soprano SOLA..KGE M.ERDINiAl"'\', Mezzo-soprano MICHAEL KELLY, Tcuor MARc WEBSTER, Bass Notes on the Program by James Keller Battalia (Sonata di marche) point the composer could employ the very HEINRICH IGNAZ FRANZ BlBER complete name of Heinrich Ignaz Franz Born August 1644--baptized on the 12th of Biber von Bibern when he chose to-e-which that month--in Wartenberg, Bohe.mia-now we assume he did not ifhe was in a hurry. On Stniz pod Ralskem, Czech Republic the heels of this honor he was named Lord Died May 3, 1704, in Salzburg High Steward by the new Prince-Archbishop of Salzburg (Biber's original Salzburg boss Mention the Austrian city of Salzburg and had died in 1687), marking the lofty apex of music-lovers instinctively think of Wolfgang his professional and social ascent. Despite his Amade Mozart, its most famous native son. expertise as a violinist he appears not to have Far fewer people are likely to think of it as pursued a touring career as a virtuoso, the city of Heinrich Ignaz Franz Biber, who instead applying himself to his work in moved to Salzburg in 1670 and stayed for Salzburg. Nonetheless, he apparently was the remaining 34 years of his life. Keep your known in Munich (about seventy miles dis- eyes peeled next time you find yourself in tant) as he was twice decorated by the Salzburg and you may spot the h.istorical Bavarian Court there. His reputation lin- marker posted on a downtown building gered long after his death. A century later the marking his one-time residence. eminent British music historian Charles As a teenager Biber was already fraterniz- Burney wrote, "Of all the violin players of ing with the important Bohemian composer the last century Biber seems to have been the Pavel Vejvanovsky (still appreciated today, best, and his solos are the most difficult and especially by brass players), and in 1668 he most fanciful of any music I have seen of the was named musician and valet de chambre to same period." the Prince-Bishop of Olmutz (Olomouc), Indeed, it is for his string music that we where Vejvanovsky was working as a trum- mostly remember Biber today, although the peter. He achieved distinction as a virtuoso recen t revival of his vastly scaled, richly violinist, and in 1670 the Prince-Bishop sent scored masses and other sacred works alerts him to the Iuthier Jacob Stainer in Absam us to how much we have missing by not (just outside Innsbruck, ) to purchase knowing his vocal compositions. new instruments for the court. Biber didn't Nonetheless, today he is represented princi- make it that far. While passing through pally by his marvelous violin sonatas, includ- Salzburg en route, he was offered, and ing a contemplative series based on the accepted, a position with the Prince- Mysteries of the Rosary, and his chamber Archbishop of Salzburg. His ex-employer works for string ensembles. Among the latter was not amused and held off releasing Biber is the unusual piece Biber produced in 1673 from his service officially until 1676, by under the title Battalia: Das leiderliche which time it was clear that Biber would not Schwiirmen der Musquetirer, Mars, die be coming back. In the meantime Biber had Schlacht Undt Lamento der Verwundten, mit at least tried to temper the situation by send- Arien imitirt Und Bacco dedicirt ("'Battle: ing musical compositions back to the Prince- The Dissolute Reveling of Musketeers, Bishop in Olmiitz. March, the Battle, and Lament of the He rose quickly through the ranks of Wounded, Imitated with Airs and Dedicated courtiers in Salzburg, publishing several col- to Bacchus"). lections of instrumental music that he pru- This was one of several programmatic dently dedicated to his new Prince- "representational pieces" Biber produced; Archbishop. In 1684 he was appointed others include a serenade depicting a night Kapellmeister and dean of the choir school in watchman making his rounds and a piece in Salzburg. In recognition of his expertise as a which the solo violin is made to imitate a cat, violinist and composer and his service to his a frog, and a variety of birds. The extended community, Emperor Leopold I raised him title of Battalia basically alerts listeners to to the noble rank of knight in 1690, at which what they may expect in terms of plot, PROGRAM although the dedication to Bacchus may sug- is that he chooses not to end with the excite- gest a celebratory ending at odds with what ment and glory of the battle itself. Instead, really happens. Biber wrote this piece in he opts for deeper realism and appends as his 1673, probably for convivial Carnival cele- finale a Lamento der VerwulIdten brations at the Salzburg Court, which helps Musquetircr ("Lament of the Wounded explain the Bacchus dedication. It calls for a Musketeers"), a dismal Adagio in which lavish ten-part ensemble comprising three descending chromatic motifs and "painfully" violins, four violas, two violoncs (double extended suspensions evoke the maimed and basses), and harpsichord (with other instru- expiring soldiers left on the field when the ments participating in the basso continuo as smoke clears. desired), and it unrolls through eight shorr movements that depict the various episodes of the battle, from its preparation to its after-

