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Home , Agnus Dei (Barber), Coronation Mass, Coronation Mass (Mozart), Gloria (Handel), Handel and Haydn Society, Lorraine Hunt Lieberson

CORO CORO Mozart: in C minor & Mozart Gillian Keith, , Thomas Cooley, “…a commanding and compelling reading of an important if often overlooked monument in Mozart’s musical development.” cor16084 gramophone recommended Mozart: Harry Christophers & Handel and Haydn Society Elizabeth Watts, Phyllis Pancella, Andrew Kennedy, Eric Owens

“A requiem full of life…Mozart’s final masterpiece has never sounded so exciting.” classic fm magazine Teresa Wakim cor16093 Paula Murrihy Harry Christophers Thomas Cooley To find out more about CORO and to buy CDs visit Handel and Haydn Society Sumner Thompson www.thesixteen.com cor16104 ne of the many delights of being I feel very privileged to take this august Society towards its Bicentennial; yes, the OArtistic Director of America's oldest Handel and Haydn Society was founded in 1815. Handel was the old, Haydn the new continuously performing arts organisation, the (he had just died in 1809), and what we can do is continue to perform the music of the Handel and Haydn Society, is that I am given past but strip away the cobwebs and reveal it anew. This recording of music by Haydn the opportunity to present most of our concert and Mozart was made possible by individuals who are inspired by the work of the season at 's glorious Symphony Hall. Built Handel and Haydn Society. Our sincere thanks go to all of them. in 1900, it is principally the home of the Boston Symphony , but it has been our primary Borggreve Marco Photograph: performance home since 1900 as well, and it is considered by many, with some justification I would add, to be one of the finest concert halls in the world. It’s that classic ‘shoebox style’ reminiscent of the Musikverein in Vienna; the acoustics are quite superb and, despite its size – c.2500 capacity – perfect for playing on period instruments.

On this live recording, we present a programme devoted to monarchs and coronation. Nicknames pervade – Haydn’s extraordinarily vibrant Paris Symphony is called ‘La Reine’ simply because Marie Antoinette claimed it was her favourite, Mozart’s Mass “La Reine is a delicate work, with a first movement that suggests lovers tiptoeing up in C major acquired its nickname ‘Coronation Mass’ a number of years after it was and down stairs … The performance was dramatic and well shaped, with sweetly rustic written – it was most likely performed at one of the coronation celebrations for either solos and a sweetly burbling flute obbligato. Mozart’s “Coronation” Mass is a mass Leopold II or Franz I of Austria, or even both. of war and peace … Christophers was majestic one moment, militant the next; every movement had its own distinctive character.” This disc also sees the debut of Teresa Wakim. Tess has been a member of our Jeffrey Gantz / the boston globe excellent chorus and it is always abundantly satisfying for me to nurture ‘home grown’ talent and in Tess I do believe we have a very special voice. She graces us not only “With commanding stage presence, soprano Teresa Wakim, in her Handel and Haydn with the sublime from the Coronation Mass but also with the renowned Society debut, sang the jewel, of “Exsultate, jubilate, K165” in a ravishing, Exsultate, jubilate, one of the few solo sacred motets Mozart wrote. Believe it or not, pure-toned, crystal clear, lyric voice... Her memorable and regal performance was this was first performed by the castrato, Rauzzini – how thankful I am that we have a indeed a coronation!” soprano singing it on this recording. berkshire review

