19-08-06 EVE Song of Songs.Indd

VANCOUVER BACH FESTIVAL 2019

the artists tuesday august 6 at 7:30 pm | christ church cathedral

Suzie LeBlanc song of songs & — a concert designed and led by alex potter — Dorothee Mields sopranos the audience is requested not to applaud until the end of each half

Alex Potter (Song of Songs Chapter 1 complete) alto & leader Giovanni Pierluigi da Palestrina: Osculetur me Palestrina: Trahe me post te Samuel Boden reading: tenor song of songs 1:1-8 Matthew Brook Palestrina: Si ignoras te bass-baritone reading: song of songs 1: 8-15

Lucas Harris Palestrina: Ecce tu pulcher theorbo (End of Song of Songs Chapter 1 complete) Michael Jarvis harpsichord & organ Alessandro Piccinini: Toccata XI (lute solo)

Maria Xaveria Perucona: Propera veni dilecte mi and with readers Alessandro Grandi: Surge propera Dana Camil Hewitt reading: & song of songs chapter 5 complete Yotam Ronen Orlande de Lassus: Anima mea liquefacta est

INTERVAL “O friends; drink, yea, drink abundantly, O beloved.” Thanks to Ray Nurse (Excerpt from Song of Songs, Chapter 5, Verse 1) for the use of his theorbo — wine is available for sale at intermission! — based on 17th-century Venetian models (Ray Nurse, 1999, Vancouver, B.C.) reading: song of songs 2:1-13 Generously supported by the Claudio Monteverdi: Ego flos campi EMV Board of Directors Cristóbal de Morales: Ecce amica mea Girolamo Frescobaldi: Toccata Terza (harpsichord solo)

Pre-concert chat with Giovanni Antonio Rigatti: Surge Columba host Matthew White at 6:45: reading: Alex Potter song of songs 2:14-17

Lucrezia Orsina Vizana: Sonet vox tua Giovanni Rovetta: Surge propera

THE UNAUTHORISED USE OF reading: ANY VIDEO OR AUDIO RECORDING song of song shapter 3 complete DEVICE IS STRICTLY PROHIBITED Domenicho Mazzochi: Dialogo della cantica earlymusic.bc.ca Song of Songs Vancouver Bach Festival 2019  1 PARTNERS

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2  Vancouver Bach Festival 2019 Song of Songs [email protected] PROGRAMME NOTES

by alex potter

Singing Evensong in my youth brought me into daily Within tonight’s concert, we can hear how the text was contact with Christianity’s Judaic heritage. From its opening used in different ways by composers. In Palestrina’s and paraphrasing of Psalm 51, “O Lord open thou our lips”, the Monteverdi’s settings, we hear unchanged settings of the service is steeped in the language of the Hebrew scriptures. original texts, while in settings by Grandi and Rigatti we might Indeed, through the singing of psalms and anthems, as well observe how composers also drew together non-consecutive as hearing readings, the Old Testament (essentially identical verses from different parts of the collection, thus in effect to the Hebrew Tanakh) became increasingly familiar to me. creating their own texts. Finally, a third type is represented Thanks to Evensong, as a child I already knew about well- by those settings which use the language of the Song of Songs, known figures like Abraham, Moses and Ruth, and the story but change and paraphrase it to express something explicitly of Exodus, for example. I also learned about the less familiar: Christian, as exemplified in the Vizana and Mazzochi. Og the King of Bashan, Nebuchadnezzar II, as well as the fact that Noah’s Ark was exactly 300 cubits long! More radically different than the types of text is the way the composers set them. The works in the can roughly be divided Texts from the Song of Songs were less frequently encountered, into “Renaissance” and “Baroque”, or to use the terminology but bound up with very fond memories of performing of the time: prima and seconda pratica. In the prima pratica wonderful pieces like Patrick Hadley’s My beloved spake, several a cappella voices overlap and imitate each another Palestrina’s Surge amica mea, John Ireland’s Greater love hath according to strict rules of consonance and dissonance. The no man, and William Walton’s Set me as a seal – a work I sang text is frequently not declaimed simultaneously. Renaissance numerous times at weddings, and which provided much- composers such as Morales, Lassus, and particularly needed beer money as a student. Palestrina were three of the greatest exponents of this polyphonic style. By contrast, the seconda pratica, which When I was a child, I thought as a child and didn’t really consider emerged around 1600, prioritized a more rhetorical delivery of the peculiarity of the Song of Songs belonging to the religious the text. To this end, the older rules of harmony were relaxed canon. The transition to adulthood, of course, also gave me and the words became more clearly audible. The music is a more understanding of the text, but at the same time led frequently just with one voice and accompanying instruments me to wonder what this kind of erotic sensuality was doing in (in this case, lute, harpsichord or organ). Monteverdi, Grandi the Bible! Scholars now generally agree that it was originally and Rovetta were key figures of this radical new, “modern” Hebrew love poetry composed, adapted and expanded over way of composing music, which marked the beginning of generations, between 500 and 200 BCE, with recognizable what we now term “Baroque”. Egyptian, Persian and Hellenistic influences. The Hebrew title Shir ha-Shirim (“Song of Songs”) is used in a superlative sense, On one level, this concert might thus appear to be an “the most beautiful of songs”, (similar to “Holiest of Holies”). incompatible juxtaposition of styles. In fact, composers of the The poem’s place in both the Jewish and Christian scriptures seconda pratica continued to write in the polyphonic style of was established in late antiquity, significantly thanks to Rabbi the prima pratica, and routinely performed sixteenth-century Akiva (50-135 CE), who interpreted it as an allegory of the music alongside their own music well into the eighteenth love between God and Israel. Akiva’s writing was then highly century. Claudio Monteverdi, for example, published an influential on the Christian theologian Origen (184-253 CE), a cappella mass (the Missa In illo tempore) in the same who regarded the bridegroom as representing Christ and the publication as his famous 1610 Vespers. We also know that bride being the believer. in 1614 he ordered six volumes of polyphonic masses for St. Mark’s Venice. Even J.S. Bach still performed motets by Against this theological background it is hardly surprising Renaissance composers like Lassus and Gallus alongside his that there was a huge proliferation of musical settings of own music in Leipzig in the 1720s. This concert is therefore the Song of Songs in the sixteenth and seventeenth centuries. ‘historical’ in its approach in terms of presenting the two In the early sixteenth century, the Reformation split the styles in direct juxtaposition, and hopefully offering an insight Western Church into Roman Catholic and Protestant into their complementarities. factions, both vying for the souls of the believers. Alongside killing and torture, both sides readily embraced mysticism The Song of Songs is very unusual in the wider context of to win over hearts and minds. With its potent sensuality, scripture and historical documents of its time, in that we are the Song of Songs became a central resource for composers often directly addressed by the rarely heard female voice. working in both traditions. Almost equally unusual in the early modern Period was music earlymusic.bc.ca Song of Songs Vancouver Bach Festival 2019  3 written by women, who generally lacked the training and the work. When I had just moved to Basel to study, I recall waxing opportunities to become composers. However, as much of lyrical to my Israeli flat-mate Uri about the King James Bible, to the text of the Song of Songs is spoken by a woman, it seems which he replied, “Yes, it is very nice. But the Hebrew is much only appropriate to include works by female composers. more beautiful!” It is therefore partly thanks to Uri Smilanskiy Maria Xaveria Perucona and Lucrezia Orsina Vizzana were that you will hear the opening and closing verse of each section both nuns in Northern Italy who wrote in the modern style of spoken text in both English and the original Hebrew. under the influence of Claudio Monteverdi and others. I am I am well aware that tonight’s programne could be seen as very grateful to Suzie Le Blanc for suggesting including works confusingly heterogeneous, with Hebrew from the Tanakh, by these two female composers. Latin for the Roman Catholic Liturgy, English from the The spoken texts are principally drawn from the King James Protestant King James Bible, music of the prima and seconda Bible Translation (1611). While this was primarily intended to pratiche, and many different male and female composers. Yet, present the most accurate translation of the Bible, it represents at the same time, all these elements are profound æsthetic some of the most beautiful and influential language in the responses to the Song of Songs, which has moved, provoked history of English. The Old Testament in the King James was and inspired in different ways for over two millennia — and translated by a team of twenty-six scholars, who used Daniel will hopefully move, provoke and inspire both the performers Bomberg’s Hebrew Rabbinic Bible (1524-5) as the basis for their and you, the audience, this evening. n

THE ARTISTS

VOCAL SOLOISTS: performed with Vancouver’s Elektra, Constantinople and toured Fiorè with Elinor Frey. She frequently performs with Ensemble Constantinople and Elinor Frey, celllist. Suzie LeBlanc soprano Suzie is vocal coach and director of Cappella Antica at McGill Born in Acadia, Suzie LeBlanc fell in love with the Baroque early University and the founder and co-artistic director of Le Nouvel in life. Now an international star, the charismatic soprano is well- Opéra, an organisation presenting early and contemporary known for her passionate performances of Early Music, art song, chamber opera in Montreal. contemporary music and Acadian traditional repertoire.

She has sung with many of the world’s leading early music Dorothee Mields soprano ensembles in concert and opera performances as well as on film and on disc. Concerts have taken her to festivals all over the world Dorothee Mields is one of the leading interpreters of 17th- and and on the opera stage, she has performed for De Nederlandse 18th-century music and is beloved by audiences and critics alike Opera, Festival de Beaune, Opéra de Montréal, the Boston Early for her unique timbre and moving interpretations. Music Festival, Tanglewood, Festival Vancouver and Early Music She appears regularly with the Collegium Vocale Gent, Vancouver. Netherlands Bach Society, L’Orfeo Barockorchester, Freiburger Recently appointed to the Order of Canada for her contribution Barockorchester, RIAS Kammerchor, Bach Collegium Japan, to Acadian culture and to the performance of Early Music, she Orchestra of the 18th Century, Lautten Compagney Berlin, has also earned four honorary doctorates and a career grant from Tafelmusik Baroque Orchestra Toronto, The English Concert the Conseil des Arts du Québec. and Klangforum Wien under conductors such as Stefan Asbury, Suzie’s recordings have received several prestigious awards, Beat Furrer, Michi Gaigg, Paul Goodwin, Philippe Herreweghe, including a Grammy award for a recording of Lully’s Thésée with Emilio Pomàrico, Hans-Christoph Rademann, Andreas Spering, the Boston Early Music Festival, an Opus award for best world Masaaki Suzuki and Jos van Veldhoven. music recording – “Tempi con Variazioni” – and best contemporary Dorothee Mields is a welcome guest at international festivals, album, for a disc of early songs by Olivier Messiaen. In 2014, she including the Leipzig Bach Festival, Suntory Music Foundation was awarded ECMA’s Best Classical Album (2014) for “I am Summer Festival in Japan, Boston Early Music Festival, Flanders in need of music”, which was also a finalist for the Lieutenant Festival, Wiener Festwochen, the Handel Festival in Halle, Governor of Nova Scotia Masterworks Award. Musikfestspiele Potsdam, Styriarte Graz, Niedersächsische In 2019, she premiered MOUVANCE, a multidisciplinary work Musiktage, Musikfest Bremen, Mainzer Musiksommer and by Jerôme Blais supported by the Canada Council and made her Mosel Musikfest. debut as a conductor with the Studio de Musique Ancienne in She is a devoted chamber musician and offers a range of highly a programme of music from 17th century Italian convents. She interesting projects such as “Lord Nelson at the river Nile” (music

