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Home , Bach Medal, Christmas Oratorio, Collegium Vocale Gent, Echo Klassik, Evangelist (Bach), Masaaki Suzuki

Bach’s

Bach Collegium

Masaaki Suzuki Director

Sherezade Panthaki / Soprano Jay Carter / Countertenor Zachary Wilder / Tenor Dominik Wörner / Bass

Friday Evening, December 8, 2017 at 8:00 Hill Auditorium Ann Arbor

27th Performance of the 139th Annual Season 139th Annual Choral Union Series Choral Series Media partnership provided by WGTE 91.3 FM. records for BIS. Bach Collegium Japan appears by arrangement with International Arts Foundation, Inc. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM

Johann Sebastian Bach , BWV 248 (excerpts)

Part I Jauchzet, frohlocket, auf, preiset die Tage

Part II Und es waren Hirten in derselben Gegend

Intermission

Part III Herrscher des Himmels, erhöre das Lallen

Part VI Herr, wenn die stolzen Feinde schnauben

3 CHRISTMAS ORATORIO, BWV 248 (EXCERPTS) (1734)

Johann Sebastian Bach Born March 31, 1685 in Eisenach, Germany Died July 28, 1750 in

UMS premiere: J.S. Bach’s Christmas Oratorio, nor any of the which make up the work, has ever been performed as part of a full concert program at UMS. However, from the oratorio have shown up on various recital programs over the past century: “Bereite dich, Zion” (Prepare thyself, Zion) on a Marian Anderson recital in Hill Auditorium (1954); “Was will der Hölle Schreken nun” (What will the terrors of Hell now) with the Bach Group featuring soprano Eileen Farrell, tenor Jan Peerce, and cellist Bernard Greenhouse in Hill Auditorium (1960); and “Nur ein Wink von seinen Händen” (Only a wave of His hands) on an recital in the Lydia Mendelssohn (2004).

Snapshots of History…In 1734: · Lutherans expelled by the Roman Catholic Bishop of Salzburg (“Salzburgers”) arrive in the British Colony of Georgia · The closes as a result of difficulties including arguments between Handel and his singers · George Sale produces a translation of the Koran into English

Bach’s Christmas Oratorio was never the Christmas season of 1734–35. meant to be performed on a single day. Many of the choruses and arias were It was, rather, a “serialization” of the “recycled” from two secular cantatas Christmas story — a set of six (or, as Bach called them, “dramas cantatas, similar in structure to the for music”) written shortly before approximately 200 cantatas Bach wrote to celebrate the birthdays of two for church services held throughout members of the Saxon royal family. the liturgical year. In one important Such repurposing was rather common respect, however, these cantatas differ at the time, yet Bach made many from the others: some of the changes as he reworked his material are sung by the reading to adapt it to its new function as from the narrative, rather than religious music. by unnamed soloists representing The six cantatas were destined, members of the congregation. There respectively, for Christmas Day, the are also a few lines for the Angel or second and third days of Christmas, King Herod — in other words, the work New Year, the Sunday after New Year, has a dramatic element somewhat and the Feast of . (At this reminiscent of the that we concert, we will hear Parts I, II, III, wouldn’t find in most cantatas. and VI.) The text is a fusion of three Not all the music in the Christmas separate layers. First, the biblical Oratorio was newly composed for narrative, based on the of