2 3 Wolfgang Mozart (1756–91) Symphony No. 85 in B flat major, (1732–1809) ‘La Reine’ Mass in C major, K317, ‘Coronation’ 1 Adagio – Vivace 11.09 Exsultate, jubilate, K165 2 Romance: Allegretto 7.10 3 Menuetto & Trio: Allegretto 4.02 Joseph Haydn (1732–1809) 4 Finale: Presto 3.27 Symphony No. 85 in B flat major, ‘La Reine’ Exsultate, jubilate, K165 (1756–91) 5 : Exsultate, jubilate 5.08 ozart’s 16 completed Mass settings a supposition that appears to gain Teresa Wakim soprano 6 Recitative: Fulget amica dies 0.51 Mall date from his years, in substance from a letter he wrote in 1776 7 Aria: Tu virginum corona 6.57 particular from the period during the to his former teacher, Padre Martini, in 8 1770s when, as Konzertmeister to the which he remarked that in the absence Alleluia 2.44 archiepiscopal court, he was required to of operatic opportunities in Salzburg ‘I compose liturgical music both for the am amusing myself by writing chamber Mozart Mass in C major, K317, ‘Coronation’ cathedral and for the local churches. After music and music for the church’. But it his move to Vienna in 1781 to try his luck would certainly be wrong to suppose Teresa Wakim soprano 9 3.07 bl as a freelance and performer, that Mozart relaxed his standards in Paula Murrihy mezzo-soprano Gloria 4.19 he attempted only two more large-scale his sacred compositions. It is true that Thomas Cooley bm 6.46 sacred works and finished neither – the little church music dates from the time Sumner Thompson baritone bn 1.32 first (the great Mass in C minor, K427) of his greatest maturity, but the best of apparently through loss of interest, and the the Salzburg Masses show the familiar bo Benedictus 3.28 second (the Requiem) because of his death. easy skills in and fluid bp Agnus Dei 6.39 vocal melody in works of elegance and Total running time 67.27 That might seem to imply that for Mozart charm which, while not greatly radical, sacred music was not a high priority, nevertheless successfully marry their

4 5 composer’s particular strengths to the the Mass thus became single movements music that was simpler, more direct and the Krönungsmesse. It was heard again accepted Austrian church idiom of the day. which might accommodate both more popular in conception, with what the following year at the coronation contrapuntal and homophonic choral learned elements there were assumed of Franz I, Leopold’s successor as Holy That idiom had its roots in Italy, and the writing, as well as music for solo singers. naturally and without self-consciousness Roman Emperor, and it is possible that so-called ‘’ or ‘Neapolitan’ Mass, in into the music’s frankly lyrical, at times Salieri also directed it at Leopold’s own which the text was set in small chunks, the Other factors, too, were responsible for even song-like manner. Significantly, it imperial coronation in Frankfurt in resulting sections creating a sometimes shaping the Mass in Austria. Reforms was mainly through his church music 1790. The work is a fine example of a uneasy mixture of styles: choruses in the introduced by the Enlightenment- that Mozart was known to the Salzburg Mass which combines Neapolitan and strict contrapuntal manner; homophonic, inspired Emperor Joseph II discouraged general public during the 1770s (his Austrian elements in a varied but concise declamatory choral movements with the of elaborate church symphonies and serenades having been score. On the Neapolitan side there are busily independent instrumental music, and in Salzburg Mozart found destined for the smaller audiences found declamatory choruses with busy string accompaniments; and unashamedly that his like-minded Prince-Archbishop in courtly circles); it is possible that far accompaniments (for instance in the operatic solo numbers. Such Masses were set more precise limitations still: ‘our from being frustrated by the restrictions Credo, or the ‘’ sections of the enormously influential during the 18th church music is very different from that imposed on him by his austere employer, Sanctus and Benedictus) and strikingly century, and in Austria that influence of Italy,’ he told Martini; ‘a Mass with the he was quite happy to tailor his style operatic moments such as the Agnus Dei, was felt as strongly as anywhere. Mozart whole Kyrie, the Gloria, the Credo, the to suit a less high-flown audience. a soprano solo whose kinship to the later was happy to follow these examples in sonata, the or Motet, ‘Dove sono’ from some of his earliest Masses, while the the Sanctus and the Agnus Dei The Mass in C major, K317, is one of is unmistakable. There is counterpoint, unfinished C minor Mass of 1782–3 is not last longer than three-quarters of his last Salzburg settings, dating from too, though not in the form of a particularly fine example of the genre. an hour.’ Paradoxically, perhaps, Mozart March 1779. Mozart obviously thought but rather in the tuneful, unobtrusive But certain local preoccupations – among seemed to benefit from this situation in well of it, for he used it again on a species of part-writing – found here in them the rise of sonata-based forms such terms of his development as a composer number of occasions during the 1780s, the outer sections of the Credo – which as the symphony – contrived to create a of Masses: his efforts now became more but it was a performance arranged by a came easily to Austrian more homogeneous Austrian style, one compact, with the smaller number of famous colleague that brought the work in general and to Mozart especially. in which the sections became fewer and component sections compelling him to its nickname: in 1791 less diverse, with contrasts tending to be find more subtle ways – among them the conducted it in Prague at the coronation More clearly Austrian, though, is the established within movements rather than increasing use of sonata procedures – to of Leopold II as King of Bohemia, and quasi-symphonic concern to achieve between them. The six main sections of maintain interest. The result was a church the Mass soon became known locally as some sort of unity. The reappearance