4  Vancouver Bach Festival 2019 Song of Songs [email protected] by Haydn and contemporaries dealing with the battles of Lord Antonini; Gabrieli Consort / Paul McCreesh; Ex Cathedra / Jeffrey Nelson), “White as Lillies was her Face” with songs by John Skidmore; the Royal Northern Sinfonia / Thomas Zehetmair; Dowland combined with texts by Heinrich Heine, “Mort exquise, Scottish Chamber Orchestra / Harry Bicket; Kristiansand mort parfumée” with French impressionistic compositions, “Duft Symphony Orchestra / Nicholas Kraemer; Les Arts Florissants / und Wahnsinn” (fragrance and lunacy) together with Hille Perl, William Christie and Jonathan Cohen; BBC Symphony Orchestra viola da gamba, and Lee Santana, lute, as well as “Birds” with / Sir Andrew Davis, John Storgårds, Sakari flutist Stefan Temmingh. Oramo, Giancarlo Guerrero and John Butt; Frankfurt Radio A steadily growing discography with several award-winning Orchestra / Emmanuelle Haïm; Collegium Vocale Gent / Philippe recordings documents her artistic achievements. “Inspired by Herreweghe; Wiener Akademie / Martin Haselböck; Salzburg Song” and “Birds” with Stefan Temmingh, “Handel” with Hille Camerata / Teodor Currentzis and the Rotterdam Philharmonic Perl, Monteverdi “La dolce vita” with the Lautten Compagney / Nathalie Stutzmann. Berlin and Wolfgang Katschner (all DHM), Bach “Kantaten für His growing discography includes discs of Monteverdi, Solo-Sopran” with L’Orfeo Barockorchester and Michi Gaigg and Charpentier, Daniel Purcell, Rameau, Bach, and Blow alongside Boccherini Stabat mater with the Salagon Quartett (both Carus) Berlioz, George Benjamin, Davies, Alec Roth on Hyperion, Erato, have been especially well received. Archiv, Chandos, OAE Released, Nimbus, Resonus Classics, In 2018/19, Dorothee Mields is artist in residence at the Heinrich- NMC and Signum. Schütz-Musikfest. Upcoming highlights include appearances in Japan with the RIAS Kammerchor, at the Wigmore Hall with The English Concert, with Seattle Symphony, and at the Internationale Matthew Brook bass-baritone Orgelwoche Nürnberg, as well as tours with Collegium Vocale Gent, Freiburger Barockorchester, Gli Angeli Genève and Holland Matthew Brook has appeared widely as a soloist, and has worked Baroque. extensively with conductors such as Sir John Eliot Gardiner, Richard Hickox, Sir Charles Mackerras, Harry Christophers, Christophe Rousset, Paul McCreesh and Sir Mark Elder, Alex Potter alto & leader and many ensembles including the Philharmonia, London Symphony Orchestra, the St Petersburg Philharmonic, the Royal My mother always sang to me when I was a small child, which Philharmonic Orchestra, Freiburg Baroque Orchestra, Orchestra is why I began to sing. Her voice for me was intensely bound of the Age of Enlightenment, the English Baroque Soloists, the together with emotion, which will always remain with me. As a Gabrieli Consort & Players, the Sixteen, the Royal Northern cathedral chorister, this emotional basis became intertwined with Sinfonia and Orchestre National de Lille. a fascination for text and symbolism in music, expanded upon Recent and future highlights include Purcell’s The Fairy Queen and deepened during studies in Oxford and Basel. Remaining and Dido and Aeneas with the Handel and Haydn Society, Bach’s faithful to these origins over nearly twenty years in the profession, St John Passion with the St Paul Chamber Orchestra, Haydn’s I continue to develop as a singer, musician and human, changed Creation with the City of Birmingham Symphony Orchestra, and enriched by the joy and sadness which life brings. Bach’s Magnificat and Brahms’ Triumphlied with the Cincinnati Nowadays you are most likely to hear me somewhere with Bach, Symphony Orchestra, Il Rè di Scozia in Ariodante with the although I also love to sing other music. When not performing, Staatstheater Stuttgart and on tour with the English Concert, you will find me at home with my family, reading something Bach’s B minor Mass at the Al Bustan Festival in Beirut and with geeky, wasting time on the internet, or cooking. Sharing and Les Violons du Roy in Québec, Fauré’s Requiem with the Royal exchanging with other people, be it music, food, or conversation, Philharmonic Orchestra, Mozart’s Requiem with the Fryderyk is one of the great pleasures of life. Chopin Institute in Warsaw, a tour of Bach cantatas with the Samuel Boden tenor Monteverdi Choir and Sir John Eliot Gardiner, and with the Nederlandse Bachvereniging and Early Music Vancouver, a tour British tenor Samuel Boden began his career as a chef and then of Bach’s St Matthew Passion with the Orchestra of the Age of went on to study singing with John Wakefield at Trinity Laban Enlightenment, and with Gli Angeli Genève, Elgar’s The Dream of Conservatoire. Gerontius with the Indianapolis Symphony Orchestra, Tippett’s A Samuel has sung roles in the operas of Monteverdi, Cavalli, Child of Our Time at Festival Saint-Denis, and the roles of Herod Charpentier, Rameau, Purcell, Handel, Glück, Britten, George and Father in Berlioz’s L’Enfance du Christ with the Melbourne Benjamin and Thomas Larcher. He has appeared in productions Symphony Orchestra and Sir Andrew Davis. at the Royal Opera House, Covent Garden, Glyndebourne, Dutch National Opera, Hamburg State Opera, Opéra de Lyon, Badisches Staatstheater, Karlsruhe; Nederlandse Reisopera, Musica Viva, INSTRUMENTALISTS: Moscow; Theater St Gallen, Pinchgut Opera, Sydney; Opéra de Dijon, Opéra de Lille and the Aldeburgh Festival. In addition he theorbo has performed operas in concert at the Aix-en-Provence Festival Lucas Harris and Salzburg Mozart Week. Lucas Harris discovered the lute during his undergraduate On the concert platform Samuel has appeared with many highly- studies at Pomona College, where he graduated summa cum regarded period ensembles as well as symphony and chamber laude. He then studied early music in Italy at the Civica scuola di orchestras: Bavarian Radio Symphony Orchestra / Giovanni musica di Milano (as a scholar of the Marco Fodella Foundation) earlymusic.bc.ca Song of Songs Vancouver Bach Festival 2019  5 and then in Germany at the Hochschule für Künste Bremen. having been funded by a prestigious SSHRC research grant not After several years in New York City, he moved to Toronto in often awarded to performers. Upon graduating, Lucas was chosen 2004 and became the regular lutenist for the Tafelmusik Baroque as the Artistic Director of the Toronto Chamber Choir (which just Orchestra. He is a founding member of the Toronto Continuo finished its 50th anniversary season), for which he has created Collective, the Vesuvius Ensemble (dedicated to Southern Italian and conducted nearly twenty themed concert programmes. He folk music), and the Lute Legends Ensemble (a multi-ethnic trio has also directed projects for the Pacific Baroque Orchestra, the of lute, pipa, and oud). For many years he has been on faculty Ohio State University Opera Program, Les Voix Baroques, and the at the Tafelmusik Summer and Winter Baroque Institutes as Toronto Consort. Lucas recently became a Canadian citizen and well as Oberlin Conservatory’s Baroque Performance Institute, is also the proud father of Daphnée (age 8). and has also taught for Vancouver Early Music’s Baroque Vocal Programme, the International Baroque Institute at Longy, and Amherst Early Music. In 2014 Lucas completed graduate studies Michael Jarvis harpsichord & organ in choral conducting at the University of Toronto, the degree In addition to performing across Canada, Michael Jarvis has performed as soloist and continuo player throughout the USA, England, Italy and Bermuda. Michael Jarvis may be heard on the Marquis Classics, Hungaroton, ATMA, Naxos, Solitudes and Avalon CD labels, and has often broadcast nationally and regionally for the CBC, as well as nationally across the US on NPR. He and violinist Paul Host an EMV Guest Musician Luchkow’s CD of Hummel’s op. 5 violin sonatas was chosen as a finalist as best classical album of the year in the Western Do you have a guest room that often sits empty? Canadian Music Awards 2013. Do you enjoy well-educated, articulate houseguests He has taught harpsichord and continuo and lectured many from across the country and the world? times at the University of Toronto. He has taught harpsichord performance at Wilfred Laurier University in Waterloo, Ontario Do you like Classical music? and at Havergal College, Toronto, and taught fortepiano at UBC.

Would you like to get the ‘inside scoop’ When he is not playing early music, Michael is an avid collector about performing from a professional musician? of early jazz and early opera 78 rpm recordings and is an early phonograph restorer. Michael lives in Victoria, BC. If your answer to any of these questions is ‘yes’, then I invite you to consider joining the growing number of EMV supporters who house visiting guest musicians. READERS: Get to know some of the wonderful musicians that come to Vancouver to bring you great music. Dana Camil Hewitt reader Host only when it is convenient for you; Dana Camil Hewitt is the Director of the Dena Wosk School of Performing Arts at the Vancouver JCC as well as the JCC all you need to provide is a private room. Jewish Book Festival. A musicologist and pianist by training, her extensive experience in all aspects of arts and culture management started as repertoire and programming coordinator For more information of the Israel Philharmonic Orchestra in Tel-Aviv, and continued please contact Jonathan Evans, Production Manager, with a strong track record of published professional writing, Early Music Vancouver: in English and Hebrew. With a broad range of competencies and interests, from curating educational classical concerts to [email protected] organizing classes in dance, music and theatre, Dana fostered or 604.732.1610, extension 2004 her passion for literature by also adding a literary festival to the mix. She currently revels in juggling performing and literary arts and welcomes this wonderful opportunity that embodies both! Special thanks to the following for hosting our guest musicians: Honey & Tony Dawson, Martha Hazevoet, Delma Hemming, Margie & Tony Yotam Ronen reader Knox, Janice & J. Evan Kreider, Marlene & Al LeGates, Patricia Lim, Chloe Yotam Ronen was born and raised in Israel. He grew up Meyers & Alexander Weimann, Marc White & Joey Schibild, Judy & Bern studying music and performing in various venues around Storr, Kimberly & Stuart Smith, Olivia & Nicholas Swindale, Rosemary & Alex the country. After completing his Master’s degree in Asian Waterhouse-Hayward, Valerie Weeks & Barry Honda, and Penny Williams. Studies, he came to Vancouver to start his PhD in Educational Studies at UBC, where he works on the history of education. He is also an active musician on the Vancouver scene. n

6  Vancouver Bach Festival 2019 Song of Songs [email protected] TEXTS & TRANSLATIONS

Each of the readings will be framed by the original Hebrew, which either repeats of preempts the adjacent verse in English, meaning the opening and final verses are spoken twice but in different languages. – the audience is requested not to applaud until the end of each half –

Giovanni Pierluigi da Palestrina (1525-94) Osculetur me

Osculetur me osculo oris sui, Let him kiss me with the kiss of his mouth: quia meliora sunt ubera tua vino. for thy breasts are better than wine. Fragrantia unguentis optimis. Smelling sweet of the best ointments. Oleum effusum nomen tuum, Thy name is as oil poured out: ideo adulescentulae dilexerunt te. therefore young maidens have loved thee.

Palestrina Trahe me post te

Trahe me post te, curremus in odorem unguentorum tuorum. Draw me, we will run after thee: Introduxit me Rex in cellaria sua: the king hath brought me into his chambers: exultabimus et laetabimur we will be glad and rejoice in thee, in te memores uberum tuorum super vinum: we will remember thy love more than wine: recti diligunt te. the upright love thee.

reading: song of songs 1:1-8 1:1 ִשׁיר ַה ִשּׁיִרים, ֲא ֶשׁר ִל ְשׁלֹמֹה יִ ָשֵּׁקִני ִמְנּ ִשׁיקוֹת ִפּיהוּ, ִכּי-טוִֹבים דֶֹּדיָך ִמיָּיִן. ֹ 8:1 ִאם-לא ֵתְדִעי ָלְך, ַהיָָּפה ַבָּנּ ִשׁים; ְצִאי-ָלְך ְבִּעְקֵבי ַהצֹּאן, וְּרִעי ֶאת-ְגִּדיַֹּתיְִך, . The song of songs, which is Solomon’s ִ1 SHE: ַעל, ִמ ְשְׁכּנוֹת ָהרִֹעים. {פ} .Let him kiss me with the kisses of his mouth: for thy love is better than wine 2 3 Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee. 1:9 ְלֻסָס ִתי ְבִּרְכֵבי ַפְרעֹה, ִדּ ִמּי ִתיְך ַרְעיִָתי. ( י ָנאווּ ְל ָחיַיְִך ַבּתִֹּרים, ַצוָּאֵרְך ַבּחרוִּזים.) :Draw me, we will run after thee: the king hath brought me into his chambers 4 ֲ 1:17 קֹרוֹת ָבּ ֵתּינוּ ֲאָרִזים,רחי.thee טנו (loveַר ִהיֵטנוּ) uprightְבּ רוֹ ִתtheי ם :HE: we will be glad and rejoice in thee, we will remember thy love more than wine