math. Throughout, Biber provides hyper- Orchestral Suite in c majorl BWV 1066 depietive music enhanced by unusual effects Born March 21, 1685, ill Eise1lach, to bring the sense of the event alive. Thuringia, , In the opening Sonata the "special effect" Died July 28) 1750) in Leipzig) Saxony is col legno playing, in which the strings are struck with the wood of the bow. The second Johann Sebastian Bach was 32 years old movement, Die leiderliche Geselisdmft von when he assumed the position of allerey Humor ("The Dissolute Company Kapellmeister (music director) at the Court with all Kinds of Humor") sounds about 250 of Prince Leopold of Anhalt in Cothen, in years ahead of its time: it's a quodlibet in December 1717. It was a big decision for the which eight popular songs are played simul- composer, who already had a perfectly good taneously in teeth-gritting dissonance (both job as orchestra leader for the Duke of harmonic and metric). One of the tunes you Weimar, where he had worked since 1708. have probably heard before: Kraut Imd Accepting the new position was personally Ruben haben mich vertrieben ("Cabbage and disruptive quite beyond the fact that it Beets have Driven Me Away"), which entailed moving Bach's quickly growing fam- Johann Sebastian Bach would use seven ily the distance of about sixry miles; the Duke decades later in the quodlibet that caps off refused to accept Bach's resignation, and had his Goldberg Variations. In a notation in the him held under arrest for a month before he second violin part Biber unnecessarily finally relented and let his orchestra leader informs us, Hie dissonant ubioue nam ebrii go. sic diversis Cantilenis clamare solent ("Here it Bur the allures of Cothen were substan- is dissonant everywhere, for thus are drunks tial. Leopold's realm may have been small accustomed to bellow with different songs"). (with just 5,000 subjects), but his passion for A short and harmless Presto follows, and music was boundless. He was himself a rea- then an odd movement-Der Mars (possibly sonably accomplished performer on the viola "Mars" [the God of War], but I think. more da gamba, and he traveled to France, likely "March")-for just violin and double England, Italy, and the Netherlands to polish bass, which here imitate a fife and drum. his skills not only as a gambisr but also as a "Where the drumming occurs in the bass," violinist and harpsichordist. As a teenager the Biber wrote in his score, "one must place a Duke had convinced his mother to start hir- piece of paper on the string so that it creates ing a musical staff with whom he could play a rumbling." Another Presto follows, this one chamber music when he was at home in strikingly rustic, and then a tender Aria that Cothen, and by the time he assumed the the double basses sit out. throne himself, the assemblage had grown Now the battle erupts (Die SchlaclJt), into a full-fledged Collegium Musicum- with the instruments scurrying in sixteenth- essentially a mini-chamber orchestra. As it notes and the double basses letting loose happened, Friedrich Wilhelm I, the King of cannon fire by way of powerfully plucked Prussia, had just then re-allocated his pizzicatos. The final surprise of Biber's piece resources to put more money into military spending, and as a result Leopold had his forty of them, Johann Friedrich Fasch pro- pick of the newly unemployed players who duced a hundred, and Georg Phillipp had performed in the King's orchestra. Telemann composed nearly two hundred (or What Prince Leopold could offer Bach so he claimed). These suites went under var- was a professional ensemble of three violin- ious names; Partie (or Parthie) was perhaps ists, a cellist, a double-bassist, two flutists, an the most common, but Bach called all four of oboist, a bassoonist, rwo trumpeters, a tim- his Ouvertures. There's nothing wrong with panist, and organist, and three singers-and using the popular term Orchestral Suite, but their numbers might be eked out by several modern listeners should never forget that amateur musicians who held other positions these works were actually written for some- at his court. Because Prince Leopold adhered thing closer to chamber forces rather than for to the Reformed (Calvinist) faith, his church what we think of as orchestras. services didn't require