6 7 of material from the Kyrie in the Incarnation, the agony of the Crucifixion The flautist and theorist Johann Joachim the court of Prince Nikolaus Esterházy concluding ‘Dona nobis pacem’ is an and the fearfulness of the tomb. Quantz had defined the solo motet a was renewed. Although in almost all obvious example, but more significant couple of decades earlier as ‘a sacred solo respects his duties remained the same, is the sonata-like organisation of the Seven years before composing the cantata with Latin text consisting of two one small change was to have wide- Gloria: take away the chorus, and the Coronation Mass, the 16-year-old Mozart , two recitatives and a concluding ranging implications: he was no longer whole section up to Cum Sancto Spiritu journeyed with his father to Milan to ‘Alleluia’, commonly performed by one of bound to compose music for the exclusive could almost be the sonata-allegro of an supervise the premiere of his latest , the best singers during Mass’. Vivaldi had use of the Prince. This new concession amiable Classical symphony or overture, Lucio . This was the third time the written a number of motets of this type not only bestowed official recognition complete with first subject (‘Gloria in Mozarts had visited Italy (indeed, this earlier in the century, and it is interesting on his growing international reputation, excelsis Deo’), transition (‘Gratias agimus was Wolfgang’s third Milanese opera), but to see that as late as the 1770s Mozart – it also enabled him to profit from it for tibi’), second subject (‘Domine Deus rex while music for the stage was an obvious in Italy and still at an impressionable the first time by selling his works abroad, coelestis’), development (‘Qui tollis’) and attraction for the young composer, he age – was happy to follow this same where they were already known and recapitulation (‘Quoniam tu solus sanctus’). cannot have failed to take in a good deal basic plan. True, Exsultate, jubilate has admired via unauthorised publications The orchestrational style of the Mass, too, of the latest Italian church music as well. only one recitative, but it does come and performances from which he had is modern, save only for its omission of Not that there was always that much between two contrasting arias, which are received hardly a penny. Ultimately, it , a curious Salzburg church tradition. difference between sacred and secular; then followed by the famous ‘Alleluia’. If would lead to the triumphs of the Italian church composers were not the form is conservative, however, the visits of the 1790s but, for the time If these stylistic elements are received ones, unwilling to use the old polyphonic style musical language is right up to date, being, Haydn was happy to work from features which are to be found in the work when it was deemed suitable, but neither a buoyant and thoroughly charming Austria, maintaining an astute business of a number of other eminent Austrian were they afraid to import the virtuosity demonstration of the uncomplicated correspondence with publishers and church musicians of the time, there are and vocal glitter of the opera house into elegance of the early Classical style that patrons in Vienna, London and Paris. also moments of inspired individuality: the of the service. Among the has helped to make this one of the best- such a moment comes at the heart of the members of the cast of Lucio Silla was one loved of Mozart’s early compositions. It was from the last of these cities Credo, where the movement’s boisterous Venanzio Rauzzini, a soprano castrato of that, in the mid-1780s, he received the progress is interrupted by a slow passage considerable technical ability, and it was 1779, the year of the Coronation Mass, most prestigious commission of his in which Mozart expresses with sinuous for him that, in the first few days of 1773, also saw a significant change in the career so far: six symphonies for one of muted string figures, agonised harmonies Mozart composed his showpiece motet working life of Joseph Haydn, when his Paris’s most important and fashionable and breathless pauses the mystery of the Exsultate, jubilate. 13-year-old contract as Kapellmeister to concert societies, the Concert de la Loge