SHE: 5 I am black, but comely, O ye daughters of Jerusalem,Ch asap theter tents5 of Kedar, as the curtains of Solomon. ָבּא ִת;meי ְלַגִנּיwith, ֲאחִֹתיangry ַכָלּה--were אִָרי ִתי מוֹchildrenִ רי ִעם-ְבּ ָשׂmother’sִמ י, myאָ ַכְל ִתּ:meי יְַעִרי upon ִעם-ִדְּב lookedִשׁ י ָשׁ ִתhathי ִתי Look not upon me, because I am black, because the sun 6 יֵיִני ִעם- ֲחָלִבי; ִאְכלוּ ֵרִעים, ְשׁתוּ וְ ִשְׁכרוּ דּוִֹדים. .they made me the keeper of the vineyards; but mine own vineyard have I not kept 5:16 ִחכּוֹ, ַמ ְמ ַתִקּים, וְֻכלּוֹ:noon, ַמatֲ ח ַמִדּיrest ם; toֶ זה דוִֹדflockי וְֶזthyה ֵרִעי, ְבּנmakestוֹ ת יְרוּthou ָשִָׁלם Tell me, O thou whom my soul loveth, where thou feedest, where 7 for why should I be as one that turneth aside by the flocks of thy companions? 1:1 1:1 ֹ ֹ ִשׁיר 1ִַהשׁ:יִשּׁ2ר י ִרֲַאיהִניִםשּׁ ,י besideֲִחרֲיאַ בֶםֶצּשׁ,ֶ לר kidsֲאתִל ֶשְַׁשׁהרלָ thyשִּׁ למֹרוְֹהשׁן ,ל feedמֹשׁ וֹה ַשׁandַנּ ת ָהֲע ָמ,flockִ קים If thou know not, O thou fairest among women, go thy way forth by the footsteps of the 8 HE: יִ ָשֵּׁקִניִי3 ָשּׁ1ִמֵ:קְנִּנ2יִ שׁ יַהִמקְנּוֹתִֵּתשׁאי ָנִקפּהוֹי התָחוּ ְנ,ִ פָּיטִכּיה-וּ ,ַט פוִֶֹגּכִּיבי-ָה,םט וֹוְִדּבַֹהיֶדְגּיםָ פך ִנדֹּיִֶמדיָּיםיִ ָןךְ. ס ִָמיַָּיִדן.ר ָנ ְתנוּ ֵרי ַח; קוּ ִמי לכי (ָלְך) ַרְעיִָתי .the shepherds’ tents ֹ ֹ 8:1 יִָא1ָפ:ם8ִת- יל,ִא אוּ םְל-ִֵתכליְד-אִָע ליְֵ ךת ָלְדְךִע,י ַָהליְָּךָ,פ הַה יַָּבָּפָנּ ִהשׁ יַבּםָנּ; ִשְׁציִאםי;- ָלְצְךִא יְ-בָּלִעְךְק ְֵבבּיִ עְַהקֵצֹּביא ןַ,ה וּצְֹּראןִע,י וְֶּארִעתי- ְגֶּאִדיֹּתַ-תְיגְִִּךד,יֹּ ַתיְִך, ַעל, ִַמעְלשׁ,ְ כּנִמוְֹתשׁ ְכָּנהוֹרֹתִע יָהם.רֹ ִ עי{םפ.} {פ} ְךָ֞ל־יִאְֽצ םיִׁ֑שָּנַּב הָ֖פָּיַה ְךָ֔ל ֙יִעְדֵֽת אֹ֤ל־םִאח 1:9 ְל94:ֻס1:1ָס 2ְִלת יֻסוֹ ָנְָסבִּתִרתייְ כ ְֵבּבְבּיַ חִרְַגפְכוֵיְרֵב יעַֹ הַהפֶסּ,ְ רַלִדּעֹע,ִמּה י,ְ בִּתִֵדּיסִךֶמּת יַרִת יְעַיהָך ִַמּתַירְד.ְ עֵריָ(ָג ִית יה.ָנ, (אַו היוְּ רָנְִלאיאָחוִניַיוּיִ ךְֶלא ָחַבּתיַ-יִתַֹּךמִר ְירַבּםאַ,יִתֹּ ִךרַצ,יוָּ םַאה, ֵרְשַׁצךוִָּ מיאִֵערִנךי תֹו֥נְּכְׁשִמ לַ֖ע ְךִיַ֔תֹּיִדְּג־תֶא ֙יִעְרּו ןאֹּ֗צַה יֵ֣בְקִעְּב .Pleaseְ ְ turnְ page quietly, andְ onlyְ after the music has ended ְ ְ ַבּ ֲחרוֶַּבּאִזיֲחתם-ר.וּ)קִזוֹ יֵלםְך.:) ִכּי-קוֵֹלְך ָעֵרב, וּ ַמְרֵאיְך ָנאוֶה. :םיִֽעֹרָֽה 1:17 7 ק:ֹ1ר וֹ 12 תַ עקָֹדרבּ2019וֹ ֵתֶּתישׁ יּנָוָּבּפ וֲֵּתּאַיחָר נFestival וִּזַי היֲּאוֹם,ָרםBachר ִ,זי וחְיםָנ,טסרנוּו ח ַי(הְַטצּרנVancouverָלִוהיִ לי(ֵטַרםנ:וִּה )י ְֵטסבֹּנברוּוֹ ) ְִדּתְיבֵּמרםוֹה -ִתְליָךם דוִֹדי ִלְצִבי, אוֹ ְל עֶֹפר Song of Songs earlymusic.bc.ca ָהאַיִָּלים--ַעל- ָהֵרי ָב ֶתר. ChaCpthearp 5te r 5 ָבּא ִתיָבּ1 :ְלא3ַגִ תִנּיַע , ְל-ֲַגאִנּמיחֹ,ְִשׁ תיֲָכּא ִבַכחיָֹ,לִּ תיהַ בּ-ֵַכלּ-יָלּאָלוִֹהרי-ת-ִ,ת יאָ ִִבּרימַקּוִֹתְִרישׁי ִתּמִיעוֹ, ִםריֵ-א ְבִּתע ָשׂםִֶ-שׁמיְבּאָ, ֲָהשׂאִָָבמַכיהְ,ל ִַנתּאָיְפ ַכיְִַלשְׁעיִ;תִּר יי ִיבִַּעְַעקִּםרְשׁי- ִדּתִּעיְבו,םִ -שׁוְיִדּ לְֹבָאשׁ ִשִׁתְימי ָצִָתשׁיא ִִתתייוִת.י ֹ יֵיִני ִעיֵי1םִני-1 :ֲחִע3ָל םְִצב-יֶ;אֲח ָנָלִאהִבְ כיוּ;לְ רוּ ִֶאֵריְכָנִעליוּה םֵ,ְרבּ ִנעוְֹישׁתםת ,וּ ִצ יּוְוֹשׁןִשׁ,ת ְכוּ ַבּרוְוֶּמִּ שֶׁלדְּכוְֹךרִ דוּי ְשׁםדּל.וֹ ִמדֹיהם-.- ָבֲּעָטָרה, ֶשִׁעְטָּרה-לּוֹ ִאמּוֹ ְבּיוֹם 5:16ֲ 6ח1ִֻחת:כָּנּוֹ5, ת וִֹ,חַמ כּוְּוֹמְ,בַ יתוִַֹמקּםיְ,מ םַ,תִ שִׂוְקְּימֻכַםלּחוֹ,, תו ְ ֻכִַמללֲּוֹבּח,וַֹ .מ ִַמדּ יֲחםַ;מ ִדֶּזיהם ; דוֶֹזִדהי וְדֶזוִֹדהי ֵוְרֶזִעיה, ֵרְבִּנעוֹי, ת ְבּיְנרוֹוּתָ שׁיְִָלרוּם ָשִָׁלם

2:1 ֲא1:ִני2 ֲחֲאַבִניֶצּ ֶלֲחתַב ֶצַּהֶלָשּׁת רוַֹןה,ָ שּׁרשׁוֹן,ַשׁ ַנּשׁתוֹ ַשָׁהַנֲּעתָ מִָקהיֲעםָ מִקים 2:13 1ַ3ה:ְתּ2ֵ אָנַההְתּ ֵָאחָנְנָהט הָח ְנַפָטֶגּיהָ ה,ַפ וְֶגּיַהָהְגּ,ָ פוְִניַהְגּם ָפְִסניָמםַד ְרס ָָנמְַדתנרוּ ָנֵרְיתנַחוּ; ֵריקוַּחִ;מי קלוּכִימי (ָלכְךי) (ַרָלְעךיָ) ִתַיר ְעיִָתי יָָפ ִתיי,ָ ָפוְִּלתִיכ,י -וָּלְלְךִכ י-ָלְך

2:14 4יוֹ1ָנ: 2ִת יי וְָֹנבּ ִַחתיְג וֵיְבּ ַַחהְגֶסּוֵיַל ַעה, ֶסְּבַּלֵסע,ֶ תְבּר ֵסַהֶתַמּרְ דֵַרהָגַמּהְד, ֵרַָגהְרה,ִא יִַנהיְ רִֶאיִנתי- ַמֶאְרתאַ-יִַמְך,ְר אַַהיְִךשׁ, ִמיַהִעְשִׁניִ מיִעִני ֶאת-קֶאוֵֹלתְ-ך:ק וֹ ֵלִכּיְך-: ק וִֹכֵּליְ-ך קָוֹעֵלֵרְךב ,ָ עוֵּרַמבְר, ֵאוּיַמְך ְרָנֵאאיוְֶך ה.ָנ אוֶה. 2:17 7ַע1:ד 2 ֶשַׁעיָּדפ וֶַּשׁחיּ ַָפהוּיּוַֹח ם,ַ הוְיּוָֹנםס,וּ וְַָנהְצּסוָּל ִלַיהְצּם:ָל ִ ליסֹםב: ְדּסֵֹמב ה-ְדְּלֵמָך ה-דוְֹלִדָךי ִדלוְֹצִדִיב י,ִל ְצאִוֹב י,ְל עֹאוֶֹפ רְל עֶֹפר ָהאַיִָּליָהםאַ-יָּ-ִלַיעלם--ָהַעֵריל -ָָבהֵֶרתיר .ָב ֶתר.

3:1 ַע1:ל3- ִמַעְשׁלָ-כִּבמיְ,שׁ ָכַּבִּבֵלּיי, לוַֹבּתֵלּ,י לִוֹבַּקּת,ְ שִׁבִּתּיַקּ, ְשֵׁאִתּית, ֵֶשׁאאָת ֲהֶָשׁבאָה ֲהַנְָבפ ִהשׁ יַנ; ְפִבִּשַׁקּי;ְ שִׁבִּתּיַקּו,ְ שׁוְִתּלֹיוא, וְמלָֹצאא ְִתמיָוצ. א ִ תיו. ֹ ֹ 3:11 1ְצ1:ֶאָנ3 הְצ וֶּאְרָנֶאהי ָנוְּרה ֶאְיבָּננוֹה ת ְבִּצניּוֹוֹןת, ִצַבּיּוֶֹמּן,ֶל ְךַבּ ֶמְּשֶׁללְך מְֹהשׁ-ל-מָֹבֲּהע-ָט-ָרבֲּהע,ָ טֶָרשִׁהע,ְ טֶָּרשִׁהע-ְטּלָּוֹר הִא-מּלּוֹ ְִבּאיוֹמּוֹם ְבּיוֹם ֲח ֻתָנּ ֲתחוֹ,ֻת ָנּוְּבתיוֹוֹ, םוּ,ְ ביִוֹשׂםְמ, ַחִשׂת ְמִלַחבּוֹת. ִל בּוֹ.

Palestrina Si ignoras te

Si ignoras te, o pulchra inter mulieres, If thou know not, O thou fairest among women, egredere et abi post vestigia gregum tuorum go thy way forth by the footsteps of the flock, et pasce haedos tuos iuxta tabernacula pastorum. and feed thy kids beside the shepherds’ tents. Equitatui meo in curribus Pharaonis I compare you, my love, to my company of horsemen adsimilavi te amica mea. among Pharoah’s chariots.

1:1 1:1 ִשׁיר ִַשׁהיִשּׁרי ִרַהיִםשּׁי, ִרֲיאםֶשׁ, ר ֲאִלֶשְׁשׁר לִֹלמְֹשׁה לֹמֹה יִ ָשֵּׁקניִיָ שִּׁמֵקְנִּניִ שׁיִמקְנּוִֹשׁתי קִפּוֹיתה וּ,ִפּ יִכּיה-וּ, טוִֹכּיִב-יטםוֹ ִבדֹּיֶדים ָך דִֶֹּדמייָּיִָךן . ִמיָּיִן. :reading ֹ ֹ 8:1 1ִא:ם-8 לִאאם -ֵתלְדאִ עיֵ תְָלדְךִע,י ַָלהיְָּך,ָפ הַה יַָּבָּפָנּהִשׁ יַבּםָנּ; ִשְׁיצִאםי; -ְָצלְִךא י-ְבָּלִעְךְ קְֵבּביִע ְַקהֵבצֹּי אןַ,ה צּוְֹּראןִ,עי וְֶּראִעתי- ְגֶּאִדיּת-1:9-15ֹ ַתְגּיְִִדךיּ,ֹ ַתיְִך,song of songs ַעל, ִַעמלְשׁ, ְכִּנמוְֹשׁת ְכּנָהוֹרֹתִ עיָהםר.ֹ ִע י{םפ.} {פ} 1:9 ְל9:ֻס1ָ סְלִתיֻס ְָסבִּרתיְכ ְֵבבּיִ רְַכפְֵרביע ַֹפה,ְר ִעדִֹּהמּ,י ִתִדּיְִמּךי ִַרתיְעְיָך ִתַרי.ְע יָ( ִתיי .ָנ (א ויוּ ָנְלאָוחיוַּיִ ְךל ָחַבּיַיִתְֹּךִ ריַבּםתּ,ֹ ִרַיצוָּם,א ֵרַצְךוָּ אֵרְך ַבּ ֲחרוַּבִּזיֲחםר.וּ)ִז ים.) :יִֽתָיְעַר ְךיִ֖תיִּמִּד הֹ֔עְרַפ יֵ֣בְכִרְּב ֙יִתָסֻֽסְל:HE 71:17 1קֹ:רוֹ1 תק ֹרָבּוֵֹתּתי נָוּבּ ֵתֲּאיָנרוִּז יֲאם,ָרִזריחםי,טרנוח י(טַרנִוה י(ֵטַרנִוּה)י ֵטְבּנוּרוֹ) ִתְבּירםוֹ ִתים .I have compared thee, O my love, to a company of horses in Pharaoh’s chariots 9 10 Thy cheeks are comely with rows of jewels, thy neck with chains of gold. 11 We will make thee borders of gold with studs of silver.ChaCphtearp 5te r 5 ָבּא ִתיָבּ ְאלַגִתִנּיי ,ְ לֲַגאִנּיחֹ, ִתֲיא ַחכִָֹלּתיה -ַכ-ָלּאָהִר-י-ִתאָי ִרימוִֹתִיר י מִעוִֹרםי- ְבִּעָשׂם-ִמְיבּ, ָשׂאִָמַכי,ְל ִתּאָיַכ יְַלְעִתִּריי יְִַעִרםי- ִדִּעְבםִ-שׁיִדּ ְבָשִׁשִׁיתי ִָתשׁי ִתי ִתי יֵיִני ִיֵעיִנםי- ֲִחעָלםִ-ביֲ;ח ָלִאִבְכי;ל וִּ אְֵרכִלעיוּ םֵר, ִעיְשׁם,ת וּ ְוְשִׁשׁתוְּכ וְרוִּ שְׁדּכוֹרִדוּי םדּוֹ. ִדים. :SHE 65:16 1ִח:כּוֹ5, ִחַמכּוְֹמ, ַתַמקּיְמםַת, קּוְיֻכםלּ,וֹ ,וְ ֻכַמלּוֲֹח, ַמַמִדּיֲחםַמ; ִדֶּזיהם ; דֶזוִֹדהי וְדוֶֹזִדהי וְֵרֶזִעיה, ֵרְבִּעניוֹ, תְ בּיְנוֹרוּתָ שׁיְָלרוּם ָשָׁלם ִ ִ .While the king sitteth at his table, my spikenard sendeth forth the smellִ ִ thereof 12

13 A bundle of myrrh is my wellbeloved unto me; he shall lie all night betwixt my breasts. 2:1 1ֲא:ִני2 ֲחֲאִַנביֶ צֲֶּלחַתב ֶצַּהֶלָשּׁת רוַֹהן,ָ שּׁרשׁוֹוֹן,ַ שַׁנּשׁוֹת ַשָׁהַנֲּעתָ מִָהקיֲעםָמ ִקים 14 My beloved is unto me as a cluster of camphire in the vineyards of Engedi. 32:13 1ַה:ְתּ2 ֵאַָנה ְהתּ ֵאָחָנְנהָט ָהח ְנַפָטֶגּיה ָהַ,פ ֶגּוְיַהָהְגּ, ָפוְִנַיהְגּם ָפְִנסיָמםַ דְסר ָמָנַדְתרנ וּ ָנֵרְתינַוּח ; ֵריקוַּחִ;מ י קלוּכִמיי (לָלכְךי ) (ַָלרְךעי)ָ ִתַרי ְעיִָתי יָָפ ִתייָ, ָפוְִּלתיִכ,י -וָּלְלְִךכ י-ָלְך :HE

