www.piccolotheatre.com 224-420-2223 T-F 10A-5P

37 PLAYS IN 80-90 MINUTES! APRIL 7- MAY 14!

SAVE THE DATE! NOVEMBER 10, 11, & 12 APRIL 21 7:30P APRIL 22 5:00P APRIL 23 2:00P NICHOLS CONCERT HALL BENITO JUAREZ ST. CHRYSOSTOM’S Join us for the powerful polyphony of MUSIC INSTITUTE OF CHICAGO COMMUNITY ACADEMY EPISCOPAL CHURCH G.F. Handel's As pants the hart, 1490 CHICAGO AVE PERFORMING ARTS CENTER 1424 N DEARBORN ST. EVANSTON, IL 60201 1450 W CERMAK RD CHICAGO, IL 60610 Domenico Scarlatti's Stabat mater, TICKETS $10-$40 CHICAGO, IL 60608 TICKETS $10-$40 and J.S. Bach's Singet dem Herrn. FREE ADMISSION Dear friends, Last fall, Third Coast Baroque’s debut series ¡Sarabanda! focused on examining the African and Latin American folk music roots of the sarabande. Today, we will be following the paths of the chaconne, passacaglia and other ostinato rhythms – with origins similar to the sarabande – as they spread across Europe during the 17th century. With this program that we are calling Groove!, we present those intoxicating rhythms in the fashion and flavor of the different countries where they gained popularity. The great European composers wrote masterpieces using the rhythms of these ancient dances to create immortal pieces of art, but their weight and significance is such that we tend to forget where their origins lie. Bach, Couperin, and Purcell – to name only a few – wrote music for highly sophisticated institutions. Still, through these dance rhythms, they were searching for something similar to what the more ancient civilizations had been striving to attain: a connection to the spiritual world. Once again, it is our hope that we can remove the barriers that so often exist between the audience and performers to cultivate an ongoing dialogue as we share this music together. As always, we wish to bring you into this experience and encourage you to share your impressions with us after the concert. Thank you for joining us on this musical journey!

Rubén Dubrovsky Rubén Dubrovsky Artistic Director Third Coast Baroque

Third Coast Baroque | 4547 N. Rockwell #3 | Chicago, Illinois | 60625 | 872-216-1859 [email protected] | www.thirdcoastbaroque.org APRIL 21 7:30P NICHOLS CONCERT HALL MUSIC INSTITUTE OF CHICAGO 1490 CHICAGO AVE EVANSTON, IL 60201 TICKETS $10-$40

APRIL 22 5:00P BENITO JUAREZ COMMUNITY ACADEMY PERFORMING ARTS CENTER 1450 W CERMAK RD CHICAGO, IL 60608 FREE ADMISSION

APRIL 23 2:00P ST. CHRYSOSTOM’S EPISCOPAL CHURCH 1424 N DEARBORN ST. CHICAGO, IL 60610

FEATURING BRANDON ACKER ANGELA YOUNG SMUCKER NOLAN CARTER JOSEFIEN NATHALIE COLAS STOPPELENBURG MARTIN DAVIDS PAUL MAX TIPTON JERRY FULLER CRAIG TROMPETER MARK SHULDINER JERI-LOU ZIKE

Tarquinio Merula (1595-1665) Robert de Visée (c1655-c1733) Su la cetra amorosa Prélude & Chaconne in A Minor

Barbara Strozzi (1619-1677) André Campra (1660-1744) Lagrime mie Tota pulchra es amica mea

Giovanni Felice Sances (c1600-1679) Jean-Marie Leclair (1697-1764) Audite me, divini fructus Chaconne & Tambourin from Deuxième récréation de musique, Op. 8 Henry Purcell (c1659-1695) 1. Chaconne (“The Grand Dance”) – from King Heinrich Ignaz Franz von Biber (1644-1704) Arthur, Z. 628 (Act 5, Scene 2) Passacaglia from The Mystery Sonatas 2. In the black dismal dungeon of despair, Z. 190 J.S. Bach (1685-1750) 3. Now that the sun hath veiled his light (An Nach dir, Herr, verlanget mich, BWV 150 Evening Hymn on a Ground), Z. 193 1. Sinfonia 4. Passacaglia: How happy the lover – from King 2. Chorus - Nach dir, Herr, verlanget mich Arthur, Z. 628 (Act 4, Scene 2) 3. Aria (Soprano) - Doch bin und bleibe ich vergnügt 4. Chorus - Leite mich in deiner Wahrheit und lehre [Intermission] mich 5. Trio (Alto, Tenor, Bass) - Zedern müssen von den Winden 6. Chorus - Meine Augen sehen stets zu dem Herrn 7. Chorus (Chaconne) - Meine Tage in den Leiden Third Coast Baroque’s mission is to share the aesthetic of Baroque music while unlocking its relevance for today's audiences. By removing barriers of location and setting, focusing on accessibility, educating audiences about the diverse influences that underlie the Baroque aesthetic, and collaborating with Chicago organizations both in and outside of the arts world, Third Coast Baroque is taking Baroque music to the people of Chicago and beyond.