8 9 Olympique, led by the flamboyant West Evidence that these six symphonies Joseph Haydn (1732–1809) Indian-born violinist, composer and really were written for Paris, rather than swordsman Joseph Boulogne, Chevalier being recycled from works written for Symphony No. 85 in B flat major, ‘La Reine’ de Saint-Georges. The symphonies – Nos. the Esterházys, is provided by No. 85, 82–87 – were composed during 1785 and whose slow movement, given the 1 1786, supplied in time for performance unusual title of ‘Romance’ by Haydn, is Adagio – Vivace during the 1787 season, and received a set of variations on the French folk 2 Romance: Allegretto with high acclaim. tune ‘La gentille et jeune Lisette’. There is a hint of the French Baroque, too, in the 3 Menuetto & Trio: Allegretto They deserved it. These were Haydn’s dotted notes that dominate the Adagio 4 finest symphonies for more than a introduction to the opening Vivace, Finale: Presto decade, blending an approachable and a movement whose predominantly popular style with an inventiveness and sunny mood is intermittently threatened broad emotional range that revealed new by a secondary theme that seems to possibilities in what was still a relatively quote the opening of a work Parisian Wolfgang Amadeus Mozart (1756 –91) youthful genre. Parisian audiences would have already known, were generally larger than the little Haydn’s ‘Farewell’ Symphony (No. 45). Exsultate, jubilate, K165 band Haydn was used to back at the More unquestionably Haydnesque are Teresa Wakim soprano Esterházy court – the Loge Olympique’s the bustling sonata-rondo Finale and the orchestra enjoyed the services of 40 Minuet and distinctly Austrian-sounding 5 and 10 double basses – and it Trio. The favour shown this symphony Aria Exsultate, jubilate seems likely that the rich expressiveness by Queen Marie Antoinette – herself a Exsultate, jubilate, Rejoice, be glad, of the new works was inspired not only native Austrian – is thought to account O vos animae beatae O you blessed souls, by the composer’s growing awareness for its nickname (which for once dates exsultate, jubilate, rejoice, be glad, of his respected position in the musical from Haydn’s time): ‘La Reine de France’. dulcia cantica canendo; singing sweet songs; world, but also by the thought of a large cantui vestro respondendo in response to your singing ensemble in action. © Lindsay Kemp psallant aethera cum me. let the heavens sing forth with me.

10 11 6 Recitative Fulget amica dies Mozart Fulget amica dies, The friendly day shines forth, Mass in C major, K317, ‘Coronation’ jam fugere et nubila et procellae; both clouds and storms have fled now; exortus est justis inexspectata quies. for the righteous there has arisen an unexpected calm. Teresa Wakim soprano Undique obscura regnabat nox, Dark night reigned everywhere, Paula Murrihy mezzo-soprano surgite tandem laeti qui timuistis adhuc, you who feared till now, Thomas Cooley tenor et jucundi aurorae fortunatae and joyful for this lucky dawn Sumner Thompson baritone frondes dextera plena et lilia date. give garlands and lilies with full right hand. 9 Kyrie 7 Aria Tu Aria virginum corona Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Tu virginum corona, You, o crown of virgins, Kyrie eleison. Lord, have mercy upon us. tu nobis pacem dona, grant us peace, tu consolare affectus, console our feelings, unde suspirat cor. from which our hearts sigh. bl Gloria . Glory be to God on high. 8 Alleluia Et in terra hominibus bonae voluntatis. And on earth peace to men of good will. Laudamus te. Benedicimus te. We praise Thee. We bless Thee. Alleluia Alleluia Adoramus te. Glorificamus te. We worship Thee. We glorify Thee. Gratias agimus tibi We give thanks to Thee propter magnam gloriam tuam. for Thy great glory. Domine Deus, Rex caelestis, O Lord God, heavenly King, Deus Pater omnipotens. God the Father almighty. Domine Fili unigenite Jesu Christe. O Lord, the only begotten Son, Christ.