15 Behold, thou art fair, my love; behold, thou art fair; thou hast doves’ eyes. 42:14 י1וֹ:ָנ2ִת יי וָֹנְבִַּתחיְג וֵיְבּ ַחַהְגֶוֵסּיַ לַעה,ֶ סְַּלבֵּעס, ֶתְבּר ֵסַהֶתַמּר ְדֵַהרָגַמּהְד,ֵ רָגַהְהר,ִ איַהִניְר ִֶאיִנתי- ֶַמאְרת-אַיִַמְךְ,ר אַַיִהְךְשׁ, ִמַיהִעְשִׁניִמ יִעִני 1:ֶא1ת - ֶקאוֵֹלת-ך:ק וֹ ֵלִכּיך-: ק וִֹכֵּלי-ך קוֹעֵלֵרךב ,ע וֵּרַמבְ,ר ֵוּאיַמךְ רָנֵאיאוֶך הָנ. אוֶה. ְ ְ ְ ָ ְ ָ ְ ְ :SHE ִשׁי7ר1 :ַה72 ִשּׁ1ַעי:דִר 2י ֶםשַׁע,יָּ דפ ֲאוֶַּשֶׁחשׁיָּ רפַ הוּיִּלוַֹחְ םשׁ,ַהל ֹיּוְוֹמָנֹםהס, וּ וְָנַהְסצּוָּל ִלַהיְצּםָ:ל ִל יסֹם:ב ְדּסֵֹמב הְ-דְּלֵמָך ה-דְוֹלִָדךי דִלוְֹצִדיִב יִ,ל ְצאִבוֹי ,ְל עאֹוֶֹפ ְרל עֶֹפר יִ ָָשּׁהֵקאִַניָּיִל ָיהִמםאְַנּיָּ--ִלשׁיַיעםקלוֹ--ָתהַע ֵרִליפּ-י ָבהוֵֶּר,תי רִכּ.ָיב - ֶתטרוֹ.ִב י ם דֶֹּדיָך ִמיָּיִן. .Behold, thou art fair, my beloved, yea, pleasant: also our bed is green 16 ֹ 1 :8 ִא ם-לא ֵתְדִעי ָלְך, ַהיָָּפה ַבָּנּ ִשׁים; ְצִאי-ָלְך ְבִּעְקֵבי ַהצֹּאן, וְּרִעי ֶאת-ְגִּדיַֹּתיְִך, HE: ַע1ל:, 3ִ מ1ַעְ:שׁלְכּ-3נ ִוֹמַעְתלשׁ -ָכָּהִִמבירְֹ,שִׁע ָיכַּבִּבםֵלּי.י, לוֹ{ַבּפֵתלּי}, לוִֹבַּתקּ, ְשִׁבִּתַּיקּ,ְ שֵׁאִתּית, ֵֶאשׁאָת ֲהֶָשׁבאָה ֲהַנָבְפהִשׁ יַנ;ְ פִבִּשַׁיקּ; ְשִׁבִּתַּיקּו,ְשׁ וְִתּליֹוא, וְְמלָֹצא אְִמתיָצו.א ִת יו. ֹ ֹ 111:9 :ְל13ֻ סְצ1ָס:ֶאִת3ָני הְצְ בֶּוּאִרְָנרְכֶהאֵב ייוָּנ ְרהַפ ֶאְריְבָּנענֹוֹהה ,תְ בִּנדּצוֹיִּוֹמּןית, ִ תִציַבּיּוְֹךֶןמּ ,ֶ ַלרְַךְבּע יֶָמְִּשׁתֶלילְ.ך מֹ(ְ שׁהי -לָנ-מָֹבּאוהֲעוּ- ָ-טְלָבּרָחֲיעַהיִ,ָט ְךָ רֶשַׁבּהִע,תּ ְֹטִּרֶָשׁירִעםה,-ְטּ לַָּרצוֹוּ ָהִא-ֵרלּמּוֹוְֹך ְִאבּיוֹמּוֹ ם ְבּיוֹם .The beams of our house are cedar, and our rafters of fir 17 חתָנּחתוֹ,ת ָנּוּתבוֹיוֹ, וּם,ב יוִֹשׂםמ, ַחִשׂת מִלַחבּוֹת. ִל בּוֹ. ַבֲֲּחֻרוִּזֲי ֻם.) ְ ְ ְ ְ 7 1:1 קֹרוֹת ָבּ ֵתּינוּ ֲאָרִזים,רחיטנו (ַר ִהיֵטנוּ) ְבּרוֹ ִתים (ביתכ ּונֵ֖טיִחָֽר) ּונֵ֖טיִהָר םיִ֔זָרֲא ּ֙וניֵּ֨תָּב תֹו֤רֹקזי :םיִֽתֹורְּב Chapter 5 ָבּא ִתי ְלַגִנּי, ֲאחִֹתי ַכָלּה--אִָרי ִתי מוִֹרי ִעם-ְבּ ָשׂ ִמי, אַָכְל ִתּי יְַעִרי ִעם-ִדְּב ִשׁי ָשׁ ִתי ִתי יֵיִני ִעם- ֲחָלִבי; ִאְכלוּ ֵרִעים, ְשׁתוּ וְ ִשְׁכרוּ דּוִֹדים. Palestrina Ecce tu pulcher 5:16 ִחכּוֹ, ַמ ְמ ַתִקּים, וְֻכלּוֹ, ַמ ֲח ַמִדּים; ֶזה דוִֹדי וְֶזה ֵרִעי, ְבּנוֹת יְרוּ ָשִָׁלם

Ecce tu pulcher es dilecte mi et decorus. Behold thou art fair, my beloved, and comely. 2:1 ֲאִני ֲחַבֶצֶּלת ַה ָשּׁרוֹן, שׁוֹ ַשַׁנּת ָהֲע ָמִקים 2:13 ַה ְתֵּאָנה ָחְנָטה ַפֶגּי ָה, וְַהְגָּפִנים ְס ָמַדר ָנ ְת,flowers נוּ ֵרי withַח ; קוּ ִמי לכadornedי (isָל ְך) bedַר ְעיִָתיLectulus noster floridus, Our tigna domorum nostrarum cedrina, the beams of our houses are of cedar, יָָפ ִתי, וְּלִכי-ָלְך laquearia cupressina. our fretted roofs are of cypress. 2:14 יוָֹנ ִתי ְבּ ַחְגוֵי ַה.valleysֶ סַּלעthe, ְבּofֵ ס ֶתר lily ַה ַמּtheְד ֵרָגandה , ַהְרִא,fieldיִנ י ֶאtheת -ofַמ ְראַיְִך, ַהflower ְשׁ ִמיthe ִעִני Ego flos campi et lilium convallium I am ֶאת-קוֵֹלְך: ִכּי-קוֵֹלְך ָעֵרב, וּ ַמְרֵאיְך ָנאוֶה. 2:17 ַעד ֶשׁיָּפוּ ַח ַהיּוֹם, וְָנסוּ ַהְצָּלִלים: סֹב ְדּ ֵמה-ְלָך דוִֹדי ִלְצִבי, אוֹ ְלעֶֹפר ָהאַיִָּלים--ַעל- ָהֵרי ָב ֶתר.

3:1 ַעל- ִמ ְשָׁכִּבי, ַבֵּלּילוֹת, ִבַּקּ ְשׁ ִתּי, ֵאת ֶשׁאָ ֲהָבה ַנְפ ִשׁי; ִבַּקּ ְשׁ ִתּיו, וְלֹא ְמָצא ִתיו. ֹ 3:11 ְצֶאָנה וְּרֶאיָנה ְבּנוֹת ִציּוֹן, ַבּ ֶמֶּלְך ְשׁלמֹה--ָבֲּעָטָרה, ֶשִׁעְטָּרה-לּוֹ ִאמּוֹ ְבּיוֹם ֲח ֻתָנּתוֹ, וְּביוֹם, ִשׂ ְמ ַחת ִלבּוֹ. 8  Vancouver Bach Festival 2019 Song of Songs [email protected]

Alessandro Piccinini (1566 - c. 1638) Toccata XI (theorbo solo)

Maria Xaveria Perucona (1652-1709) Propera veni dilecte mi

Propera veni dilecte mi, Come, my beloved, egrediamur in agros. let us go forth into the field; Iam mihi tellus sordet I am already dirty from the earth, nec mundanus terret amor, Yet earthly love does not frighten me, non angustia, non clamor, nor does anguish, nor clamor, non diaboli tormenta, nor do the torments of the devil, non terrena blandimenta. nor earthly blandishments. Ut fruar Iesu meo, If I may delight in my Jesus, ut coniugar caro Deo. if I may wed my dear God, Languet cor, deficit vita, My heart languishes, my life slips away. vivo moriar in vita. I live that I may die in life. Mori vivere non queo I do not wish to live in death sine Iesu Deo meo. without Jesus my God. Ergo moriar cum Iesu, Therefore I will die with Jesus ego vivam cum Iesu. so that I may live with Jesus.

Alessandro Grandi (1590-1630) Surge propera he: Surge, propera amica mea, columba mea, Arise, make haste, my love, my dove, formosa mea et veni. my beautiful one, and come. she: En dilectis meus loquitur mihi et vocat me. Behold my beloved speaketh to me and calleth me. he: Veni delecta mea, Jam enim hiems transiit, Come, come, my beloved. For winter is now past, the rain imber abiit et recessit. Flores apparuerent in terra nostra. is over and gone. The flowers have appeared in our land. she: Vox dilectir mei vocantis me: The voice of my beloved is calling me: en ipse stat pos parietem nostrum, respiciens, per fenestras, behold he standeth behind our wall, looking prospiciens per cancellos. through the windows, looking through the lattices. he: Veni, amica me. Jam vox turturis audita est in terra nostra. Come, my love. The voice of the turtle is heard in our land. Vineas florentes dederunt odorum suum. The vines in flower yield their sweet smell. she: Vox adhuc delecti mei. Laeva ejus sub capite meo, The voice of my beloved: his left hand is under my head, et dextera illius amplexabitur me. and his right hand shall embrace me. he: Surge propera speciosas mea et veni. Arise, make haste, my beautiful one, and come. he and she together: Surgam et quaerem quem diligit anima mea. I will rise and I will seek her/him whom my soul loveth.

Please turn page quietly, and only after the music has ended. earlymusic.bc.ca Song of Songs Vancouver Bach Festival 2019  9 1:1 ִשׁיר ַה ִשּׁיִרים, ֲא ֶשׁר ִל ְשׁלֹמֹה יִ ָשֵּׁקִני ִמְנּ ִשׁיקוֹת ִפּיהוּ, ִכּי-טוִֹבים דֶֹּדיָך ִמיָּיִן. ֹ 8:1 ִאם-לא ֵתְדִעי ָלְך, ַהיָָּפה ַבָּנּ ִשׁים; ְצִאי-ָלְך ְבִּעְקֵבי ַהצֹּאן, וְּרִעי ֶאת-ְגִּדיַֹּתיְִך, ַעל, ִמ ְשְׁכּנוֹת ָהרִֹעים. {פ} 1:9 ְלֻסָס ִתי ְבִּרְכֵבי ַפְרעֹה, ִדּ ִמּי ִתיְך ַרְעיִָתי. ( י ָנאווּ ְל ָחיַיְִך ַבּתִֹּרים, ַצוָּאֵרְך ַבּ ֲחרוִּזים.) 1:17 קֹרוֹת ָבּ ֵתּינוּ ֲאָרִזים,רחיטנו (ַר ִהיֵטנוּ) ְבּרוֹ ִתים :reading song of songs - chapter 5 complete Chapter 5 ָבּא ִתי ְלַגִנּי, ֲאחִֹתי ַכָלּה--אִָרי ִתי מוִֹרי ִעם-ְבּ ָשׂ ִמי, אַָכְל ִתּי יְַעִרי ִעם-ִדְּב ִשׁי ָשׁ ִתי ִתי יֵיִני ִעם- ֲחָלִבי; ִאְכלוּ ֵרִעים, ְשׁתוּ וְ ִשְׁכרוּ דּוִֹדים.