elaborate music; that Such pieces typically began with a rather formal introductory movement (the overture freed up his music director to spend most of his time writing secular instrumental pieces, proper), and continued with a variety of such as sonatas, concertos, and orchestral dance movements. The Suite on this pro- suites. In addition to these musical induce- gram-the First (in C major, BWV 1066)- ments, there was Leopold's practically serves as a catalogue of the many popular unbeatable financial proposal: Bach would be stylized court dances of the early-to-mid the second-highest-paid employee of the eighteenth century: the quick, triple-time entire court, and Bach's wife would be paid Courante; the cheerfully formal, four-square half as much to serve as a singer. This was an Gavotte; and the triple-time Menuet; as well offer the Bachs could hardly refuse. as such secondarily pervasive dances as the Unfortunately, the nearly six-and-a-halfyears Forlane (an old Italian dance in 6/8 time, Bach spent in Cothen would not be entirely rather like a jig), the Bourrce (in rapid duple happy. His wife died in 1720, leaving him a meter), and the Passepied (a fleet-footed single father of seven children; but he remar- Breton dance). Bach sometimes binds ried a year and a half later, and generally together two examples of a dance into pairs prospered, moving on only when offered the (Gavotte I and II, Menuet I and II, or prestigious position of cantor of the city of Bourree I and II), in which cases the "I" is played, followed by "II" and then a return to Leipzig, in 1723. "1." The Suite opens with an expansively Many of Bach's most buoyant instrumen- plotted Ouvcrture in the French style that tal works are thought to date from his years open and close grandly with stately dotted at Cothen, including his six Brandenbu'lJ Concertos, his violin concertos, and perhaps rhythms, with a quick, fugal section in the his four orchestral suites. The exact chronol- middle. Bach's c-major (First) Orchestral Suite pgy of these works is often problematic, since most of Bach's Cothen manuscripts are lost. (scored for two oboes, bassoon, ·strings, and continuo) is plotted as a spacious overture Many survive only in copies or transcriptions with five dances, which the composer treats Bach made later for the Collegium Musicum without undue harmonic or contrapuntal he led in Leipzig. This is the case with all intricacy. It was almost certainly the first of four of Bach's Orchestral Suites, whose only the Orchestral Suites to be composed, and it surviving manuscripts were copied out by the seems the most old-fashioned of the bunch, composer after his period in Cothen; the with its opening Ouverture hewing relatively extant orchestral parts for the first three closely to the seventeenth-century model of suites similarly date from the 1730s. Recent the French overture as defined by Jean- research has led some scholars to believe Baptiste Lully, right down to using the sub- that, exception for the First, Bach's ensemble of two oboes and bassoon as a con- Orchestral Suites were written in the 1730s certante group in the fugal section, as well as in Leipzig, but most musicologists seem to its presenting dances in pairs, another French adhere to the belief that they were written trait established in Lully's time. A peculiar originally for Prince Leopold, around 1720. characteristic of the work is that the dances' Orchestral suites were extremely popular themes seem at least vaguely chorale-like in in central Germany during Bach's time: their melodic contours; it has been suggest- Johann Christoph Graupner wrote about PROGRAM

ed that the chorale melody "Die, Die, belief that musical patterns were inherently Jehovah, will ich singen" may have served as attached to physiological-and hence psy- the implied er-melody of the whole suite, a chological-responses of listeners, and theo- speculation we may accept or not as we wish. rists doggedly catalogued such connections Another external gesture comes in the of tones to animate entities supposedly resid- Gavotte II, when the double-reed trio (two ing within the body. oboes and bassoon) is accompanied by the This is a shorr cantata by Bachian stan- unison violins and violas playing a military dards, and it would have been even shorter if fanfare that was widely known at the time-s- the composer had stuck to Ziegler's soon-to- a fanfare Bach had already used in 1716 in be-published text, which in this case atypical- his cantata "Wachet! beret! beret! wachet!" ly includes only one recitative-and-aria. It isa (BWV 70). What this was supposed to mean musical reflection on the Gospel reading for is anyone's guess, but it's a detail so notice- the day (John 3:1-15), and it takes the form able as