12 13 Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. et propter nostram salutem and for our salvation Qui tollis peccata mundi, Thou that takest away the sins of the world, descendit de caelis. came down from heaven. miserere nobis. have mercy upon us. Et incarnatus est de Spiritu Sancto And was incarnate by the Holy Ghost Qui tollis peccata mundi, Thou that takest away the sins of the world, ex Maria Virgine: of the Virgin Mary: suscipe deprecationem nostram. receive our prayer. Et homo factus est. and was made man. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of the Father, Crucifixus etiam pro nobis And was crucified also for us miserere nobis. have mercy upon us. sub Pontio Pilato, under Pontius Pilate, Quoniam tu solus sanctus, For Thou alone art holy, passus et sepultus est. suffered and was buried. tu solus Dominus, Thou alone art the Lord, Et resurrexit tertia die, And the third day He rose again tu solus Altissimus, Jesu Christe. Thou alone art most high, Jesus Christ. secundum scripturas. according to the scriptures. Cum Sancto Spiritu With the Holy Ghost Et ascendit in caelum: And ascended into heaven, in gloria Dei Patris. Amen. in the glory of God the Father. Amen. sedet ad dexteram Patris. and sitteth at the right hand of the Father. Et iterum venturus est cum gloria And He shall come again with glory bm judicare vivos et mortuos: to judge the living and the dead: Credo Cujus regni non erit finis. His kingdom shall have no end. Credo in unum Deum. I believe in one God. Et in Spiritum sanctum And the Holy Ghost, Patrem omnipotentem, The Father Almighty, Dominum et vivificantem: Lord and giver of life: factorem caeli et terrae, maker of heaven and earth Qui ex Patre, Filioque procedit. who proceedeth from the Father and Son. visibilium omnium et invisibilium. and of all things visible and invisible. Qui cum Patre, et Filio simul Who with the Father and Son together Et in unum Dominum Jesum Christum, And in one Lord, Jesus Christ, adoratur et conglorificatur: is worshipped and glorified: Filium Dei unigenitum. the only begotten Son of God, Qui locutus est per Prophetas. who spake by the Prophets. Et ex Patre natum ante omnia saecula. begotten of his Father before all worlds. Et unum sanctum, catholicam And in one holy, catholic Deum de Deo, lumen de lumine, God of God, light of light, et apostolicam Ecclesiam. and apostolic church. Deum verum de Deo vero. very God of very God, unum baptisma I acknowledge one baptism Genitum, non factum, begotten, not made, in remissionem peccatorum. for the remission of sins. consubstantialem Patri: being of one substance with the Father: Et expecto resurrectionem mortuorum And I look for the resurrection of the dead per quem omnia facta sunt. by whom all things were made. et vitam venturi saeculi. Amen. and the life of the world to come. Amen. Qui propter nos homines Who for us men 14 15 bn Sanctus Soloists Teresa Wakim soprano, Paula Murrihy mezzo-soprano, Thomas Cooley tenor, Sumner Thompson baritone Sanctus, Sanctus, Sanctus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of hosts. Pleni sunt caeli et terra gloria tua. Heaven and earth are full of Thy glory. Handel and Haydn Society Orchestra Hosanna in excelsis. Hosanna in the highest. i Aisslinn Nosky * Guy Fishman § Richard Menaul § Joan & Remsen Kinne Chair Candace & William Achtmeyer Chair John Boden bo Jane Starkman Sarah Freiberg Benedictus Jesse Irons Reinmar Seidler McKenzie André O’Neil Jesse Levine § Benedictus qui venit Blessed is he who cometh Lena Wong Paul Perfetti in nomine Domini. in the name of the Lord. Katherine Winterstein Hosanna in excelsis. Hosanna in the highest. Clayton Hoener Robert Nairn § Amelia Peabody Chair Steven Lundahl § Etsuko Ishizuka Anthony Manzo Christopher Reade Brian Kay bp Violin ii Agnus Dei Christina Day Martinson § Flute Dr. Lee Bradley III Chair Christopher Krueger § Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, John Grimes Ogata Oboe Barbara Lee Chair miserere nobis. have mercy on us. Krista Buckland Reisner Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, Stephen Hammer § Joan Plana Chair funded in part by Organ miserere nobis. have mercy on us. Guiomar Turgeon Dr. Fisher Sandler Ian Watson Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, Amy Sims Marc Schachman dona nobis pacem. grant us peace. David Miller § Andrew Schwartz § Chair funded in memory Marilyn Boenau of Estah & Robert Yens Laura Jeppesen Jenny Stirling Barbara Wright * = concertmaster § = principal