5:16 ִחכּוֹ, ַמ ְמ ַתִקּים, וְֻכלּוֹ, ַמ ֲח ַמִדּים; ֶזה דוִֹדי וְֶזה ֵרִעי, ְבּנוֹת יְרוּ ָשִָׁלם HE : 1 I am come into my garden, my sister, my spouse: I have gathered my myrrh with my spice;

I have eaten my honeycomb with my honey; I have drunk my wine with my milk: eat, 2:1 ֲאִני ֲחַבֶצֶּלת ַה ָשּׁרוֹן, שׁוֹ ַשַׁנּת ָהֲע ָמִקים .O friends; drink, yea, drink abundantly, O beloved 2:13 ַה ְתֵּאָנה ָחְנָטה ַפֶגּי ָה, וְַהְגָּפִנים ְס ָמַדר ָנ ְתנוּ ֵרי ַח; קוּ ִמי לכי (ָלְך) ַרְעיִָתי SHE: 2 I sleep, but my heart waketh: it is the voice of my beloved that knocketh, saying, יָָפ ִתי, וְּלִכי-ָלְך Open to me, my sister, my love, my dove, my undefiled: for my head is filled with dew, and my locks with the drops of the night. 3 I have put off my coat; how shall I put it on? I have washed my feet; how shall I defile them? 2:14 יוָֹנ ִתי ְבּ ַחְגוֵי ַהֶסַּלע, ְבֵּס ֶתר ַה ַמְּדֵרָגה, ַהְרִאיִני ֶאת- ַמְראַיְִך, ַה ְשׁ ִמיִעִני 4 ֶאת-קוֵֹלְך: ִכּי-קוֵֹלְך ָעֵרב, וּ ַמְרֵאיְך ָנאוֶה. .My beloved put in his hand by the hole of the door, and my bowels were moved for him 2:17 ַעד ֶשׁיָּפוּ,myrrhַח ַהיּוֹם, וְָנסsmellingוּ ַהְצָּלִליsweet ם: withסֹ ב ְדּ ֵמה-ְלfingers ָך דוֹmy ִדי ִלandְצ ִבי, אוֹ ְל,myrrh עֶֹפר I rose up to open to my beloved; and my hands dropped with 5 ָהאַיִָּלים--ַעל- ָהֵרי ָב ֶתר. .upon the handles of the lock 6 I opened to my beloved; but my beloved had withdrawn himself, and was gone: my soul failed when he spake: I sought him, but I could not find him; I called him, but he gave me no answer. 3:1 ַעל- ִמ ְשָׁכִּבי, ַבֵּלּילוֹת, ִבַּקּ ְשׁ ִתּי, ֵאת ֶשׁאָ ֲהָבה ַנְפ ִשׁי; ִבַּקּ ְשׁ ִתּיו, וְלֹא ְמָצא ִתיו. ֹ;The watchmen that went about the city found me, they smote me, they wounded me 7 3:11 ְצֶאָנה וְּרֶאיָנה ְבּנוֹת ִציּוֹן, ַבּ ֶמֶּלְך ְשׁלמֹה--ָבֲּעָטָרה, ֶשִׁעְטָּרה-לּוֹ ִאמּוֹ ְבּיוֹם the keepers of the walls took away my veil from me. ֲח ֻתָנּתוֹ, וְּביוֹם, ִשׂ ְמ ַחת ִלבּוֹ. 8 1:1 I charge you, O daughters of Jerusalem, if ye find my beloved, that ye tell him, that I am sick of love. ִשׁיר ַה ִשּׁיִרים, ֲא ֶשׁר ִל ְשׁלֹמֹה HE: 9 What is thy beloved more than another beloved, O thou fairest among women? יִ ָשּׁקִני ִמְנּ ִשׁיקוֹת ִפּיהוּ, ִכּי-טוִֹבים דֶֹּדיך ִמיָּיִן. ֵ ָ ?what is thy beloved more than another beloved, that thou dost so charge us ֹ 8:1 ִאם-לא ֵתְדִעי ָלְך, ַהיָָּפה ַבָּנּ ִשׁים; ְצִאי-ָלְך ְבִּעְקֵבי ַהצֹּאן, וְּרִעי ֶאת-ְגִּדיַֹּתיְִך, ַעל, ִמ ְשְׁכּנוֹת ָהרִֹעים. {פ} . My beloved is white and ruddy, the chiefest among ten thousand 10 SHE: 1:9 ְלֻסָס ִתי ְבִּרְכֵבי ַפְרעֹה, ִדּ ִמּי ִתיְך ַרְעיִָתי. ( י ָנאווּ ְל ָחיַיְִך ַבּתִֹּרי.raven םa, ַצוּasָ אֵרְך His head is as the most fine gold, his locks are bushy, and black 11 ַבּ ֲחרוִּזים.) .His eyes are as the eyes of doves by the rivers of waters, washed with milk, and fitly set 12 1:17 קֹרוֹת ָבּ ֵתּינוּ ֲאָרִזים,רחיטנ.myrrhו ( ַר ִהיֵטנוּ) smellingְבּ רוֹ ִתיםHis cheeks are as a bed of spices, as sweet flowers: his lips like lilies, dropping sweet 13 14 His hands are as gold rings set with the beryl: his belly is as bright ivory overlaid with sapphires. 15 His legs are as pillars of marble, set upon sockets of fineCh agold:pter 5his countenance is as Lebanon, excellent as the cedars. ָבּא ִתי ְלַגִנּי, ֲאחִֹתי.Jerusalem ַכofָלּ ה--אִָרי ִתי daughtersמ וִֹרOי ִעם-ְבּ,friendָשׂ ִמי,my אָisַ כְל ִתּיthis יְַעִריand ִעם-ִדְּב ִשׁי,beloved ָשׁ myִת י isִת י His mouth is most sweet: yea, he is altogether lovely. This 16 יֵיִני ִעם- ֲחָלִבי; ִאְכלוּ ֵרִעים, ְשׁתוּ וְ ִשְׁכרוּ דּוִֹדים. 5:16 ִחכּוֹ, ַמ ְמ ַתִקּים, וְֻכלּוֹ, ַמ ֲח ַמִדּים; ֶזה דוִֹדי וְֶזה ֵרִעי, ְבּנוֹת יְרוּ ָשִָׁלם

2:1 ֲאִני ֲחַבֶצֶּלת ַה ָשּׁרוֹן, שׁוֹ ַשַׁנּת ָהֲע ָמִקים 2:13 ַה ְתֵּאָנה ָחְנָטה ַפֶגּי ָה, וְַהְגָּפִנים ְס ָמַדר ָנ ְתנוּ ֵרי ַח; קוּ ִמי לכי (ָלְך) ַרְעיִָתי Orlande de Lassus יָָפ ִתי, וְּלִכי-ָלְך (1532-94) Anima mea liquefacta est 2:14 יוָֹנ ִתי ְבּ ַחְגוֵי ַהֶסַּלע, ְבֵּס ֶתר ַה ַמְּדֵרָגה, ַהְרִאיִני ֶאת- ַמְראַיְִך, ַה ְשׁ ִמיִעִני Anima mea liquefacta est, ut dilectus locutus est. My soul failed when he spake: ֶאת-קוֵֹלְך: ִכּי-קוֵֹלְך ָעֵרב, וּ ַמְרֵאיְך ָנאוֶה. Quaesivi et non inveni illum; I sought him, but I could not find him; 2:17 ַעד ֶשׁיָּפוּ ַח ַהיּוֹם, וְָנסוּ ַהְצָּלִלים: סֹב ְדּ ֵמה-ְלָך דוִֹדי ִלְצִבי, אוֹ ְלעֶֹפר vocavi et non respondit mihi. I called him, but he gave me no answer. ָהאַיִָּלים--ַעל- ָהֵרי ָב ֶתר. Invenerunt me custodes civitatis, The watchmen that went about the city found me, 3:1 ַעל- ִמ ְשָׁכִּבי, ַבֵּלּילוֹת, ִבַּקּ ְשׁ ִתּי, ֵאת ;meֶ שׁאָ ֲהָבה ַנְפwoundedִ שׁי; ִבּtheyַקּ ְשׁ ִתּי,me ו, וְלֹא smoteְמ ָצא ִתיtheyו. percusserunt me .et vulneraverunt me. the keepers of the walls took awayֹ my veil from me 3:11 ְצֶאָנה וְּרֶאיָנה ְבּנוֹת ִציּוֹן, ַבּ ֶמֶּלְך ְשׁלמֹה--ָבֲּעָטָרה, ֶשִׁעְטָּרה-לּוֹ ִאמּוֹ ְבּיוֹם ֲח ֻתָנּ תוֹ, וְּביוֹם,beloved, ִשׂmyְמ ַחת ִלfind בּוֹ.Tulerunt pallium meum custodes murorum. I charge you, O daughters of Jerusalem, if ye Filiae Hierusalem, nuntiate dilecto quia amore langueo. that ye tell him, that I am sick of love.

INTERVAL “O friends; drink, yea, drink abundantly, O beloved.” (Excerpt from Song of Songs, Chapter 5, Verse 1) — wine is available for sale at intermission! —

10  Vancouver Bach Festival 2019 Song of Songs [email protected] 1:1 ִשׁיר ַה ִשּׁיִרים, ֲא ֶשׁר ִל ְשׁלֹמֹה יִ ָשֵּׁקִני ִמְנּ ִשׁיקוֹת ִפּיהוּ, ִכּי-טוִֹבים דֶֹּדיָך ִמיָּיִן. ֹ 8:1 ִאם-לא ֵתְדִעי ָלְך, ַהיָָּפה ַבָּנּ ִשׁים; ְצִאי-ָלְך ְבִּעְקֵבי ַהצֹּאן, וְּרִעי ֶאת-ְגִּדיַֹּתיְִך, ַעל, ִמ ְשְׁכּנוֹת ָהרִֹעים. {פ} 1:9 ְלֻסָס ִתי ְבִּרְכֵבי ַפְרעֹה, ִדּ ִמּי ִתיְך ַרְעיִָתי. ( י ָנאווּ ְל ָחיַיְִך ַבּתִֹּרים, ַצוָּאֵרְך ַבּ ֲחרוִּזים.) 1:17 קֹרוֹת ָבּ ֵתּינוּ ֲאָרִזים,רחיטנו (ַר ִהיֵטנוּ) ְבּרוֹ ִתים

Chapter 5 ָבּא ִתי ְלַגִנּי, ֲאחִֹתי ַכָלּה--אִָרי ִתי מוִֹרי ִעם-ְבּ ָשׂ ִמי, אַָכְל ִתּי יְַעִרי ִעם-ִדְּב ִשׁי ָשׁ ִתי ִתי יֵיִני ִעם- ֲחָלִבי; ִאְכלוּ ֵרִעים, ְשׁתוּ וְ ִשְׁכרוּ דּוִֹדים. 5:16 ִחכּוֹ, ַמ ְמ ַתִקּים, וְֻכלּוֹ, ַמ ֲח ַמִדּים; ֶזה דוִֹדי וְֶזה ֵרִעי, ְבּנוֹת יְרוּ ָשִָׁלם :reading song of songs 2:1-13 :םיִֽקָמֲעָֽה תַּ֖נַׁשֹוֽׁש ןֹו֔רָּׁשַה תֶלֶּ֣צַבֲח ֙יִנֲאא 2:1 ֲאִני ֲחַבֶצֶּלת ַה ָשּׁרוֹן, שׁוֹ ַשַׁנּת ָהֲע ָמִקים HE: 1 I am the rose of Sharon, and the lily of the valleys. 2:13 ַה ְתֵּאָנה ָחְנָטה ַפֶגּי ָה, וְַהְגָּפִנים ְס ָמַדר ָנ ְתנוּ ֵרי ַח; קוּ ִמי לכי (ָלְך) ַרְעיִָתי יָָפ ִתי, וְּלִכי-ָלְך .As the lily among thorns, so is my love among the daughters 2 SHE: 3 As the apple tree among the trees of the wood, so is my beloved among the sons. 14:1 12:1 :יוֹ1ָנ ִתי ְבּ ַחְגוֵי ַהֶסַּלע, ְבֵּס ֶתר ַה ַמְּדֵרָגה, ַהְרִאיִנ.tasteי ֶאתmy - ַמtoְ ראַיְִך, sweetַה ְשׁ ִמיwasִע ִני I sat down under his shadow with great delight, and his fruit את-קוֵֹלך: ִכּי-קוֵֹלך עֵרב, וּ ַמרֵאיך ָנאוה. ִשׁיֶר ַהִִשׁשּׁיירִרְ יַהם,ִ שּׁיֲאִריֶשׁםר, ְִלֲאְָשֶׁשׁלֹר מִֹלה ְשׁלְֹמֹה ְ ֶ .He brought me to the banqueting house, and his banner over me was love 4 2:17 ַעד ֶשׁיָּפוּ ַח ַהיּוֹם, וְָנסוּ ַהְצָּלִלים: סֹב ְדּ ֵמה-ְלך דוִֹדי ִלְצִבי, אוֹ ְלעֶֹפר יִ ָשֵּׁקִני יִִָמשְּׁנֵּקִשִׁני קִוֹמְנּת ִשִׁיפּיקוֹהוּת, ִכּפּיי-הטוּוֹ, ִבִכּיי-ם טדּוִֶֹֹדבייָךם ִמדֹּיֶָּידִןי.ָך ִמיָּיִן. ָ .Stay me with flagons, comfort me with apples: for I am sick of love 5 ָהאַיִָּלים-ֹ-ַעל- ָֹהֵרי ָב ֶתר. 8:1 ִא1ם:8-ל אִא ֵםת-ְדלִעאי ָלֵתְךְד, ִעיַה יָָּלָפְך,ה ַַהבּיָָּנָּפִשׁיה םַ;בּ ָנְּצִשִׁאיי-ם;ָל ְךְצ ִאְבּי-ִעָלְקְךֵב יְ בִַּעהְצּקֵֹאבןי, ַוּהְרצִֹּעאין , ֶאוּ.meְ רת-ִעְיגּ ִדֶיּאַֹתיִ-ְךגּ,ִד embraceיּ ַֹתיְִך, His left hand is under my head, and his right hand doth 6