to suggest something special was of a recitative for contralto and an aria for afoot. soprano, the latter based on gavotte rhythms. The ensuing recitative-and-aria dyad was apparently Bach's own textual addition. The Es is' ein trolzig und verzagt Ding bass recitative concludes with an extended (Cantata far Trinity Sunday, BWV arioso relating to the famous Gospel verse 176) John 3:16-"God so loved the world ... "- JOHANN SEBASTIAN BACH after which the contralto sings an aria that is full of specific word-painting to underscore Es ist ein trotzitJ und verzagt Ding was Bach's the affects of such momentary references as Cantata for Trinity Sunday 1725, which that shuddering, glorifying, and praise. Because year fell on May 27. From April 22 to May this was a cantata for Trinity Sunday, Bach 27, Bach produced no fewer than nine can- originally employed three oboes (two regular tatas, bringing to a close his second full-year oboes plus an oboe da caccia) playing in uni- cycle of liturgical cantatas. All nine use libret- son in this section, but he apparently re- tos based on poems by the Leipzig author thought the wisdom of this idea and later Christiane Mariane von Ziegler (1695- eliminated the higher oboes, thereby increas- 1760), who would publish them in 1728 in ing the likelihood of pure intonation by leav- her collection Versuch in gebundener Scbreih- ing the soprano to address only the oboe da Art. Each of her texts begins with a Biblical caccia. (Modern interpreters get to choose text, proceeds usually through two recitative- between these two "stares" of this move- and-aria pairs, and concludes with a chorale. ment.) Bach sets the opening Biblical quotation The cantata ends, as most Bach cantatas (Jeremiah 17:9) as a four-part choral fugue. do, with a forthright setting of a chorale, in This is an oddly-structured fugue in which this case a verse from the hymn "Gott Vater, the exposition is repeated and then partly sen de deinem Geist" by the poet Paul repeated again, each time opening with a Gerhardt (1607-76), which appeared with irs bass entry on the tonic and with some addi- melody (Martin Luther's chorale "Christ tional counterpoint superimposed along the unser Herr zum Jordan kam") in the fifth way. The composer is attentive to word- edition of Johannes Cruger's Praxis pietatis painting in his settings of the two contrasting melica of 1653. This chorale melody sits suggestions of the words trotziq ("deceitful," uneasily between the worlds of ancient "spiteful," or "obstinate," which invites a modality and modern tonality, and therefore prideful ascending scale) and verzagt presents certain challenges for someone who (vdespainng," "fearful," or "sick," rendered would harmonize it using the musical lan- through a creepy-crawly chromatic figure). guage of 1725. Bach, of course, rises master- This text-setting was deeply allied to the view fully to the challenge. of music that pervaded Baroque Germany, a Chacony for Strings in G minor Memory to acknowledge, that his Works, in general, affect more powerfully, than those IZ.730j HENRY PURCELL of almost any other Author." England had enjoyed a musical golden Born September 10, 1659, in Westminster, age in the late-Loth and early-17th centuries, London the heady Elizabethan and Jacobean eras, Died November 21, 1695, at Dean's Yard, but musical practice had been somewhat Westminster, London treading water for several decades by the time Purcell burst onto the scene. British Henry Purcell, widely acknowledged as the composers seemed not to be devising any- greatest British composer between the gold- thing to rival the groundbreaking musical en age of the English Renaissance and the twentieth century, died before the seven- advances taking place on the continent, and English musical practice accordingly proved teenth century was up, at the tragically open to influence from abroad. From France young age of 37. His musical career began came the model of the early orchestras, and early: he was a boy chorister at the Chapel the Vingt-quatre Violons of the Court at Royal in London, and he remained an Versailles provided a template for the "Four accomplished singer-a countertenor, it and Twenty Fiddlers" of the English Court. seems-throughout his later life. He In vocal music, innovation arrived borne on advanced quickly in the English musical Italian breezes, as the early-Baroque stile establishment, and on his eighteenth birth- rappresentativo, the recitative style that day received an appointment as a composer allowed texts to follow something of the for the violins at court. After that he would rise through various court positions as organ- contours of expressive speech. Purcell wrote music in most of the princi- ist of Westminster Abbey, Gentleman of the