16 17 Handel and Haydn Society Chorus Harry Christophers John Finney, Chorusmaster Harry Christophers is the Artistic Director of the Handel The Cabot Family Chorusmaster Chair and Haydn Society and has conducted each season since September 2006, when he led a sold-out performance in Soprano Tenor Bass the Esterházy Palace at the Haydn Festival in Eisenstadt, Elissa Alvarez Julia Cavallaro Michael Barrett Jonathan Barnhart Austria, the Society’s first appearance in Europe. Handel Jennifer Ashe Douglas Dodson Jonas Budris Glenn Billingsley and Haydn’s 2009–2010 Season marked Harry’s first as Photograph: Marco Borggreve Marco Photograph: Jessica Cooper Mary Gerbi Marcio de Oliveira Jacob Cooper Artistic Director. Internationally, Harry is known as founder Cassandra Extavour Catherine Hedberg Thomas Gregg Michael Dauterman and conductor of as well as a regular guest Monica Hatch Margaret Lias Randy McGee Bradford Gleim conductor for many of the major symphony orchestras and Jill Malin Thea Lobo Alex Powell Scott Jarrett opera companies worldwide. He has directed The Sixteen Margot Miranda Loud Stefan Reed David McFerrin and orchestra throughout Europe, America, and the Sonja DuToit Tengblad Emily Marvosh Mark Sprinkle Thann Scoggin Far East, gaining a distinguished reputation for his work Erika Vogel Martin Near in Renaissance, Baroque, 20th- and 21st-century music. In 2000 he instituted the Choral Brenna Wells Susan Trout Pilgrimage, a national tour of British cathedrals from York to Canterbury in music from the The Handel and Haydn Society Chorus is funded in part by a generous gift from the Wintersauce Foundation. pre-Reformation. The Pilgrimage is now central to The Sixteen’s annual artistic programme. Harry is an Associate Artist at The Bridgewater Hall in Manchester, and features in the highly successful BBC television series, Sacred Music, presented by Simon Russell Beale. He is also Principal Guest Conductor of both the Granada Symphony Orchestra and the Orquesta de la Comunidad de Madrid. As well as enjoying a very special partnership with the BBC Philharmonic, with whom he won a Diapason d’Or, he is a regular guest conductor with the Academy of St. Martin in the Fields. Increasingly busy in opera, Harry has conducted numerous productions for Lisbon Opera and , as well as conducting the UK premiere of Messager’s opera Fortunio

Photograph: Kyle T. Hemingway T. Kyle Photograph: for Grange Park Opera. He is a regular conductor at Buxton Opera where he initiated a very successful cycle of fully staged Handel including , and . Harry Christophers is an Honorary Fellow of Magdalen College, Oxford, as well as the Royal Welsh College of Music and Drama, and has been awarded the Honorary Degree of Doctor of Music from the University of Leicester. He was awarded a CBE in the 2012 Queen’s Birthday Honours. 18 19 Handel and Haydn Society Teresa Wakim soprano Founded in Boston in 1815, the Handel and Haydn Society (H&H) is considered America’s American soprano Teresa Wakim has garnered oldest continuously performing arts organization and will celebrate its Bicentennial in 2015. wide acclaim for her performances of opera, Its Period Instrument Orchestra and Chorus are internationally recognized in the field of and chamber music. Praised for her Historically Informed Performance, using the instruments and techniques of the composer’s “gorgeous, profoundly expressive instrument” time. Under Artistic Director Harry Christophers’ leadership, H&H’s mission is to perform (Cleveland Plain Dealer), and possessing a voice Photograph: Teddie Hwang Teddie Photograph: Baroque and at the highest levels of artistic excellence and to share that music of “extraordinary suppleness and beauty” (The with as large and diverse an audience as possible. New York Times), she enjoys an internationally successful career performing and recording H&H’s esteemed tradition of innovation and excellence began in the 19th century with the US music from the Renaissance to the freshly- premieres of Handel’s , Haydn’s , Verdi’s Requiem, and Bach’s St. Matthew composed, and is perhaps best known as “a fine Passion. Today, H&H is widely known through its concert series, tours, local and national baroque stylist” (The Miami Herald). Wakim has broadcasts, and recordings. Its nine-program series is held at Symphony and Jordan Halls in performed as soloist under many of the world’s Boston and Sanders Theatre in Cambridge. H&H’s first recording with Harry Christophers, renowned ‘early music’ specialists, including Mozart Mass in C minor, was issued in September 2010 on the CORO label, followed by Harry Christophers, , Nicolas Mozart Requiem in September 2011 and Mozart Coronation Mass in 2012. McGegan, Sir , Laurence As a major performing organization, Cummings, Martin Pearlman, Alex Weimann, educator, resource centre, and Paul O’Dette, Stephen Stubbs, and Jeannette community partner, H&H strives to Sorrell. A graduate of the Oberlin Conservatory entertain and inspire audiences, provide of Music and ’s College of unique educational experiences for Fine Arts, she recently won First Prize in the Internationaler Solistenwettbewerb für Alte students at all levels, and reach all Musik in Austria and was named Lorraine Hunt Lieberson Fellow by Emmanuel Music. citizens in the community through broad Noted engagements include Bach’s Mass in B minor and St. John Passion with the Amsterdam outreach efforts. Established in 1985, Baroque Orchestra in the U.S. and Europe, Bach’s Wedding Cantata and Mendelssohn’s Hear H&H’s award-winning Karen S. and Hemingway T. Kyle Photograph: My Prayer with The at Severance Hall and the Blossom Music Center, George D. Levy Educational Outreach Handel’s Messiah with the San Antonio Symphony, Pamina in Mozart’s Program reaches 10,000 students each with Apollo’s Fire, and a title role in Handel’s Acis and Galatea with the Boston Early Music year throughout Greater Boston, many Festival. Wakim can be heard as a featured soloist on four Grammy-nominated recordings in underserved communities. with the Boston Early Music Festival and Seraphic Fire.