SOPRANO BAROQUE GUITAR VIOLONE & BASS Nathalie Colas Rubén Dubrovsky, Conductor Jerry Fuller Josefien Stoppelenburg VIOLIN MEZZO-SOPRANO Martin Davids THEORBO Angela Young Smucker Jeri-Lou Zike Brandon Acker

TENOR VIOLA DA GAMBA & CELLO Nolan Carter Craig Trompeter

BASS-BARITONE HARPSICHORD Paul Max Tipton Mark Shuldiner

Rubén Dubrovsky | Artistic Director, Conductor Rubén Dubrovsky was born into Polish-Italian family of artists in Buenos Aires. Two experiences, which he skillfully and inspiringly links to this day, mark his path as a musician: his classical training as a cellist and conductor on the one hand, and on the other his passionate academic research into the common roots of traditional South American music and European Baroque music. His work in this field was showcased in the documentary “Bach to the Roots” in 2015 (ORF / 3sat). In addition to his position of Artistic Director of Third Coast Baroque, this versatile artist is co-founder and director of the Bach Consort Wien. After numerous concerts at the Vienna Musikverein, he concentrated on opera with Vivaldi's Orlando Furioso in Bonn, Martin y Soler's L'arbore di Diana in Valencia, Monteverdi's L'incoronazione di Poppea at the Semperoper Dresden, and the first Viennese production of Mozart's Clemenza Di Tito on period instruments. Dubrovsky has also presented a number of important works for the stage: in Schwetzingen he directed Alessandro Scarlatti's Marco Attilio Regolo, for the Osterklang (Vienna) and Psalm festivals (Graz) Cristo nell'orto by J.J. Fux, and at the Theater an der Wien Porpora’s Polifemo. A significant focus of his work is the operas of G.F. Handel, having conducted productions of Giulio Cesare, Rinaldo, Radmisto, and Agrippina (Kiel), Tamerlano (Bonn), Orlando (Vienna), and Semiramide (Halle). Dubrovsky has also been engaged to direct Haydn's Seasons at the Esterházy Palace, Bach's Christmas Oratorio with the Choir and Orchestra of the Spanish Radio in Madrid (RTVE), concerts with the Hilliard Ensemble and the Zurich Chamber Orchestra in the Tonhalle Zürich and the Rheingau Festival (ARTE / SWR), and the Vienna Osterkonzert (Easter Concert) in the Stephansdom with Vivica Genaux (ORF / 3sat). He has conducted Lully’s Atys, Gluck’s Aleceste and Orfeo ed Euridice, Gassman’s Betulia Liberata, Solomon’s Journey (as pastiche of Mozart contructed by Michael Schade), Vivaldi’s Music Sacra and a production entitled Contrasts (Schubert Wagner, Webern, and Strasnoy), Rossini’s Tancredi, Handel’s Messiah (ORF / 3sat), Beethoven’s Ninth Symphony, and Mozart’s Mitridate in Schwetzingen. Current projects include Mozart's Cosí fan tutte in Darmstadt and Idomeneo in Mannheim, Händel's Oreste in Vienna, and his debut at the Mozart Week Festival in Salzburg in 2017. ACKNOWLEDGEMENTS

Our work would not be possible without the generous assistance of so many people. We to extend our Brandon J. Acker is a highly sought out soloist, collaborator and lecturer on the classical guitar and early plucked heartfelt thanks to: instruments. Recent achievements include two debut CDs released by Jester Recordings and a highly praised collaboration with the creators of Les Misérables in the English language premiere of their musical La Revolution Joshua D. Allard graphic design/printing James Klock & Sarah Hagge Chris Wolverton Francais. He has toured through England and Scotland with Chamber Opera Chicago and performed with groups such as the Newberry Consort, Bella Voce, and the Amadeus Consort. He has been featured live in studio at WFMT 98.7 and Linda Austern Cory Klose logo design Piccolo Theatre has premiered several works and arrangements on WDRT 91.9. In 2010 Brandon received 1st prize in the Society of Rebecca & Jonathan Berger Yuri Lysoivanov recording engineer St. Chrysostom’s Episcopal Church American Musician’s Competition. Karen Brunssen Kimberly McCord Principal Juan Ocon Vasili Byros Eric Miranda Benito Juarez Community Academy Alice & Bob Chrismer Vincent Pinelli Matthew Dean Fiona Queen Carmelo Esterrich & Joseph Myers Alexia Kruger Rivera Nolan Carter is a Chicago based tenor, and is extremely excited to be apart of Third Coast Baroques first concert. Kaitlin Foley Peter Smucker Nolan recently graduated from Wheaton College where he was heavily involved in Arena Theater and the Conservatory Jerry & Pat Fuller Leander Taylor of Music, studying voice under Mezzo-Soprano Sarah Holman, and acting under Mark Lewis. He was privileged to appear in Romeo and Juliet, The Secret Garden, and The Tender Land in principal roles for the Arena mainstage Steven E. Gross photographer Jerry Tietz season. Since leaving Wheaton Nolan has performed in some of Chicago's premiere vocal groups such as Schola Antiqua, Bella Voce, The Rookery, and Aestas Consort. He also starred in his first film, Cooke Concrete, an independent feature directed by Ian Martin, which will be released later this year. LEADERSHIP