4 St. Luke and St. Matthew, is delivered third lower, and the oboi da caccia or in the Evangelist’s and in “hunting ,” pitched a fifth lower the turbas, or choruses sung by the than the regular oboes, like modern crowd. Other recitatives, and all arias, English horns. Several times in the have texts written expressly for Bach, work Bach requires an quartet most likely by Christian Friedrich consisting of two oboi d’amore and Henrici (also known as ), who two oboi da caccia. also penned the aria texts of the St. Five of the six cantatas begin with Matthew Passion. Finally, the oratorio large choruses in dance rhythms, in contains numerous , or hymns keeping with the celebratory mood from the Lutheran church tradition, of Yuletide. Each of the opening some of which are by choruses is rather complex in its himself, others by his followers. motivic elaboration. Several have The cantatas cover ’ birth middle sections in minor keys for (Part I), the Adoration of the Shepherds emotional contrast, or include (Part II), their visit to Bethlehem (Part imitative, contrapuntal passages and III), Jesus’ circumcision (Part IV), the various types of call-and-response appearance of the Magi before King figures. The opening chorus of Part Herod (Part V), and the Adoration of VI combines a veritable the Magi (Part VI). Even though the concerto with a choral , performance of the entire work was maximizing the celebratory mood. Part spread over a period of almost two II is the only section of the oratorio to weeks, the unity of the oratorio is lack an opening chorus; in its place, preserved by the fact that the first and this opens with an orchestral the last cantatas share the same key in pastoral style and a gently and the same instrumentation (with rocking rhythm. A good example for three and ), providing a a turba chorus is “Lasset uns nun pair of magnificent bookends between gehen” (Part III), where the shepherds which the Christmas story unfolds. start out on their way to Bethlehem to There is significant diversity in the see the baby Jesus. succession of recitatives, arias, big Quite another type of choral singing choral movements, and simple is represented by the numerous settings, due, first of all, to a varied chorales woven through the six parts instrumentation. The full , of the oratorio. Many of the chorale with trumpets and kettledrums, is melodies are also familiar from other present in the first and last cantatas works by Bach such as the St. Matthew as well as in Part III. The two Passion. We hear them some of the are used in certain movements only, time in straightforward four-part adding a special color. The most harmony, and some of the time in important family of instruments in the more complex arrangements, with the work is, without question, the oboe, of melody embedded in a more complex which Bach prescribes no fewer than texture. Sometime Bach used the hymn three varieties, almost always in pairs: melodies in very unusual ways, as in the regular oboes, the oboi d’amore “Er ist auf Erden kommen arm” (Part I) or “oboes of love,” pitched where the soprano sings the chorale

5 melody against an elaborate oboe duet, matched to the aria’s subject matter. with the chorale interrupted after each For instance, the tenor aria “Frohe line to make room for the bass soloist’s Hirten” (Part II) is scored with a solo recitative which offers a commentary , representing the traditional on the chorale. shepherd’s pipe, and the bass aria Bach gave each of his soloists “Großer Herr, o starker König” (Part I) several solo arias in which to includes a very regal trumpet part. demonstrate their abilities. Since Many of the arias are preceded by female singers were not allowed in recitatives that have Gospel verses church, Bach had to work exclusively or original poetic lines for their texts. with boys and men. He must have had Most often accompanied only by the some extremely gifted children at his continuo section (organ and string disposal when he wrote the soprano bass), sometimes they are scored with and alto solos of the Christmas a more elaborate instrumentation to Oratorio. Yet he could evidently expect give additional emphasis to the text. more of the men who sang the tenor Bach often treats the text in such a and bass parts and those arias are a dramatic way that we begin to feel what lot more demanding technically than a great he could have those for the higher voices. been if he had only had the opportunity Typically, an aria in a Bach cantata to work for the musical stage! features an instrumental solo in addition to the solo singer; the Program note by Peter Laki. combinations of voice types and instrumentations are always carefully

Photo (next spread): Bach Collegium Japan; photographer: Marco Borggreve.