ַעל, ִמ ְַעשׁלְכּ,נ וִֹמת ְשָׁהְכּנרֹוִֹעית םָ.ה ר ֹ{ִעי,upפ}ם . not{ פ} I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir 7 3:1 ַעל- ִמ ְשָׁכִּבי, ַבֵּלּילוֹת, ִבַּקּ ְשׁ ִתּי, ֵאת ֶשׁאָ ֲהָבה ַנְפ ִשׁי; ִבַּקּ ְשׁ ִתּיו, וְלֹא ְמָצא ִתיו. .nor awake my love, till he please 1:9 ְלֻס9:ָס1ִ תיְל ְֻסבִָּסרְכִתיֵב י ְבַּפִרְרְכֵעבֹיה ,ַ פְִדּרִעמֹּיהִ,ת יְִדּך ִמַּריְִעתיָיְִךתי .ַר (ְע יָי ִתָני.א ו(וּ יְל ָנָחיַאיִווְּך ְלַבָּחיתַֹּיִִרְךי םַבּ, תַֹּצִוָּריאםֵר, ְךַ צוָּאֵרְך ֹ ֹ ַבּ 1ֲחר1וּ:ִז3יַבּ םְֲצח.ֶ)אר וָּנִזיה וּם.ְר) ֶאיָנה ְבּנוֹת ִציּוֹן, ַבּ.hillsֶ מֶּלְך the ְשׁלמהupon --ָבֲּעָטָרה,skipping ֶשִׁעְטָּרה-לּוֹ ִא,mountains מּוֹ theְבּ יוֹם The voice of my beloved! behold, he cometh leaping upon 8 7 1ֲח:ֻת1ָנּ 7קתֹוֹר1,וֹ: וּ1תְב יָוֹק בֹּ ֵרםתּוֹ,י נתוִּ שׂ ָבְֲּאמֵָתַּרחיִזניתוּ ם,windowsִל,ֲ ארבָּרוִֹ.זח יthe םט,נatור (חיַר ִטהניוforthֵ ט(נוַּר)ִ היְבֵּטרוֹנוּlookethִ)ת י ְבּם heר וֹ ִתים ,My beloved is like a roe or a young hart: behold, he standeth behind our wall 9 shewing himself through the lattice. 10 My beloved spake, and said unto me, ChapCtehra 5p ter 5 ָבּא ִתי ְָלבַּגאִנּיִת,י ֲאְלַגחִֹנּיִת,י ֲַאכָלּחִֹהת-י- ַכאָָלִּריהִ-ת-י אָמִרוֹיִרִית י ִעמםוֹ-ִרְיבּ ִָשׂעִמםי-,ְ בּאָָשַׂכִמְלי,ִתּ י אָיַַכְעְלִרִיתּ י ִעיְַםע-ִרִידּ ְבִעִשׁםי- ִדָּשְׁבִתִישׁיִ תיָ שׁ ִתי ִתי . Rise up, my love, my fair one, and come away HE: יֵיִני ִע יֵםי-ִנֲיח ָלִעִבים;- ֲחִאָלְכִבליוּ; ֵרִאִעְכילםוּ, ֵרְשִׁעיתוּם ,וְ ְִשְׁכתרוּוּ ו ְ ִדּשׁוְֹכִדירוּם . דּוִֹדים. ;For, lo, the winter is past, the rain is over and gone 11 5:16 6ִחכּ1וֹ:,;land 5 ַמִחְמourכּוַֹ ת, ִקּinיַ מםְמ, ַותְִֻכקּיheardלּוֹ ם,, isַוְ מֻכֲחלּוַֹמ, ִדּיturtleַמ םֲח; ַמֶזtheִדּ הי ofםד; וֹ ִדֶזי הוְ ֶזvoiceדוֹה ִדיֵר ִוtheְעיֶז , ה ְבּandֵרנוֹ ִעית, יְְבּרנוּוֹ,comeָשׁת ִָל יisְם ר וּ ָשִָׁלbirdsם The flowers appear on the earth; the time of the singing of 12 13 The fig tree putteth forth her green figs, and the vines with the tender grape give a good smell. 2:1 ֲאִנ1י: 2ֲח ַבֲאֶצִּניֶל ֲתח ַבַהֶצֶָּלשּׁרתוֹ ן,ַה ָשּׁשׁוֹרוַֹשׁן,ַנּ תשׁ וָֹהַשֲׁעַנָּמתִ קיָהםֲע ָמִקים .Arise, my love, my fair one, and come away 2:13 3ַה 1ְתּ:ֵא2ָנ ַה ְתָּחְֵנאָנָטהה ָחַפְנֶגָּיטָהה, וְַפֶַגּהיְגָּהָפ,ִנ יוְַםה ְגְּסָפִָנמיַדםר ְסָנְָמתַנדוּ ר ֵרָניְַתח;נ וּ קֵרוּיִמַחי; לקכוּי ִמ(יָ לְלך)כ י ַר(ְָעליְָךִ)תי ַרְעיִָתי יָָפ ִתי, יָוְָּלפִכִתיי-,ָ לוְּךְל ִכי-ָלְך ּונְתָ֣נ רַ֖דָמְס | םיִ֥נָפְּגַהְו ָהיֶּ֔גַפ הָ֣טְנָֽח ֙הָנֵאְּתַהגי :ְךָֽל־יִכְלּו יִ֖תָפָֽי יִ֥תָיְעַר (יְכָ֛ל ביתכ) ְךָ֛ל יִמּו֥ק ַחיֵ֑ר Please turn page quietly, and only after the music has ended. 2:14 יוֹ4ָנ1ִ:תי2 ְיבּוַָֹנחְִגתוֵיי ְבַּהַחֶסְּגַלוֵיע ,ַ הְֶבּסֵַּסל ֶעת, ר ְבַּהֵסַמֶּתְדרֵ רָגַההַמּ, ְדֵַהרְָגרִהאי, ִניַ הְֶראִאתי-ִניַמ ְֶראאַתיִ-ְךַ,מ ְרַהאְַיִשְׁךִמ,י ִַעהִניְשׁ ִמיִעִני ֶאת-קוֵֶֹאלְךת:- קִוֹכּיֵל-ְךק:וֹ ֵלִכְּךי -ָעקֵוֹרֵלבְ,ך וָּעַמֵרְרבֵ,א יוְּךַ מָנְראֵואֶיהְך. ָנאוֶה. 2:17 ַע7ד1 :2ֶשׁ יַָּעפוּד ַח ֶשַׁיָּהיּפוֹוּםַח, וְַהָניּוֹסוּם , ַהוְְָנצָּלסוִּל יַהם:ְצּ ָ לִלסֹיבם :ְדּ ֵמסֹהב- ְלְדָּךֵ מדהוֹ-ִדְלי ָךִ לְדצוִֹבִדיי, ִלאְוֹצ ִבְלי,עֹ ֶפאוֹר ְלעֶֹפר ָהאַיִָּלי ָםה-אַ-יַָּעִליל-םָ-ה-ֵרַיע לָב-ֶָהתֵרי. ָב ֶתר.

3:1 ַעל-1:3ִמ ְשַׁעָכּלִ-ביִמ, ְשַׁבָּכֵּלּיִביל,וֹ תַבּ,ֵ לּיִבּלַוֹקּ ְתשׁ, ִתִּיבּ,ַ קֵּאְשׁתִתּ י,ֶשׁ ֵאָאֲהת ָבֶשׁה אַָנֲהְפָבִשׁיה; ַנִבְּפַקִּשְׁישׁ; ִתִּיבּוַ,קּ וְשׁלִֹתּאי ו,ְמ וְָצלֹאאִ תיְומ.ָצ א ִתיו. ֹ ֹ 3:11 ְצ1ֶא1:ָנ3ה וְּצְרֶאֶָנאיהָנ וּה ְרְבֶּאניוָֹנתה ִצְבּיּוֹנןוֹ, ת ַבִּצֶמּיּוֶֹלן,ְך ַבְּשֶׁמּלֶלמְֹך ה-ְשׁ-לָבּמֲֹעָהט-ָר-ָבּה,ֲע ֶָטשָׁרִעהְטּ, ָרֶשׁה-ִעלְּוֹטּ ָרִאהמּ-וֹלּ וְֹ בּיִוֹאםמּ וֹ ְבּיוֹם ֲח ֻתָנּתוֲֹ,ח ֻוּתְָנּביוֹתוֹם,, וְִּבשׂיוְֹמםַח, ?Boardתִ שִׂלְמבַּוֹח. ת ourִל בּוֹ. Interested in joining Interested in rolling up your sleeves to help one of the most active and acclaimed musical organizations in our region? The EMV White Rock Concerts White Rock Concerts board of directors is a varied and collegial group of individuals congratulates Early Music Vancouver dedicated to providing support and leadership to our professional congratulates Early Music Vancouver artistic and management team. on its 50th Anniversary and vital on its 50th Anniversary and vital We are always interested in hearing from potential new directors contribution to the revival of early music and welcome energetic, positive people with broad community contribution to the revival of early music connections, business experience, and skills relevant to non-prof- and historically informed performance. it governance, including fundraising, leadership, and strategic and historically informed performance. planning. Directors serve a two-year term, meeting once a month from September to June at Hodson Manor (West 7th Ave and Now in our 63rd season, White Rock Birch) in Vancouver. Now in our 63rd season, White Rock Concerts Society offers a member-only If you have some of this experience and if you would relish a Concerts Society offers a member-only leadership role in building something truly great in our community, series of seven concerts series of seven concerts please get in touch with us by emailing us your resume and a short More information can be found at: note outlining what you feel you can contribute and why taking up www.whiterockconcerts.comMore information can be found at: the challenge of helping shape EMV interests you. www.whiterockconcerts.com We look forward to hearing from you! All enquiries can be emailed to [email protected]

earlymusic.bc.ca Song of Songs Vancouver Bach Festival 2019  11 Claudio Monteverdi (1567-1643) Ego flos campi

Ego flos campi et lilium convallium. I am the rose of the field, and the lily of the valleys. Sicut lilium inter spinas sic amica mea inter filias. As the lily among thorns, so is my love among the daughters. Sicut malum inter ligna silvarum As the apple tree among the trees of the woods, sic dilectus meus inter filios. so is my beloved among his sons. Sub umbra illius quam desideraveram sedi I sat under his shadow with great delight, et fructus eius dulcis gutturi meo and his fruit was sweet to my taste.

Cristobal de Morales (1500-53) Ecce amica mea

prima pars

Ecce amica mea, columba mea,speciosa mea,formosa mea, Behold, O my love, my dove, my beautiful, my beautiful one. venit saliens in montibus, transiliens colles. Similis est She cometh leaping upon the mountains, skipping over dilecta mea capree hynuloque cervorum. En dilecta mea, the hills. My beloved is like a roe, or a young hart. Behold formosa mea stat post parietem nostrum respiciens per my beloved, my beautiful one, standeth behind our wall, fenestras, prospiciens per cancellos. looking through the windows, looking through the lattices. En dilectus meus loquitur mihi: Surge, amica mea, columba Behold my beloved speaketh to me: Arise, make haste, my mea, formosa mea, et veni. Iam enim hiems transiit, imber love, my dove, my beautiful one, and come. For winter is abiit et recessit. Columba mea, veni. now past, the rain is over and gone. Come, my dove.

secunda pars

Flores apparuerunt in terra nostra, tempus putationis The flowers have appeared in our land, the time of pruning advenit; vox turturis audita est in terra nostra, ficus protulit is come: the voice of the turtle is heard in our land: The grossos suos, vineae florentes dederunt odorem suum; fig tree hath put forth her green figs: the vines in flower surge, amica mea, propera, speciosa mea, et veni, columba yield their sweet smell. Arise, my love, my beautiful one, mea, in foraminibus petrae, in caverna maceriae. Ostende and come: My dove in the clefts of the rock, in the hollow faciem tuam mihi, sonet vox tua in auribus meis; vox enim places of the wall, shew me thy face, let thy voice sound in tua dulcis, et facies tua decora. my ears: for thy voice is sweet, and thy face comely.

Girolamo Frescobaldi (1683-1643) Toccata Terza (from Toccate e partite d’intavolatura di cimbalo... Libro primo, 1615) (harpsichord solo)

Giovanni Antonio Rigatti (1613-48) Surge Columba

Surge, columba mea, amica mea, formosa mea, et veni. Arise, my dove, my love, my beautiful one, and come. Veni in foraminibus petræ, veni in caverna maceriæ, Come in the clefts of the rock, in the hollow places of the wall, ostende mihi faciem tuam, sonet vox tua in auribus meis, shew me thy face, let thy voice sound in my ears, o pulcherrima mulierum. O thou most beautiful among women. Vox enim tua dulcis, et facies tua decora. Alleluia. For thy voice is sweet, and thy face comely. Alleluia