pal genres of his day, producing reams of Chapel Royal, curator of the King's wind and music both secular and sacred, vocal and keyboard instruments, and Composer in instrumental: masques, songs, anthems, Ordinary for Charles II, James II, and sacred services, celebratory odes, keyboard William and Mary. He seems to have fallen music, and works for the orchestras and sick suddenly, hastily wrote out a will, and favorite chamber groupings of his day. His died, lamented as England's eminent com- G-minor Chacony (Z. 730-"Z" listings poser. His remains lie beneath the north aisle relate to Franklin B. Zimmerman's 1963 of Westminster Abbey; a marble tablet Henry Purcell, 1659-1695: An Analytical affixed to a neighboring pillar reads "Here Catalogue of his Music) for a four-part string Iyes Henry Purcell Esq., Who left this Life, ensemble is apparently the earliest of his And is gone to that Blessed Place Where only instrumental ensembles, probably dating his Harmony can be exceeded." Popular from 1678, just after he was appointed com- confusion notwithstanding, the composer's poser for the Royal Violins. At about the surname is pronounced with the accent on same or a few years later Purcell began to the first syllable; this seems clear from the produce his two collections of chamber way his name scans when it comes up in sonatas: the "Twelve Sonnata's of III Parts" poetic tributes penned during, or shortly (Z. 790-801) published in London in 1683, after, his life-this in itself reflecting the and the "Ten Sonata's in Four Parts" (Z. celebrity he enjoyed during his brief span. 802-811) published in London posthumous- His achievements were long regarded ly in 1697, though they were probably writ- with awe. In 1768 the composer William ten at about the same time as the first set. Boyce would declare, in his book Cathedral Apart from his keyboard works, these ensem- Music: "He appears to have possessed a ble pieces, which draw on Continental mod- Genius superior to any of his Predecessors, els to build on the tradition of English con- together with a depth of Musical Knowledge sort music, represents his principal contribu- not inferior to the most learned of them. His tion to instrumental music, along with Talents were not confined to any particular numerous instrumental numbers in his Manner or Stile of Composition, for he was masques and incidental theatre music plus a equally excellent in everything he attempted; few standalone pieces. and it is doing bur common Justice to his PROGRAM

The chacony-.-a slightly eccentric English was in comparison to some of his contempo- spelling of what is known in French as cha- raries: Telemann's catalogue includes 1,518 conne and in Italian as ciaccona-was a pop- church cantatas, and Graupner's, some ular dance in triple time often adapted for 1,418. use in elaborate instrumental or vocal com- Bach wrote his earliest cantatas in 1707- positions. It characteristically involved a 08 while employed as organist of the structure in which variations are developed Blasiuskirche in the Thuringian town of above an obsessively repeated ostinato in the Miihlhausen, although Christ lag in Todes bass. In Purcell's setting, the variations Banden may possibly date from a year earlier, unroll over a gradually elaborated (and when he was still a church organist in sometimes elongated) bass theme of eight Arnstadt. His tenure in Muhlhausen was measures' duration; by the time the piece is brief, and in 1708 he moved to Weimar in done we have heard this chromatically fla- the Electorate of Saxony to serve as a cham- vored osrinato 18 times and been astonished ber musician and court organist (as opposed by the rich overlay Purcell has superimposed to his previous posts as organist of a civic above it. The minor mode, by the way, was church). During his first several years there much favored by Purcell. In 1779 John Bach seems to have penned a couple of occa- Stafford Smith, a pupil of Boyce's and a pio- sional cantatas for secular events but mostly neer of English musicology, wrote, "Mr. busied himself setting down organ solos. On Purcel [sic] has been heard to declare more March 2, 1714, however, he was elevated to than once, that the Variety which the minor the post of Konzertmeister, apparently in a Key is capable of affording, by the Change of bargaining maneuver that included his rum- Sounds in the ascending and descending ing down a job offer extended by the town of Scale, induced him so frequently to give it Halle. {Six days later his fifth child, Carl the Preference." Philipp Emanuel, was born.) Attached to Bach's promotion was the responsibility to compose and direct a new cantata every Christ lag in fades Banden (Cantata month for the court chapel. for the First Day of Easter, BWV 