6 ARTISTS

Since founding Bach Collegium Japan Festival of Sacred Music. Other highlights in 1990, (director) has include return visits to the Amsterdam established himself as a leading authority Concertgebouw, the , on the works of Bach. He has remained and Théâtre de Champs Elysées in Paris, their music director ever since, taking them and a tour of the US performing at venues regularly to major venues and festivals including Alice Tully Hall in New York and in Europe and the US and building up an San Francisco’s Davies Symphony Hall. outstanding reputation for the expressive Maestro Suzuki combines his refinement and truth of his performances. career with his work as In addition to working with renowned organist and . Born in , period ensembles, such as the Orchestra he graduated from the Tokyo University of the Age of Enlightenment and of Fine Arts and Music with a degree in Philharmonia , he is invited composition and organ performance and to conduct repertoire as diverse as went on to study and organ at Britten, Fauré, Mahler, Mendelssohn, and the Sweelinck Conservatory in Amsterdam Stravinsky, with such as the under and Piet Kee. Founder Baltimore Symphony, Danish National Radio and Professor Emeritus of the early music Symphony, Deutsches Symphonie Orchester department at the Tokyo University of the Berlin, , and the San Arts, he was on the choral conducting Francisco Symphony Orchestra. This season faculty at the Yale School of Music and Yale sees Maestro Suzuki make return visits to Institute of Sacred Music from 2009–2013, the Bergen Philharmonic Orchestra, the where he remains affiliated as the principal Orchestre Symphonique de Montréal, and guest conductor of . the Sydney Symphony Orchestra. In 2012 he was awarded with the Leipzig Maestro Suzuki’s impressive and in 2013 the Royal Academy discography on the BIS label, featuring of Music Bach Prize. In April 2001, he all Bach’s major choral works as well was decorated with Das Verdienstkreuz as complete works for harpsichord, has am Bande des Verdienstordens der brought him many critical plaudits — the Bundesrepublik from Germany. Times has written: “it would take an iron bar not to be moved by his crispness, Bach Collegium Japan was founded in sobriety, and spiritual vigor.” 2014 marked 1990 by Masaaki Suzuki, its inspirational the triumphant conclusion of Bach music director, with the aim of introducing Collegium Japan’s epic recording of the Japanese audiences to period instrument complete Church Cantatas initiated in 1995 performances of great works from the and comprising 55 volumes. The ensemble Baroque period. Comprised of both Baroque has now embarked upon extending their orchestra and chorus, their activities repertoire with recent discs of Mozart’s include an annual concert series of Bach’s and in c minor and a future cantatas and a number of instrumental release of Beethoven’s Missa Solemnis. programs. The award-winning ensemble This season, Bach Collegium Japan has recently begun to explore classical makes their debut appearance in repertoire, and released a recording of Switzerland at the Fribourg International Mozart’s Requiem in November 2014.

7 8 9 They have acquired a formidable Variations Festival. The 2013–14 season international reputation through their saw the ensemble debut in the Czech acclaimed recordings of the major choral Republic at the Prague Spring Festival works of Johann Sebastian Bach for and in Mexico. A sold-out tour in fall 2015 the BIS label: 2014 saw the triumphant marked their fifth visit to North America. conclusion of their recorded cycle of This season’s highlights include a return the complete Church Cantatas, a huge to North America performing at Yale undertaking comprising over 50 CDs University, Lincoln Center, UMS, San initiated in 1995. This major achievement Francisco Symphony, and the Philharmonic was recognized with a 2014 ECHO Society of Orange County as well as Klassick “Editorial Achievement of the performances in Europe at the Thüringer Year” award. Their recent recording of Bachwochen and Leipzig Bachfest; a tour Bach was honored with a German to Gronigen, Amsterdam, and Paris; and Record Critics’ Award (Preis der Deutschen their debut in Switzerland at the Fribourg Schallplattenkritik), Diapason d’Or de International Music Festival. l’Année 2010, and in 2011 with a BBC Music For more information, please visit Magazine Award. BBC Music Magazine www.bachcollegiumjapan.org, or follow again recognized Masaaki Suzuki and Bach Bach Collegium Japan on Facebook Collegium Japan, selecting their recording @bachcollegiumjapan and Twitter of Mozart’s Great Mass in c minor as @bach_collegium and @bach_collegiumE. “Recording of the Month” in January 2017. The disc follows their first recording of Sherezade Panthaki’s (soprano) Mozart — the Requiem — released in 2015, international success has been fueled by and builds on Maestro Suzuki’s continuing superbly honed musicianship; “shimmering wish to explore the tradition and line of sensitivity” (Cleveland Plain Dealer); a Christian music. “radiant” voice (The Washington Post); and Bach Collegium Japan and Masaaki vividly passionate interpretations, “mining Suzuki have shared their interpretations deep emotion from the subtle shaping across the international music scene of the lines” (The New York Times). An with performances in venues as far afield acknowledged star in the early music field, as Amsterdam, Berlin, Paris, Hong Kong, Ms. Panthaki has ongoing collaborations London, Los Angeles, Melbourne, New York, with leading early music interpreters and Seoul, and at major festivals such as including Nicholas McGegan, Simon the BBC Proms, the Edinburgh International Carrington, the late John Scott, Matthew Festival, the Hong Kong Arts Festival, Halls, and Masaaki Suzuki, with whom she New Zealand International Arts Festival, made her New York Philharmonic debut. Ghent’s Festival of Flanders, and Festival Ms. Panthaki’s recent performance Cervantino in Mexico. with Philharmonia and In 2010 the ensemble celebrated its conductor Nicholas McGegan was named 20th anniversary with a series of special one of the “Top 10 Events concerts in Tokyo, and in 2013 they were of 2015” and described as “a breathtaking invited to appear at New York’s Lincoln combination of expressive ardor, tonal Center where Masaaki Suzuki and the clarity, technical mastery, and dramatic collaborated with the New York vividness” by The San Francisco Chronicle. Philharmonic Orchestra to open its Bach