20 21 Paula Murrihy mezzo-soprano Thomas Cooley tenor Mezzo-soprano Paula Murrihy is a native American tenor Thomas Cooley is establishing a worldwide of County Kerry, Ireland. She received her reputation as a singer of versatility, expressiveness, and Bachelor in Music from DIT Conservatory of virtuosity, praised for his performances’ emotional depth. Music and Drama in Dublin before going on Equally at home on the concert stage and in the opera to study for a Masters in Vocal Performance at house, his repertoire spans more than four centuries. New England Conservatory. Photograph: Barbara Aumuelle Photograph: His engagements have included Mendelssohn’s Michael Schilhansl Photograph: Murrihy has appeared previously with the with the National Arts Centre Orchestra (Rizzi), Handel and Haydn Society in performances Beethoven’s Missa Solemnis with the Atlanta Symphony of Mozart’s Requiem, Handel’s Messiah, (Runnicles), Berlioz’ Requiem at Carnegie Hall (Spano), Monteverdi’s Orfeo and Bach’s St. Matthew Haydn’s Creation with Philharmonia Baroque Orchestra Passion. She was soloist in Mendelssohn’s (McGegan), Mozart’s Requiem (Christophers), Honneger’s with Utah Symphony, Haydn’s Le roi David (Schønwandt) and Handel’s for the Gabrieli Consort, Paukenmesse as part (Montgomery) in Utrecht and Amsterdam, Beethoven’s of the season and the St. Matthew Symphony No. 9 with the Osaka Symphony (Oue) and at Passion for Boston Symphony Orchestra. She has also appeared in Handel’s Solomon with the the Oregon Bach Festival (Rilling), Berlioz’ Nuits d’Été with Nederlandse Programma Stichting and Bach’s Christmas Oratorio with the RTE in Dublin. St. Paul Chamber Orchestra (Cabrera), and Handel’s Messiah with the Minnesota Orchestra (Vänskä). His operatic roles include Bajazet in Handel’s , the title role in , Operatic roles include Ino in Semele for Boston Lyric Opera, Dido in Purcell’s Dido and Tamino in Die Zauberflöte, and Almaviva in Il barbiere di Siviglia. Aeneas at the Teatro Comunale, Bologna, the title role in for Emmanuel Music, and Good Witch in Transformations and Cherubino in The Ghosts of Versaille for Wexford Festival Recital highlights include performances of works by Monteverdi and Schütz (Berkeley), Opera. Paula made her Covent Garden debut as Tebaldo in a new production of Don Carlo; Britten (Britten Festival, Aldeburgh), Haydn and Beethoven (Göttingen), and Schubert’s Die at the Opera Theater and Théâtre du Capitole, Toulouse as Annio in La Clemenza di schöne Müllerin with pianist Donald Sulzen. Tito; and at Opéra de Nice as Medoro in Furioso. Cooley lived in Munich for ten years, four as a member of the Staatstheater am Gärtnerplatz. Murrihy is a member of the ensemble at Oper Frankfurt where her roles have included Cooley’s recordings include Handel Samson (Göttingen Handel Festival Orchestra/ Alisa in Lucia di Lammermoor, Maddalena in Il Viaggio a Reims, Annio in La Clemenza di McGegan, Carus); Vivaldi (Dresdner Instrumental-Concert/Kopp, Deutsche Tito, Medoro in Orlando Furioso, Kreusa in , Tebaldo in Don Carlo, Dido in Dido and Grammophon); Mozart Requiem (Windsbacher Knabenchor, Sony), and Mozart Mass in C Aeneas, Lazuli in L’etoile, and Baba the Turk in The Rake’s Progress. minor with the Handel and Haydn Society and Harry Christophers for CORO (COR16084).