4) It seems that Bach did apply himself in jOHAl'lN SEBASTIAN BACH this particular post for about three years; but after he was passed over for a further promo- Slightly more than two hundred cantatas by tion when the position of Knpellmeisur Johann Sebastian Bach have made their way opened up in 1716, his enthusiasm dimin- down to us. Some scholars imagine that he ished considerably. In December 1717, he may have written nearly a hundred more that moved on to the Court of Prince Leopold of have been lost, but even the quantity that Anhalt in Cothen-c-this probably is the peri- survives is large enough to make cantatas the od of the Orchestral Suites-but as Cothen largest single.category in his hefty catalogue was a Calvinist court and cantatas were not a of compositions. The vast majority of them part of Calvinist worship traditions. Bach's were intended for specific ecclesiastical use, cantatas therefore date principally from three though about thirty are so-called secular can- of his years in Weimar (1714-16) and from tatas written. to enhance all manner of cele- his long tenure in Leipzig, where he would brations, including birthdays and name-days, move in 1723. During his first few years in weddings, New Year's festivities, and govern- Leipzig, between 1723 and 1729, Bach mental and ecclesiastical appointments. But proved extraordinarily fruitful in producing it is in Bach's church cantatas that we find cycles of cantatas suitable for all the Sundays the most impassioned intersection of musical and major feasts of the ecclesiastical year. He application and textual fervor, a combination is believed to have completed at least the that some view as simply the natural expres- bulk of five such full-year cycles, although a sion of an exorbitant talent, and that others good many from the last two cycles (from see as a supreme declaration of Lutheran 1728 and later) have gone missing. The can- faith. As with the orchestral suites, we might tatas were sung in Sunday services immedi- pause to consider how meager Bach's output ately following the Gospel reading; in gener- al their librettos related in some way to that new music for the concluding chorale verse. text, although sometimes the connection was The brief opening Siefonie. darkly prefig- loose. In cases of very long cantatas, the ures melodic snippets from the chorale rune, piece could be split in rwo, with the second preparing us for Versus I, in which the choral half sung later in the service, after the ser- sopranos (doubled by cornetto) sing the mon. opening verse of the hymn as a canms firmus The Cantata Christ Lag ill Todes Ba1tdm in long notes while the other choral parts (BWV 4) is an altogether exceptional entry (doubled by trombones) and strings w-eavea in the roster of Bach's cantatas. It is thought vigorous web of counterpoint above and to be one of his earliest-perhaps his very below it, wirh each phrase of the chorale earliest-probably written in 1707 or 1708 defining an independent episode of the (that is, at the age of 22 or 23) in Amstadr movement. The concluding word of the sec- or Mulhauscn. It may well have been his tion-"Hallelujah"-is developed fugally, at audition piece for what would be his move a quicker tempo (Alia breve). from Arnstadt to Mulhause», since a docu- In versos II the soprano and contralto ment from just then in the Muhjhausen (solos now) echo the "deconstruction" of archives informs us that "Pachen [surely the hymn tune as prefigured in the sinfonia, Bach] of Arnsradt recently provided a and the melody continues out of this into its demonstration of his skills at Eastertide." literal formulation-all this against a "walk- Although we lack details about its earliest ing bass line" whose constant rhythmic repe- history, there is no doubt that Bach got fur- titions and register shifts give it the illusion ther use out this piece, presenting it in of being an ostinato part. In Versus III the Leipzig in 1724 (the individual parts for this chorale goes to the solo tenor, with the vio- performance survive) and probably on other lins (firsts and seconds together) offering a occasions during his lifetime. lively descant. The rhythm breaks off sud- This is a particularly pure example of the denly at the words "Tods Gestalt" "chorale cantata," in which each movement ("Appearance of Death")-a dramatic and is essentially a chorale prelude on a succeed- entirely unanticipated moment, after which ing verse of a pre-composed hymn: in this the movement continues to its end as ifnoth- case, the entirety of the famous Easter hymn ing had happened. "Christ lag in Todes Banden," derived by Versus rv is given to the four soloists plus Martin Luther himself from the eleventh- continuo, with the cantus firmus assigned to century Easter