10 Ms. Panthaki’s current season features Jay Carter (countertenor) has gained performances of Vivaldi’s Gloria with the recognition as one of the nation’s finest Los Angeles Philharmonic at the Hollywood countertenors. A frequent collaborator Bowl and the St. Louis Symphony (Nicholas with both period and modern ensembles, McGegan conducting), the Milwaukee Mr. Carter is recognized as a leading Symphony, Philharmonia Baroque Orchestra, interpreter of late Baroque repertoire and Music of the Baroque, her return to Ars has been lauded for his luminous tone, Lyrica, Pasadena Symphony Orchestra, stylish interpretations, and clarion delivery. Philharmonic, and a US Christmas Recent appearances include Bach’s Oratorio tour with Bach Collegium Japan. St. Matthew Passion with the American Highlights of her past seasons include Bach Soloists and the Choir of St. Thomas with Bach Collegium Japan, the Church, Handel’s Messiah with the National National Symphony Orchestra, Calgary Symphony and Philharmonia Baroque Philharmonic, and the Nashville and San Orchestra, Handel’s with Musica Antonio symphonies; Bach cantatas and Vocale and the Kansas City Baroque and works by Handel and Purcell Consortium, Handel’s Jeptha with Ars with Philharmonia Baroque Orchestra; Saul Lyrica, and the North American premiere of with the Tafelmusik Baroque Orchestra; John Tavener’s Lament for Jerusalem with Belinda in Dido and Aeneas and Galatea the Choral Arts Society of Washington. in Acis and Galatea with the Mark Morris Though recognized as a specialist in the Dance Group; with the Radio Baroque, Mr. Carter also performs works Kamer Filharmonie; Handel at Carnegie from the modern countertenor repertoire Hall with William Christie; Oregon Bach and has premiered works by John Tavener, Festival; Berkeley Early Music Festival; Augusta Read Thomas, Chester Alwes, and Christmas Oratorio with the Orchestra Anthony Maglione. of St. Luke’s; Mozart’s Exsultate jubilate In recent seasons he has routinely and Requiem with the Washington Bach appeared with acclaimed conductors Consort; and St. John Passion, St. Matthew Nicholas McGegan, Ton Koopman, John Passion, and Brahms Requiem with St. Butt, John Scott, and Matthew Halls. Thomas Fifth Avenue. Highlights of the current season include Ms. Panthaki’s repertoire extends well appearances throughout North America beyond the music of the Renaissance and with Maasaki Suzuki and the Bach Baroque to Orff’s with the Collegium Japan, the Portland Baroque Houston Symphony, John Tavener’s The Festival, and the St. Louis Symphony and Last Discourse with Orchestra of St. Luke’s, Nicholas McGegan in Vivaldi’s Gloria and Beethoven’s Symphony No. 9 with American opera arias. Classical Orchestra, Rachmaninoff’s As a researcher and clinician, Mr. Carter Vocalise and Strauss lieder at the Bari frequently presents master classes and International Music Festival, Britten’s War lecture recitals for colleges, universities, Requiem with Louisville Choral Arts Society, and presenting organizations throughout as well as solos in Stravinsky’s Les Noces the US. Topics have included countertenor and Poulenc’s Stabat Mater and Gloria. Ms. technique and repertory, the role of high Panthaki holds an Artist Diploma from the male voices in Elizabethan and Jacobean Yale School of Music and a master’s degree vocal music, and concepts of masculinity from the University of Illinois. in Henry Purcell’s glees and catches.