22 23 Sumner Thompson baritone Handel and Haydn Society: Historical Highlights Described as possessing “power and passion” and “stylish elegance,” American March 24, 1815: The Handel and Haydn Society is founded “to promote the love of baritone Sumner Thompson is in demand good music and a better performance of it.” on concert and opera stages across North America and Europe. He has appeared as a December 25, 1815: First public performance at King’s Chapel in Boston. soloist with many leading ensembles, February 9, 1816: Incorporated by a Special Act of the General Court, Commonwealth including the Britten-Pears Orchestra, of Massachusetts. the National Symphony, the Boston Early July 15, 1817: The Society Chorus performs for President James Monroe Music Festival, Apollo’s Fire, Pacific Baroque (President Monroe’s March commissioned for the occasion). Orchestra, Les Boréades de Montréal, Mercury Baroque, Les Voix Baroques, December 25, 1818: First complete performance of Handel’s Messiah in America. , and Tafelmusik. February 16, 1819: First complete performance of Haydn’s The Creation in America. Notable engagements include Handel’s 1821: Publication of the first Handel & Haydn Society music collection. Messiah with the Handel and Haydn Society, 1823: Society requests a new work from , who died Bach’s St. John Passion with Orchestra Iowa before fulfilling the commission. and with Switzerland’s Gli Angeli Genève, Early Music Vancouver’s summer festival August 2, 1826: The Society Chorus performs at services for John Adams with Les Voix Baroques, and Messiah with and Thomas Jefferson held in Boston’s . the Indianapolis Symphony Orchestra. September 3, 1827: , noted music educator and editor, elected President of Thompson can be heard on the Boston Early Music Festival’s Grammy-nominated recording the Society. of Lully’s Psyché on the CPO label, and also with Les Voix Baroques in Canticum Canticorum, January 26, 1845: First American performance of Handel’s Samson. Carissimi Oratorios, and Humori, all on the ATMA label. November 20, 1852: The Society Chorus performs for the dedication of Boston Music Hall, then the finest concert hall in America. February 5, 1853: First Boston performance of Beethoven’s Ninth Symphony. January 18, 1857: First complete Boston performance of Mozart’s Requiem.

24 25 January 1, 1863: The Society Chorus performs for the Emancipation Proclamation This recording is made possible through the generous support of the following donors: celebration. Julia Ward Howe, composer of Battle Hymn of the Republic, David B. Elsbree & Lorraine Gilmore joins the Chorus in 1865. Peter G. Manson & Peter A. Durfee June 1, 1865: Performance at the memorial services for President Lincoln. Stephen Morrissey April 11, 1879: First complete American performance of J.S. Bach’s St. Matthew Passion. Peacewoods Charitable Fund October 21, 1900: First Handel and Haydn Society concert in Boston’s new Symphony Hall. Emily F. Schabacker Elizabeth & Robert Wax April 29, 1945: The Chorus performs at the memorial services for President Franklin Roosevelt at Symphony Hall. Kathleen & Walter Weld October 29, 1955: Society releases its first commercial recording, Handel’s Messiah. December 1963: Society presents the first complete televised performance of Messiah for National Educational Television. Recording Producer: Nicholas Parker Recording Engineer: James Donahue 1967: Newly appointed Music Director shifts the Society’s focus from exclusively choral music to early and contemporary choral Recorded Live at: Symphony Hall, Boston, USA, April 27 & 29, 2012 and instrumental music. In 1972 Dunn integrates the concept of Cover image: Rubens Alarcon, Shutterstock – Historically Informed Performance by reducing the chorus size for Detail of high-relief on Arc de Triomphe, Paris Messiah to 30 singers. Edition: Bärenreiter Design: Andrew Giles – [email protected] 1985: Educational Outreach Program established. June 30, 1986: ’s appointment as Artistic Director marks the beginning of the Orchestra’s transition to period instruments. 2012 The Sixteen Productions Ltd. © 2012 The Sixteen Productions Ltd. July 1, 2001: becomes Music Director. Christopher Hogwood named Made in Great Britain Conductor Laureate. July 2006: Sir Roger Norrington becomes Artistic Advisor. For further information about the Handel and Haydn Society call + 1 617 262 1815 October 2009: Harry Christophers begins his tenure as Artistic Director. or e-mail [email protected] www.handelandhaydn.org Since, the Society has released Mozart’s Mass in C minor (2010) and For further information on CORO call +44 (0) 1865 793999 Mozart’s Requiem (2011) on the CORO label. or e-mail: [email protected] www.thesixteen.com

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