sequence "Victimae paschali the contralto and the other parts building on laudes" and published in 1524. Such chorale fragments of the rune. The movement cantatas, rather severe in concept, were pro- remains in the cantata's overriding key of E duced abundantly by composers in seven- minor, but here Bach demonstrates his inge- teenth-century Germany, and it would have nuity by moving the chorale melody itself a fifth up, to B minor. Versus V swings into been perfectly logical for Bach to present such a tour de force as an audition piece in triple time (everything else in this cantata is 1708. The popularity of this style would duple), with the five-part string choir echo- ing the phrases of the solo bass and the con- soon wane. Although chorales continue to figure in Bach's cantatas and those of his tinuo managing to work. in allusions to a contemporaries, the later Baroque cantatas descending chromatic bass-line: all in all a very seventeenth -cenrury sound, practically also incorporate (from Italian models) newly harking to the time of Heinrich Schutz. In created texts set as recrtatives, arias, and Versus VI the solo soprano and tenor trade ensembles that have no direct connection to off phrases of the chorale melody (and trade liturgical chorales. The sound of Christ lag off harmonizing it), while the continuo part in Todes Bandon is dense and (for Bach) moves beneath in a ceaseless pattern of dot- archaic, using a seventeenth-style instrumen- tal ensemble of five parts: two violins, tWO ted-eighth and sixteenth notes. For Versus VII Bach proposed a straight- violas, and bass with continuo, to which forward four-part chorale harmonization; Bach added brasses (comett and three trom- the vocal parts of this survive from the revival bones) to double some of the choral lines of 1724. A historical problem arises when we when he revived this cantata in Leipzig. At learn that, unless this cantata was an anom- that time he seems also to have composed PROGRAM aly, Bach did not use simple chorale endings Versus IV: Four-part vocal for his cantatas prior to 1714. This, along Versus V: Solo with other evidence of the manuscript itself, Versus VI: Duet has led to speculation that the chorale that Versus VII: Four-part vocal now serves as a "finale" was Bach's 1724 replacement for an original movement in a To make Versus VII mirror Versus I in its more florid style. One ingenious solution for actual musical text actually intensifies this suggesting the original text is to simply scheme. On the other hand, it usually repeat the music of Versus I, now with the behooves us to be happy with what we have text of Versus VII. This makes very good rather than to yearn for what we have not, musical sense when it dawns on us that, fol- and simply presenting the unadorned chorale lowing the preludial sinfonia, the entire can- we know was part of this piece in 1724 will tata has been strucrured symmetrically as a hardly strike most of us as unbearably sort of palindrome in terms of the disposition anachronistic. of forces and the musical style of movements: Versus I: Four-part vocal James M. Keller is Program Annotawr of Versus II: Duet the New York Philharmonic and the San Versus III: Solo Francisco Symphony. ©James M. Keller

Meet the Artists Judith Clurman and Alvin Ailey II. Her choruses have per- serves on the faculty formed with the New York Philharmonic and of The ]uilliard Boston Symphony. Ms. Clurman has com- School, where she is missioned works by award-winning com- also director of posers Milton Babbitt, William Balcom, choral activities. She David Diamond, Libby Larsen, Paul led the Juilliard Moravec, Stephen Paulus, Augusta Read Choral Union and Thomas, and Christopher Rouse. Her Orchestra In recordings with the New York Concert Mozart's Requiem Singers, a professional chorus she directed at Carnegie Hall on for fifteen years, have been acclaimed by crit- September 11, 2006. In October 2006 she ics. In addition to her choral conducting co-directed and conducted concerts at classes and summer workshops at Iuilliard, Harvard University's "Leonard Bernstein: Ms. Clurman has given master classes and Boston to Broadway" festival, featuring the lectures at Cambridge University and Eton world premiere of Bernstein's recently dis- College in England, the Janacek Academy in covered arrangement of Gershwin's the Czech Republic, the Universita Rhapsody in Blue. Ms. Clurman has served as d'Ancona in Italy, and me Zimriya in Isra~l. guest conductor for the Orchestra of St. Ms. Clurman is a member of the SpeCIal Luke's; Lincoln Center's Great Performers Classifications Committee and Awards Panel and Mostly Mozart Festival; the New York of ASCAP and a consultant at G. Schirmer City Ballet; Bravo: Vail Music Festival; Music. Virginia