11 He received his MM from the Yale Early Music Festival; Handel’s Messiah and School of Music and Institute of Sacred Bach’s Johannespassion with the American Music where he was a pupil of Simon Bach Soloists; Handel’s Dixit Dominus and Carrington, Malafronte, and James Hayes’ Fall of Jericho with Taylor. He received his undergraduate Baroque; Draghi’s El Prometeo as Mercurio degree from William Jewell College where at Opera Dijon; and three tours with he studied voice with Arnold Epley. He Bach Collegium Japan in the US, Japan, currently lives in Liberty, Missouri with his and Europe of Bach’s Christmas Oratorio, family, and serves as artist-in-residence at Bach’s St. John’s Passion, and Mozart’s William Jewell College where he mentors Mass in c minor. undergraduate music students and leads Mr. Wilder’s discography comprises the Schola Cantorum. several recordings with the Boston Early Music Festival, including their Grammy Zachary Wilder (tenor) is recognized for Award-winning La Descente d’Orphée aux his work in repertoire from the 17th and Enfers as Tantalus. This season will also see 18th centuries and is sought after on both the release of a DVD of Monteverdi’s Orfeo the concert and operatic stages on both (as Pastore) with Les Arts Florissants, a CD sides of the Atlantic. Having studied at of Monteverdi’s Il ritorno d’Ulisse in patria the Eastman School of Music and at the (as Eurimaco) with the English Baroque Moores School of Music at the University Soloists, and his solo album of 17th-century of Houston, Mr. Wilder subsequently Venetian chamber music with lutenist Josep moved to Boston after the beginning of María Martí Duran. his collaboration with Boston Early Music Festival and a summer of studies as a Dominik Wörner (bass), one of the Tanglewood Music Fellow. most sought-after bass-baritones of Mr. Wilder relocated to France after his generation, has been hailed for his he was chosen by William Christie in “warm and exceptionally colourful voice” 2013 to take part in Les Arts Florissants’ and for the “tender glow and sparkling prestigious academy for young singers, Le expressiveness” of his style. He studied Jardin des Voix. He now works with leading church music, musicology, harpsichord, ensembles including Les Arts Florissants, organ, and singing at the conservatories Bach Collegium Japan, Boston Early in Stuttgart, Fribourg, and Berne, notably Music Festival, Cappella Mediterranea, with Jakob Stämpfli. In 2002, Mr. Wörner Le Concert Spirituel, Collegium Vocale won first prize in the vocal section of Gent, English Baroque Soloists, Ensemble the International Bach Competition and Pygmalion, Handel & Haydn Society, a special prize from the Leipzig Baroque Orchestre de Chambre de Paris, Le Poème Orchestra. Mr. Wörner completed his Harmonique, Royal Philharmonic Orchestra, studies with a master class in lied Orchestra, and interpretation given by Irwin Gage in Les Talens Lyriques. Zürich, where he graduated with honors. Highlights for the current season include Mr. Wörner has made guest appearances the continuation of the Monteverdi450 tour around the world, performing the major with the English Baroque Soloists in Berlin, oratorio roles with conductors such as Wroclaw, Paris, Chicago, and New York; Carl Clair, Christophe Coin, Thomas Handel’s Almira as Osman with the Boston Hengelbrock, ,