12  Vancouver Bach Festival 2019 Song of Songs [email protected] 1:1 ִשׁיר ַה 1ִשּׁ:י1ִר ים, ֲא ֶשׁר ִל ְשׁלֹמֹה ֹ יִ ָשֵּׁקִני ִמשׁיְנּרִשׁ יַהקוִֹשּׁית ִריִפּים,ה וֲּ,א ִֶכּשׁיר- טִלוְִֹבשׁילםמ ֹדּהֹ ֶדיָך ִמיָּיִן. ֹ ֹ 8:1 ִאיִםָ-שּׁלֵקִנאי ֵתִמְְדנִִּעשׁיי ָקלוְֹך,ת ִַהפּייָָּפהוּה, ִַכּבּיָנּ-ִשׁטיוִֹבםי; םְצ ִאדּיֶד-יָלָךְך ִמְבּיָּיִען.ְק ֵבי ַהצֹּאן, וְּרִעי ֶאת-ְגִּדיַֹּתיְִך, ֹ ַעל, ִמ ְשׁ1:ְכּנ8וֹ ִאת םָה-לרִֹעאי ֵםת.ְ ד ִע{י פ}ָל ְך, ַהיָָּפה ַבָּנּ ִשׁים; ְצִאי-ָלְך ְבִּעְקֵבי ַהצֹּאן, וְּרִעי ֶאת-ְגִּדיַֹּתיְִך, ֹ 1:9 ְלֻסַעָסל,ִ תיִ מְְבּשִׁרְכְּכנוֵֹבית ַפָהְררעִֹעיה,ם . ִדּ ִ{מּיפִ}ת יְך ַרְעיִָתי. ( י ָנאווּ ְל ָחיַיְִך ַבּתִֹּרים, ַצוָּאֵרְך ַבּ ֲחרוִּזי9:ם.1) ְלֻסָס ִתי ְבִּרְכֵבי ַפְרעֹה, ִדּ ִמּי ִתיְך ַרְעיִָתי. ( י ָנאווּ ְל ָחיַיְִך ַבּתִֹּרים, ַצוָּאֵרְך 1:17 ַקבֹּרֲחוֹרתוּ ִזיָבּםֵתּ.י)נ וּ ֲאָרִזים,רחיטנו (ַר ִהיֵטנוּ) ְבּרוֹ ִתים 1:17 קֹרוֹת ָבּ ֵתּינוּ ֲאָרִזים,רחיטנו (ַר ִהיֵטנוּ) ְבּרוֹ ִתים Chapter 5 1:1 1:1 ֹ ֹ ֹ ֹ ָבִּשׁיארִת יַ הְלִִשׁשַּׁגייִנּרִיר ,י ַהםֲא,ִ שּׁחיֲֹאִרתיֶישׁ םרַכ, ָלִּלֲאהְשׁ-ֶשׁ-לראָ מִִרלהי ְִשׁתיל ממוֹהִ רי ִעם-ְבּ ָשׂ ִמי, אַָכְל ִתּי יְַעִרי ִעם-ִדְּב ִשׁי ָשׁ ִתי ִת5י Chapter ֹ ֹ יִֵיִָנשּׁי ֵקִִנעי יםִָ-בִָּמשְֲּׁנּאחֵקָלִתשִׁנִיב יק;ְלִוֹמ ַגְנִּתִנּא יְִשׁכ,ִיפּ ליוֲּקא וֹהוֵּחרֹת,ִ עתייִכּפּ יים-ַכ,ה ָלּטוּוֹ,ְשׁה ִב-ִכּית-יוּ-ם אָ וְטִרדּוִֹישִֶׁדבְִכיתייָרך םוּ מִמוֹדּדּיָּוִֶֹרידִיןיִד .יָך ִע ם.ִםמ יּ-ָיְִןבּ. ָשׂ ִמי, אַָכְל ִתּי יְַעִרי ִעם-ִדְּב ִשׁי ָשׁ ִתי ִתי 8:1 ִא1ם:8-לֹ אִא ֵםת-דלֹעאי ָלֵתךד, עיַה יָָּלפך,ה ַַהבּיָָּנּפִשׁיה םַ;בּ ָנּצִשִׁאיי-ם;ָל ךצ ִאבּי-עָלקךֵב י בַּעהצּקֵֹאבןי, ַוּהרצֹּעאין , אוּרת-עיגּ ִדיּאַֹתיִ-ךגּ,ִד יַֹּתיִך, 5:16 יִֵיחִנכּיוֹ , ִעַמם-ְמְֲחַתִָלִקִּיבי;ם ְ,ְ ִאוְְִֻכללּוֹוָּ, ְ ֵרַמִעיֲחםַמ,ָ ִדּיְשׁם;ת וֶּ ְזוְהִ שְׁכדוֹרְִדוְּי וְדּוֶֹזִִדהיְ ְםֵר.ְִ עיִ, ְְבּנוֹת יְִרוּ ָשִֶָׁלְםִ ְ ֶ ְ ְ ַעל, ִמ ְַע6שׁלְכּ1,:נ וֹ5ִמ ת ְִשׁחָהְכּוֹנרֹ,וֹ ִעיתַמ םְָמ.ה ַר תֹ{ִִעקּייפ}ם ., וְ{ֻכפלּ}וֹ , ַמ ֲח ַמִדּים; ֶזה דוִֹדי וְֶזה ֵרִעי, ְבּנוֹת יְרוּ ָשִָׁלם 1:9 לס9:ס1ִ תיל סבִּסרכִתיֵב י בַּפִררכֵעבֹיה ,ַ פִדּרִעמֹּיהִ,ת יִדּך ִמַּרי ִעתיָיִךתי .ַר (ע יָי ִתָני.א ו(וּ יל ָנָחיַאיִווּך לַבָּחיתַֹּיִִרךי םַבּ, תַֹּצִוָּריאםֵר, ךַ צוָּאֵרך 2:1 ְֲאִ נֻי ֲָחַבְֶצְֶֻּלָתְ ַהְָשּׁרְְוֹן, שׁוְַֹשַׁנּת ְָהֲע ָמְִקיְם ְ ְ ְ ְ ְ ְ ְ ַבּ ֲחרוִּזיַבּםֲח.)ר וִּזים.) 2:13 ַה1:ְתּ2ֵ אָנֲאִנהי ָחֲחְנַבָטֶצּהֶל ַתפ ֶגּיַהָהָשּׁ, רוְוֹןַה,ְ גָּפשִׁנוֹיַשׁםַנּ ְסת ָמָהַדֲערָ מָנִקְיתנםוּ ֵרי ַח; קוּ ִמי לכי (ָלְך) ַרְעיִָתי 1:17 7קֹר1וֹ:1ת ָקבֵֹּרתּוֹינתוּ ָבֲּאֵָתּריִזניוּ ם,ֲארָרִזחיםט,נור (חיַר ִטהניוֵ ט(נוַּר)ִ היְבֵּטרוֹנוִּ)תי ְבּם רוֹ ִתים :reading יָָפ ִתי, וּ3ְל1ִכ:י2-ָל ְַךה ְתֵּאָנה ָחְנָטה ַפֶגּי ָה, וְַהְגָּפִנים ְס ָמַדר ָנ ְתנוּ ֵרי ַח; קוּ ִמי לכי (ָלְך)2:14-17 ַרְעיִָתי song of songs יָָפ ִתי, וְּלִכי-ָלְך ChapCtehra 5p ter 5 2:14 י וָֹנ ִתי ְבּ ַחְגוֵי ַהֶסַּלע, ְבֵּס ֶתר ַה ַמְּדֵרָגה, ַהְרִאיִני ֶאת- ַמְראַיְִך, ַה ְשׁ ִמיִעִני ָבּא ִתי ְָלבַּגאִנּיִת,י ֲאְלַגחִֹנּיִת,י ֲַאכָלּחִֹהת-י- ַכאָָלִּריהִ-ת-י אָמִרוֹיִרִית י ִעמםוֹ-ִרְיבּ ִָשׂעִמםי-,ְ בּאָָשַׂכִמְלי,ִתּ י אָיַַכעְלִרִיתּ י ִעיַםע-ִרִידּ ְבִעִשׁםי- ִדָּשְׁבִתִישׁיִ תיָ שׁ ִתי ִתי ֶאת-קוֵֹל4ְך1:: 2 ִכּייוֹ-ָנקִוֹתיֵל ְךְבּ ַָחעְגֵרוֵיב ,ַ הוֶּסַּמַלְרעֵ,אי ְךבּ ֵסָנ ֶאתוֶרה .ַ ה ַמְּדֵרָגה, ַהְרִאיִניְ ֶאת- ַמְְראַיְִך, ַה ְשׁ ִמיִעִני יֵי7ִנ1י: ִע2 יֵםיֶעא-ִנדֲיחת -ָלִעשִׁקביָּוֹים;ֵפ-ל וֲּךחִַא:חָל ְכ ִבַלהִכּיוּיּי; וֹ -ֵרִםקא,ִוֹעְכ יֵלולָנםוּך, ס ֵָוּרע ְשִֵׁערַיהתבצּוּ,ם ,ָלווְּ ִלְִַימשְׁרכםת:ֵרוּא וּ י ו ְךסִֹדּ שׁוָֹנבְכִ דאירודֶּוּםֵ המ.. דּ הוֹ-ִדליךם . דוִֹדי ִלצִבי, אוֹ לעֹפר ַ ֶ ְ ְְ ְ ְ ְ ְ ָ ְ ְ ֶ 5:16 76ִחכּ1וֹ::, 25 ַמִעחְמכּדוַֹ ת, ִקּשׁיַיָּמםפְמ,וּ ַַותְח ִֻכקּיַלּהוֹיּם,וֹ, םַוְמ,ֻ כֲוחלָּנוַֹמ,ס ִדּוּיַ מַםֲהח; צַּמֶזָלִדִּלהיי םדם;וֹ: ִדֶז י הסוְֹ ֶזבד וֹהדּ ִדיֵרמ ִוְעהיֶז-, הל ְבּךֵרנ וִֹעדיוֹת, ִד יְיְ בּרנוִּלוָֹצשׁתִִָבל ייְ,ם ר וּאוָֹשׁ ִָלםעֹ פר ָהאַיִָּלים--ַעל-ַָהֵריֶ ָב ֶתר. ְ ְ ְ ְ ָ, O my dove, that art in the clefts of the rock, in the secret ֶplacesְ of ְthe stairs 14 HE:

ָהאַיִָּלים--ַעל- ָהֵרי ָב ֶתר..let me see thy countenance, let me hear thy voice; for sweet is thy voice, and thy countenance is comely 2:1 ֲא ִנ1י: 2ֲח ַבֲאֶצִּניֶל ֲתח ַבַהֶצֶָּלשּׁרתוֹ ן,ַה ָשּׁשׁוֹרוַֹשׁן,ַנּ תשׁ וָֹהַשֲׁעַנָּמת קיָהםֲע ָמקים ֹ 3:1 ַעל- ִמ ְשָׁכִּבי, ַבֵּלּילוֹת, ִבַּקּ ְשׁ ִתּי, ֵאת ִֶשׁאָ ֲהִָבה ַנְ.grapesפ ִשׁי; ִבַּקּtenderְ שׁ ִתּיו, haveוְ לא ְמָצvines א ִתיוTake us the foxes, the little foxes, that spoil the vines: for . our 15 2:13 3ַה 1ְתּ:ֵא2ָנ ַה ְתָּחְֵנאָנָטהה ָחַפְנֶגָּיטָהה, וְַפֶַגּהיְגָּהָפ,ִנ יוְַםה ְגְּסָפִָנמיַֹדםר ְסָנְָמתַנדוּ ר ֵרָניְַתח;נ וּ קֵרוּיִמַחי; לקכוּי ִמ(יָ ללך)כ י ַר(ָעלֹיָךִ)תי ַרעיִָתי 3:11 ְצ1:ֶאָנ3 הַע וּלְ-רִֶאמיְָנשָׁכּה ִבְיבּ,נ וַֹבּתֵלּ יִצליּוֹוֹן,ת , ַבִּבֶּמַּקֶּלְְךשׁ ִתְּישׁ,ל ֵאמֹהת --ֶשָׁבּאֲָעֲהָטָבָרהה ,ַנ ְפֶשִִׁשׁעיְ;טּ ָרִבּהַקּ-ְלּשׁוֹ ְִתּיִאו,מּ וֹוְ ְלְבְּיאוֹ ְםמ ָצְא ִתיו. ֹ יֲָחָפֻתִתָנּי,ת וֹיָוּ,1ְָלפ וּ1ִכִת:יְבי-י,3וָֹל וְּםצךְל, ֶ אִכָניִשׂ-הְָל מוְּךַחְ רֶתא יִָנלבּהוֹ .ְ בּנ וֹת ִציּוֹן, ַבּ ֶמֶּלְך ְשׁלמֹה--ָבֲּעָטָרה, ֶשִׁעְטָּרה-לּוֹ ִאמּ.liliesוֹ ְבּיוֹthe ם My beloved is mine, and I am his: he feedeth among 16 SHE: ֲח ֻתָנּתוֹ, וְּביוֹם, ִשׂ ְמ ַחת ִלבּוֹ. ,Until the day break, and the shadows flee away, turn, my beloved 17 2:14 י וֹ4ָנ1ִ:תי2 ְיבּוַָֹנחְִגתוֵיי ְבַּהַחֶסְּגַלוֵיע ,ַ הְֶבּסֵַּסל ֶעת, ר ְבַּהֵסַמֶּתְדרֵ רָגַההַמּ, ְדֵַהרְָגרִהאי, ִניַ הְֶראִאתי-ִניַמ ְֶראאַתיִ-ְךַ,מ ְרַהאְַיִשְׁךִמ,י ִַעה.Betherִנ יְשׁ ofִמ יִעִני and be thou like a roe or a young hart upon the mountains ֶאת-קוֹ ֵֶאלְךת:- קִוֹכּיֵל-ְךק:וֹ ֵלִכְּךי -ָעקֵוֹרֵלבְ,ך וָּעַמֵרְרבֵ,א יוְּךַ מָנְראֵואֶיהְך. ָנאוֶה. 2:17 ַע7ד1 :2ֶשׁ יַָּעפוּד ַח ֶשַׁיָּהיּפוֹוּםַח, וְַהָניּוֹסוּם ,ַ הוְְָנצָּלסוִּל יַהם:ְצּ ָ לִלסֹיבם :ְדּ ֵמסֹהב- ְלְדָּךֵ מדהוֹ-ִדְלי ָךִ לְדצוִֹבִדיי, ִלאְוֹצ ִבְלי,עֹ ֶפאוֹר ְלעֶֹפר ָהאַיִָּלי ָםה-אַ-יַָּעִליל-םָ-ה-ֵרַיע לָב-ֶָהתֵרי. ָב ֶתר.

Sonet vox tua in auribus cordis mei, Let your voice sound in the ears of my heart, amabilissime Iesu, most beloved Jesus, et abundantia plenitudinis gratiae tuae and may the abundance of your grace supere abundantiam peccatorum meorum. overcome the abundance of my sins. Tunc enim cantabo, Then truly I will sing, exultabo, iubilabo, I will exult, I will rejoice, et psalmum dicam iubilationis et laetitiae, I will recite a psalm of jubilation and rejoicing. et erit vox mea quasi cithare citharizantium, And my voice will be like the striking of the kithara, et eloquim meum dulce super mel et favum. and my speech sweeter than honey and the honeycomb.

Giovanni Rovetta (1596-1668) Surge propera

Surge, propera, amica mea, formosa mea, et veni. Arise, make haste, my love, my beautiful one, and come. Jam enim hiems transiit; imber abiit, et recessit. For winter is now past, the rain is over and gone. Vox turturis audita est in terra nostra. The voice of the turtle is heard in our land. Surge, propera, amica mea, columba mea, et veni. Arise, make haste, my love, my dove one, and come. Repleta est Spiritu Sancto Elisabeth. And Elizabeth was filled with the Holy Ghost. Et exclamavit: Benedicta tu inter mulieres, And she cried out: Blessed art thou among women, et benedictus fructus ventris tui. and blessed is the fruit of thy womb. Quae est ista quae processit sicut sol Who is she that cometh forth as the sun et formosa tamquam Jerusalem. and fair as Jerusalem. Viderunt eam filiae Sion, et beatam dixerunt, The daughters of Sion saw her, and declared her most blessed, et reginae laudaverunt eam. and the queens praised her.