Artistic Director Board of Directors Advisory Board Hailed for her “floating, silky soprano” and called a deemed “a standout in acting and voice” (Chicago Classical Review), Rubén Dubrovksy, Co-Founder Daniel Pyne, President Jerry Fuller Nathalie Colas was born and raised in Strasbourg, France. She is a current soloist and founder of Third Coast Baroque, John Sagns, Secretary Abigail McKee Petite Musique Collective, Liederstube, and new music ensemble Fonema Consort. Nathalie was recently heard in Chicago’s Haymarket Opera Company production of Cavalli’s Calisto, in Handel’s Messiah with the St Louis Bach Executive Director Richard Hoskins, Treasurer Helen Rashad Society, and in the title role of Rita by G. Donizetti in Switzerland. An avid recitalist, Nathalie studied art song with the late Angela Young Smucker, Co-Founder Neal Ball Craig Trompeter German baritone Udo Reinemann and regularly performs such repertoire (Symphony Center, Pianoforte Foundation, Omaha Under the Radar, Chicago Arts Club, Driehaus Museum). A graduate of DePaul University School of Music and of the Brussels Royal Conservatory, she completed her opera training at the Swiss Opera Studio/Hochschule der Kunst Director of Operations Bern. She was awarded 1st prize in the Music Institute of Chicago competition last winter. www.nathalie-colas.com. Nathalie Colas, Co-Founder

Violinist Martin Davids has a busy career performing all across the United States. In Chicago, he founded the Callipygian Players, and works with Haymarket Opera, Music of the Baroque, Chicago Opera Theater, and with just SPONSORSHIP about anyone who is playing Baroque music. He leads Brandywine Baroque (DE), and is Principal 2nd with Baroque Chamber Orchestra of Colorado. His summers are spent grilling, traveling, and playing at the Staunton Music Festival. Mr. Davids published a volume of arrangements for two violins of J. S. Bach’s solo violin fugues in early 2016. Third Coast Baroque recognizes our corporate sponsors: Called Bachfor2, it is the first arrangement of its kind. In addition, he is a third generation disciple of the YiZung Yue school of internal martial arts. He is fortunate to play on a violin by Ferdinando Alberti (1750), and has used it to make a number of recordings. A resident of Skokie, IL, he lives with his wife Julia, and children Judith and Solomon.

Jerry Fuller began studying the double bass at age 16 and was invited to join the Lyric Opera of Chicago orchestra three years later. Within two years he was promoted to first desk of the double bass section in addition to performing with the Santa Fe Opera. Jerry has also served as solo double bass of The Musikkollegium Winterthur Switzerland. While in Europe, Jerry became interested in historically informed performance practice and has achieved international recognition for his work with period instruments. His recordings on the Musical Arts Society, Cedille and Centaur labels have been hailed by both critics and colleagues. Jerry also writes on period instruments and performance practice for The Strad, Double Bassist, and Bass World magazines. Jerry served as an officer of the Board of Directors of the International Society of Bassists and has appeared as a guest artist with American Bach Soloists of San Francisco, Handel and Haydn Society of Boston and Newberry Consort of Chicago. Jerry has been awarded the Early Music America Outreach Award for Excellence in Early Music Education and recently received a Special Recognition Award for Historically Informed Performance from the International Society of Bassists.