12 Manfred Honeck, Tõnu Kaljuste, Sigiswald Kuijken, Philippe Pierlot, Helmuth Rilling, and Masaaki Suzuki. His recordings have won accolades such as the Diapason d’Or de l’Année, , and the German Record Critics Award. The German lied forms an important part of Mr. Wörner’s repertoire. His recordings of Winterreise and Schwanengesang with fortepiano accompaniment on the ARS label were enthusiastically received by the press. He is also the artistic director of the German-Japanese Lied Society in Tokyo, founded with Masato Suzuki and Goro Tamura, supporting the interpretation and performance of art in Japan. The Society gave its debut multimedia performance with Brahms’ Die Schöne Magelone at Toppan Hall in Tokyo. Highlights of Mr. Wörner’s recent career include Mendelssohn’s St. Paul with Gächinger Kantorei and Bach- Collegium Stuttgart; a European tour with and the Freiburg Baroque Orchestra; a performance of Beethoven’s Symphony No. 9 with the Latvian State Choir in Tallinn, and Bach’s St. Matthew Passion, Handel’s Messiah, and a performance of Bach’s secular cantatas with the Bach Collegium Japan in Tokyo. Among his upcoming performances are Bach’s St. John Passion in Spain, Rossini’s Petite Messe Solennelle in Estonia, Brahms’s Requiem in Tonhalle Zürich, and Mendelssohn’s St. Paul in Japan. Mr. Wörner is co-founder of the Sette Voci ensemble and founder and artistic director of Kirchheimer Konzertwinter, a concert series in his home region of Pfalz.

13 BACH COLLEGIUM JAPAN

Masaaki Suzuki / Director

CHORUS I Natsumi Wakamatsu, Leader Soprano Akira Harada Sherezade Panthaki Yuko Takeshima Minae Fujisaki Yukie Yamaguchi Yoshie Hida Maria Mochizuki Violin II Azumi Takada Alto Mika Akiha Jay Carter Evan Few Hiroya Aoki Chiharu Takahashi Michael Wisdom Hiroshi Narita Sonoko Asabuki Tenor Emilio Moreno Zachary Wilder Yusuke Fujii Takayuki Kagami CONTINUO Satoshi Mizukoshi Bass Emmanuel Balssa Dominik Wörner Toru Yamamoto Daisuke Fujii Yusuke Watanabe Frank Coppieters

Harpsichord ORCHESTRA Francesco Corti Trumpet Organ Dave Hendry Masato Suzuki Nicolas Isabelle Hidenori Saito Stage Manager Timpani Hisato Iwasaki Maarten van der Valk Staff Flauto traverso Moegi Takahashi Kiyomi Suga Ai Takizawa Yoko Tsuruta

Oboe/Oboe d’amore Bach Collegium Japan’s US tour is supported Masamitsu San’nomiya by The Agency for Cultural Affairs, Government Go Arai of Japan. Yukari Maehashi Kaori Katayama

Bassoon Yukiko Murakami

14 UMS ARCHIVES

This evening’s performance marks Bach Collegium Japan and Masaaki Suzuki’s third performances under UMS auspices, following their UMS debuts in April 2003 in a performance of Bach’s St. John Passion at St. . They most recently appeared at UMS in March 2011 in a performance of Bach’s Mass in at Hill Auditorium. Bass Domink Wörner makes his second UMS appearance this evening following his UMS debut in February 2002 with Collegium Vocale Gent at St. Francis of Assisi Catholic Church. Tenor Zachary Wilder makes his third appearance under UMS auspices tonight following his UMS debut in September 2008 in two performances with the Mark Morris Dance Group at the Power Center. UMS welcomes soprano Sherezade Panthaki and countertenor Jay Carter as they make their UMS debuts this evening.

15 MAY WE ALSO RECOMMEND...

1/6 What’s in a Song with Martin Katz 2/17 The Gershwins’ Porgy and Bess 3/13 Tenebrae

Tickets available at www.ums.org.

ON THE EDUCATION HORIZON…

1/4 Voice Master Classes: What’s In a Song? (Moore Building, 1100 Baits Drive) Please see ums.org for detailed times and locations.

1/12 Post-Performance Q&A: Urban Bush Women (Power Center, 121 Fletcher Street) Must have a ticket to the performance to attend.

1/13 You Can Dance: Urban Bush Women (Ann Arbor Y, 400 W. Washington Street, 1:30 pm)

1/14 Pre-Performance Talk with Professor Steven Whiting: St. Lawrence String Quartet (Earl Lewis Room, Third Floor, Rackham Graduate School, 915 E. Washington Street, 2:00 pm)

Educational events are free and open to the public unless otherwise noted.