Please turn page quietly, and only after the music has ended. earlymusic.bc.ca Song of Songs Vancouver Bach Festival 2019  13 1:1 ִשׁיר ַה ִשּׁיִרים, ֲא ֶשׁר ִל ְשׁלֹמֹה יִ ָשֵּׁקִני ִמְנּ ִשׁיקוֹת ִפּיהוּ, ִכּי-טוִֹבים דֶֹּדיָך ִמיָּיִן. ֹ 8:1 ִאם-לא ֵתְדִעי ָלְך, ַהיָָּפה ַבָּנּ ִשׁים; ְצִאי-ָלְך ְבִּעְקֵבי ַהצֹּאן, וְּרִעי ֶאת-ְגִּדיַֹּתיְִך, ַעל, ִמ ְשְׁכּנוֹת ָהרִֹעים. {פ} 1:9 ְלֻסָס ִתי ְבִּרְכֵבי ַפְרעֹה, ִדּ ִמּי ִתיְך ַרְעיִָתי. ( י ָנאווּ ְל ָחיַיְִך ַבּתִֹּרים, ַצוָּאֵרְך ַבּ ֲחרוִּזים.) 1:17 קֹרוֹת ָבּ ֵתּינוּ ֲאָרִזים,רחיטנו (ַר ִהיֵטנוּ) ְבּרוֹ ִתים

2:1 ֲאִני ֲחַבֶצֶּלת ַה ָשּׁרוֹן, שׁוֹ ַשַׁנּת ָהֲע ָמִקים 2:13 ַה ְתֵּאָנה ָחְנָטה ַפֶגּי ָה, וְַהְגָּפִנים ְס ָמַדר ָנ ְתנוּ ֵרי ַח; קוּ ִמי לכי (ָלְך) ַרְעיִָתי יָָפ ִתי, וְּלִכי-ָלְך

2:14 יוָֹנ ִתי ְבּ ַחְגוֵי ַהֶסַּלע, ְבֵּס ֶתר ַה ַמְּדֵרָגה, ַהְרִאיִני ֶאת- ַמְראַיְִך, ַה ְשׁ ִמיִעִני 1:ֶא1 ת-ק1וֹ:ֵל1ְ ך: ִכּי-קוֵֹלְך ָעֵרב, וּ ַמְרֵאיְך ָנאוֶה. 2:17 ַעד שׁיָּפוּ ַח ַהיּוֹם, וְָנסוּ ַהְצָּלִלים: סֹב ְדּ ֵמה-ְלך דוִֹדי ִלְצִבי, אוֹ ְלעֹפר ִשׁיר ַהִִשׁשּׁיירִר יַהֶם,ִ שּׁיֲאִריֶשׁםר, ִלֲאְשֶׁשׁלֹר מִֹלה ְשׁלֹמֹה ָ ֶ :reading ָהאַיִָּלים--ַעל- ָהֵרי ָב ֶתר. יִ ָשֵּׁקִני יִִָמשְּׁנֵּקִשִׁני קִוֹמְנּת ִשִׁיפּיקוֹהוּת, ִכּפּיי-הטוּוֹ, ִבִכּיי-ם טדּוִֶֹֹדבייָךם ִמדֹּיֶָּידִןי.ָך ִמיָּיִן. song of songs - chapter 3 complete ֹ ֹ 8:1 ִא1ם:8-ל אִא ֵםת-ְדלִעאי ָלֵתְךְד, ִעיַה יָָּלָפְך,ה ַַהבּיָָּנָּפִשׁיה םַ;בּ ָנְּצִשִׁאיי-ם;ָל ְךְצ ִאְבּי-ִעָלְקְךֵב יְ בִַּעהְצּקֵֹאבןי, ַוּהְרצִֹּעאין , ֶאוְּרת-ִעְיגּ ִדֶיּאַֹתיִ-ְךגּ,ִד יַֹּתיְִך, 3:1 ַעל- ִמשָׁכִּבי, ַבֵּלּילוֹת, ִבּקּשׁ ִתּי, ֵאת שׁאָ ֲהָבה ַנפ ִשׁי; ִבּקּשׁ ִתּיו, וְלֹא ְמָצא ִתיו. ַעל, ִמ ְַעשׁלְכּ,נ וִֹמתְ ְשָׁהְכּנרֹוִֹעית םָ.ה ר ֹ{ִעיפ}ם . {ַפְ} ֶ ְ ַ ְ 3:11 ְצֶאָנה וְּרֶאיָנה ְבּנוֹת ִציּוֹן, ַבּ ֶמֶּלך ְשׁלֹמֹה--ָבֲּעָטָרה, ֶשִׁעְטָּרה-לּוֹ ִאמּוֹ ְבּיוֹם 1:9 ְלֻס9:ָס1ִ תיְל ְֻסבִָּסרְכִתיֵב י ְבַּפִרְרְכֵעבֹיה ,ַ פְִדּרִעמֹּיהִ,ת יְִדּך ִמַּרי ְִעתיָיְִךתי .ַר (ְע יָי ִתָני.א ו(וּ יְל ָנָחיַאיִווְּך ְלַבָּחיתַֹּיִִרְךי םַבּ, תַֹּצִוָּריאםֵר, ְךַ צוָּאֵרְך חתָנּתוֹ, וּביוֹם, ִשׂמ ַחת ִלבּוֹ. .SHE: 1 By night on my bed I sought him whom my soul loveth: I sought him, but I found him not ַבּ ֲח ֻרוִּזיַבּםֲח.)ר וְִּזים.) ְ 2 I will rise now, and go about the city in the streets, and in the broad ways I will seek him whom my soul loveth: 7 1:1 7קֹר1וֹ:1ת קבֹּרתּוֹינתוּ בּאתּריִזניוּ ם,אררִזחיםט,נור (חיַר ִטהניו ט(נוַּר)ִ היבּטרוֹנוּ)תי בּם רוֹתים ָ ֵ ֲֵָָ ֲ ָ ֵ ְֵ ִ ְ ִ .I sought him, but I found him not

3 The watchmen that go about the city found me: to whom I said, Saw ye him whom my soul loveth? ChapCtehra 5p ter 5 4 It was but a little that I passed from them, but I found him whom my soul loveth: I held him, and would not let him go, ָבּא ִתי ְָלבַּגאִנּיִת,י ֲאְלַגחִֹנּיִת,י ֲַאכָלּחִֹהת-י- ַכאָָלִּריהִ-ת-י אָמִרוֹיִרִית י ִעמםוֹ-ִרְיבּ ִָשׂעִמםי-,ְ בּאָָשַׂכִמְלי,ִתּ י אָיַַכְעְלִרִיתּ י ִעיְַםע-ִרִידּ ְבִעִשׁםי- ִדָּשְׁבִתִישׁיִ תיָ שׁ ִתי ִתי until I had brought him into my mother’s house, and into the chamber of her that conceived me. יֵיִני ִע יֵםי-ִנֲיח ָלִעִבים;- ֲחִאָלְכִבליוּ; ֵרִאִעְכילםוּ, ֵרְשִׁעיתוּם ,וְ ְִשְׁכתרוּוּ ו ְ ִדּשׁוְֹכִדירוּם . דּוִֹדים. 5 I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the fi eld, that ye stir not up, 5:16 6ִחכּ1וֹ:, 5 ַמִחְמכּוַֹת, ִקּיַמםְמ, ַותְִֻכקּילּוֹם,, ַוְמֻכֲחלּוַֹמ, ִדּיַמםֲח; ַמֶזִדּהי םד;וֹ ִדֶזי הוְ ֶזדוֹה ִדיֵר ִוְעיֶז, ה ְבֵּרנוִֹעית, יְְבּרנוּוָֹשׁתִָל יְםר וּ ָשִָׁלם nor awake my love, till he please.

2:1 אִנ1י: 2ח ַבאצִּניל תח ַבַהצּלשּׁרתוֹ ן,ַה שּׁשׁוֹרוַֹשׁן,ַנּ תשׁ וָֹהַשׁעַנָּמת קיָהםע ָמקים ֲ ֲ ֲֶ ֶ ֲ ֶֶָ ָ,HE: 6 Who is this that cometh out of the wilderness like pillars of smoke, perfumed with myrrhִ ֲ ִandֲ frankincense 2:13 3ַה 1ְתּ:ֵא2ָנ ַה ְתָּחְֵנאָנָטהה ָחַפְנֶגָּיטָהה, וְַפֶַגּהיְגָּהָפ,ִנ יוְַםה ְגְּסָפִָנמיַדםר ְסָנְָמתַנדוּ ר ֵרָניְַתח;נ וּ קֵרוּיִמַחי; לקכוּי ִמ(יָ לְלך)כ י ַר(ְָעליְָךִ)תי ַרְעיִָתי ?with all powders of the merchant יָָפ ִתי, יָוְָּלפִכִתיי-,ָ לוְּךְל ִכי-ָלְך .Behold his bed, which is Solomon’s; threescore valiant men areabout it, of the valiant of Israel 7

8 They all hold swords, being expert in war: every man hath his sword upon his thigh because of fear in the night. 2:14 יוֹ4ָנ1ִ:תי2 ְיבּוַָֹנחְִגתוֵיי ְבַּהַחֶסְּגַלוֵיע ,ַ הְֶבּסֵַּסל ֶעת, ר ְבַּהֵסַמֶּתְדרֵ רָגַההַמּ, ְדֵַהרְָגרִהאי, ִניַ הְֶראִאתי-ִניַמ ְֶראאַתיִ-ךַ,מ ְרַהאְַיִשׁךִמ,י ִַעהִניְשׁ ִמיִעִני ְ ְ .King Solomon made himself a chariot of the wood of Lebanon 9 ֶאת-קוֵֶֹאלְךת:- קִוֹכּיֵל-ְךק:וֹ ֵלִכְּךי -ָעקֵוֹרֵלבְ,ך וָּעַמֵרְרבֵ,א יוְּךַ מָנְראֵואֶיהְך. ָנאוֶה. 10 He made the pillars thereof of silver, the bottom thereof of gold, the covering of it of purple, 2:17 ַע7ד1 :2ֶשׁ יַָּעפוּד ַח ֶשַׁיָּהיּפוֹוּםַח, וְַהָניּוֹסוּם , ַהוְְָנצָּלסוִּל יַהם:ְצּ ָ לִלסֹיבם :ְדּ ֵמסֹהב- ְלְדָּךֵ מדהוֹ-ִדְלי ָךִ לְדצוִֹבִדיי, ִלאְוֹצ ִבְלי,עֹ ֶפאוֹר ְלעֶֹפר the midst thereof being paved with love, for the daughters of Jerusalem. ָהאַיִָּלי ָםה-אַ-יַָּעִליל-םָ-ה-ֵרַיע לָב-ֶָהתֵרי. ָב ֶתר. 11 Go forth, O ye daughters of Zion, and behold king Solomon with the crown wherewith his mother crowned him in the day of his espousals, and in the day of the gladness of his heart. 3:1 ַעל-1:3ִמ ְשַׁעָכּלִ-ביִמ, ְשַׁבָּכֵּלּיִביל,וֹ תַבּ,ֵ לּיִבּלַוֹקּ ְתשׁ, ִתִּיבּ,ַ קֵּאְשׁתִתּ י,ֶשׁ ֵאָאֲהת ָבֶשׁה אַָנֲהְפָבִשׁיה; ַנִבְּפַקִּשְׁישׁ; ִתִּיבּוַ,קּ וְשׁלִֹתּאי ו,ְמ וְָצלֹאאִ תיְומ.ָצ א ִתיו. ֹ ֹ 3:11 ְצ1ֶא1:ָנ3ה וְּצְרֶאֶָנאיהָנ וּה ְרְבֶּאניוָֹנתה ִצְבּיּוֹנןוֹ, ת ַבִּצֶמּיּוֶֹלן,ְך ַבְּשֶׁמּלֶלמְֹך ה-ְשׁ-לָבּמֲֹעָהט-ָר-ָבּה,ֲע ֶָטשָׁרִעהְטּ, ָרֶשׁה-ִעלְּוֹטּ ָרִאהמּ-וֹלּ וְֹ בּיִוֹאםמּ וֹ ְבּיוֹם ֲח ֻתָנּתוֲֹ,ח ֻוּתְָנּביוֹתוֹם,, וְִּבשׂיוְֹמםַח, תִ שִׂלְמבַּוֹח. ת ִלבּוֹ.

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14  Vancouver Bach Festival 2019 Song of Songs [email protected] Domenico Mazzochi (1592-1665) Dialogo della cantica

Adjuro vos, filiae Jerusalem, I charge you, O daughters of Jerusalem, num quem diligit anima mea vidistis? saw ye him whom my soul loveth? Qualis est dilectus tuus ex dilecto, What is thy beloved more than another beloved, quia sic adjura nos? that thou dost so charge us? Amor meus candidus et rubicundus crucifixus est My beloved is white and ruddy, crucified, et ipse est dilectus meus. and this is my beloved. Vidimus eum non habentem speciem neque decorum We have seen him; he was neither fair nor pleasant, unde nec reputavimus eum. and that is why we took no notice of him. O quam pulcher est et decorus O how fair, yea, how pleasant is he, in ipsa sui deposition decoris. when even he discards his ornaments. Ubi pietas magis effulget. When his piety is most resplendent. Surgam et circuibo civitatem I will rise now, and go about the city quaerens per vicos et plateas. in the streets, and in the broad ways. En, dilectus meus loquitur mihi: My beloved spake, and said unto me: Veni dilecti mi Egrediamur in agrum, Come, by beloved, Let us go forth into the field; in villis commoremur. let us lodge in the villages. Si moram feceris, exspectabo te et sustinebo, donec. If you linger, I will remain patiently until you come. Quid faciam, ut cito venias at appareas What must I do so that quickly you come ante faciem meam, and show me thy countenance, Quia vox tua dulcis et facies tua decora. For sweet is thy voice, and thy countenance is comely. Suppliciter exoro: Surge propera et veni I beg of you: Rise up and come away! Cure, mi Amor, veni. Run, my love, come away! Ecce vocavi illum et respondit mihi, Behold, I called him, but he gave me no answer; quaesivi et non inveni. I sought him, but I found him not. Ideo adjuro vos, si inveneritis dilectum meum, Therefore I charge you, if ye find my beloved, Ut nuntietis ei, quia amore langueo et dicetis: That ye tell him, that I am sick of love, and tell him yet: Fasciculus myrrhae dilectus meus Christus est, A bundle of myrrh is my well-beloved Christ unto me, Inter ubera mea commorabitum. He shall lie betwixt my breasts.



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16  Vancouver Bach Festival 2019 Song of Songs [email protected]