Symphony; Rebecca Kelly Ballet; The Juilliard Choral Union Founded by conductor and director of choral Requiem with the Iuilliard Orchestra, led by activities Judith Clurman, the Juilliard conductor James Del'reist at Carnegie. In Choral Union is a community-based sym- December 2005, they again collaborated phonic chorus comprised of talented volun- with the Brooklyn Youth Chorus, performed teer singers from the metropolitan area who Mahler's Symphony No.3 with the Iuilliard dedicate themselves to achieving the highest Orchestra under James Conlon at the same level of performance. The chorus also venue. Allan Kozinn of The New York Times includes currently enrolled graduate and observed that "[tjhe Iuilliard Choral Union undergraduate Iuilliard students, staff, and sang with brightness and vibrancy.... [T]hey administrators. In their short history, the swept the listener into Mahler's idiosyncratic Iuilliard Choral Union has compiled an world and made it seem that this is just the interesting and unique performance profile. way the universe is." They commemorated the first anniversary of Other recent performances include the 9/11 with a community sing of Mozart's world premiere of the Ballet Requiem, led by Judith Clurman, in 2002. production of Peter Martins' Chichester With the Orchestra of St. Luke'S, they sang Psalms)' the New York Pops' holiday concert during the televised first memorial service at at Carnegie Hall; the United States premiere the site of the World Trade Center, and of the original chamber version of Rossini's returned again for the final family memorial. Petite Messe Solennelle; on Lincoln Center's This year, they commemorate the fifth American Songbook series; and on Stephen anniversary of9/11 with a New York Mets- Sondheim's birthday concert at New York's sponsored community sing of Mozart's Wall to Wall Sondheim (Their performance of Requiem at Carnegie Hall, conducted by Jason Robert Brown's arrangement of Ms. Clurman. Stephen Sondheim's "Sunday" was pressed The Choral Union often collaborates on the special Symphony Space Wall to Wall with Iuilliard ensembles, including a per- Sondheim disc.) Their engagements last sea- formance of Britten's War Requiem with the son included a concert of traditional and Iuilliard Symphony and the Brooklyn Youth original holiday music at Juilliard and An Chorus, led by conductor David Atherton, at Evening of Richard Rodgers with Marvin Carnegie Hall in 2003. In January 2005, Hamlisch and the New York Pops at they performed Brahms' Ein deutscbes Carnegie Hall.

Juilliard Chamber Orchestra and Orpheus Institute at Juilliard The student-led Juilliard Chamber creating a working environment where stu- Orchestra is a central part of the Orpheus dents are empowered to make artistic and Institute at Juilliard program. Coached by career decisions, Orpheus and )uilliard are members of the Orpheus Chamber together training a new generation of music Orchestra and based on the Orpheus model entrepreneurs who will be prepared to lead of collaborative leadership, students select in an evolving 21st-century arts marketplace. The Orpheus Institute at )uilliard is sup- repertoire, coordinate personnel, and help plan rehearsal schedules. From methods of ported by a grant to Orpheus from The Peter musical communication to administrative Jay Sharp Foundation, and additional fund- problem solving, the Orpheus Institute pro- ing from the Skirball Foundation and indi- vides students with instruction and experi- vidual donors to Orpheus. ence in crucial arts leadership skill sets. By PROGRAM JUILLIARD CHORAL UNION

Judith Cluj-man, Artistic ALTO BASS Director Heather Cole Matthew Barcewicz Joanna Trebelhorn, Chorus Nancy DeVore walter Gerasimowicz Manager Tina Gonzalez Roderick Gomez Tina Gonzalez, Personnel Anresa Jensen Roy Lloyd Manager Mary Marathe Christopher Lorway Randy Neff, Artistic Assistant Theresa McAllister Andrew Martens Laura Poe, Rehearsal Pianist Caroline: Moore Randy Neff James Wetzel, Librarian Michelle Oesterle Paul Phillips Christopher Rothko TENOR Vincent Vargas SOPRANO Scott Addison James Wetzel Sarah Baumgardner Michael Banino Louise Bloomfield Darren Bulhak Toby Conner Aidan Connolly Janet Davidson Alex Drilon Lara Hirncr BradFord Kcr rin Perkins Mart Herbek Sara Schmidtchen Phillips M ukund Marathe Sonya Stepanyan Josh Rubingcr Naomi Weinstock Andy Willett Liz Weiss

JUILLIARD CHAMBER ORCHESTRA

VIOLIN VIOLA DOUBLE BASS Kinga Augustyn Luke Fleming Mark Wallace Ann Fink Ioo H}'Un Song

Paladio Garcia Gareth Zehngur OBOE Wayne Lee Esme Allen-Creighton Jennifer Christen wanzhen Li Yousun Chung Christina McGann CELLO Lisa Romain Emily Brausa BASSOON Eric Siu Michal Korman Laura Wenninger Annie Yano Phoebe Lin HARPSICHORD Alexandra Snyder