Hailed as a “splendid harpsichordist” (Chicago Tribune) and praised for his “supportive style” and “breathtaking, rapid- fire passagework” (Chicago Classical Review) Mark Shuldiner maintains a rigorous performance schedule. Most recently, Mr. Shuldiner could be heard playing harpsichord for the Saint Louis Symphony Orchestra, Bernard Labadie conducting. Mark has also appeared with the Chicago Symphony Orchestra on a number of occasions, playing organ and harpsichord under the direction of Riccardo Muti, Harry Bicket, Fabio Biondi, and Bernard Labadie. In November of 2014, Mr. Shuldiner appeared as the harpsichord soloist in the CSO’s performance of J.S. Bach’s 5th Brandenburg Concerto, conducted by Nicolas Kraemer. Mr. Shuldiner has also been seen performing for Music of the Baroque, The Newberry Consort, Grant Park Symphony Orchestra, St. Paul Chamber Orchestra, Callipygian Players, Catacoustic, and many others. ARTISTS Support Third Coast Baroque by joining the Exposition Society

Josefien Stoppelenburg, soprano, performs as a soloist in the United States, the Netherlands, Italy and Germany. In Ticket sales cover only a portion of the costs associated with producing concerts, collaborations, and educational outreach. Your Chicago she has performed with Baroque Band, the Apollo Chorus, the Newberry Consort, Handel Week Festival, support is the most important driving force behind our organization. Your generosity will underwrite costs like artist fees, Fulcrum Point, Ars Musica and Music of the Baroque. From 2005 until 2007 Josefien was part of the Young Opera instrument and venue rentals, printing programs and promotional materials, and transportation for our internationally-based Ensemble of Cologne. Her operatic roles include Serpina (La Serva Padrona), Amor (Orfeo ed Euridice) and Belinda artistic director. Donors giving $1000 or more become members of Third Coast Baroque’s Exposition Society – TCB’s new (Dido and Aeneas), and Poulenc’s La Voix Humaine. She sang Aci in the Haymarket Opera Company’s acclaimed membership group providing personalized service from staff and access to behind–the-scenes events each year. premiere of Handel’s Aci, Galatea e Polifemo and Tirsi in Clori, Tirsi e Fileno. Recent engagements include Bach/ Pergolesi Stabat Mater (with Camerata Amsterdam), Haydn’s Lord Nelson Mass and Stabat Mater, Handel’s La To learn more about becoming a supporter of Third Coast Baroque, visit our website at www.thirdcoastbaroque.org or contact Resurrezione, Messiah and Dixit Dominus (Baroque Band), Messiah with the Rockford Symphony Orchestra, Handel Angela Young Smucker, Executive Director, at [email protected] or by phone at 872-216-1859. Gloria with the Elmhurst Symphony Orchestra, the Faure Requiem with Northwest Indiana Symphony Orchestra, and the world premiere of Jacob TV’s The News, a multi-media reality opera, in Pittsburgh. This year she made her debut in Seoul, Korea with Brahms Ein deutsches Requiem and will perform Haydn Lord Nelson Mass in Beijjng, China, in 2014. DONOR LEVELS EXPOSITION SOCIETY With her sister Charlotte (alt-mezzo) she forms a vocal duo. In this combination the sisters performed in nearly every concert hall in The Netherlands. They were the first to win the National Princess Christina competition and have performed with numerous orchestras ever since. Improv Marathon Their concerts were broadcasted on Dutch national television and radio, including their concert for the Dutch Royal Family. Josefien won the Up to $99 Up to $1000-$2499 Chicago Oratorio Award 2013 and 2nd place nationally in the American Prize Opera Competition 2013. • Acknowledgement in printed programs • All The Loop level benefits • Donor acknowledgement on website • Membership in the Exposition Society Described by the Atlanta Journal-Constitution as a dignified and beautiful singer, Paul Max Tipton, baritone, performs Lakefront • Invitations to annual Exposition Society events • Inclusion in annual ES newsletter nationally to acclaim in repertoire ranging from Schütz and Monteverdi to Britten and Bolcom. He solos under such $100-$249 notable figures as Masaaki Suzuki, Matthias Pintscher, Nicholas McGegan, Leonard Slatkin, Ton Koopman, Helmuth • All Improv level benefits Museum Rilling and Martin Katz, and has performed with the Bach Collegium Japan, New York Philharmonic, Apollo's Fire, • Invitation to one open rehearsal & reception $2500-$4999 Seraphic Fire, and the Orchestra of St. Luke’s. Recent engagements include Britten’s War Requiem, Rameau’s La Lyre per season • All Marathon level benefits Enchantée, and a recording of Brahms’ Ein Deutsches Requiem, Op. 45 which earned a 2012 Grammy nomination. His • Named sponsorship of an artist of your choice singing of the Bach Passions are noted in particular for their strength and sensitivity. He studied at the University of Festival during the concert season Michigan at Ann Arbor and Yale University, and is a Lorraine Hunt Lieberson Fellow at Emmanuel Music in Boston. $250-$499 www.paulmaxtipton.com. • All Lakefront level benefits Architecture • Invitation to all open rehearsals and $5000+ receptions • All Museum level benefits • Recognition as a concert sponsor, including on-site Craig Trompeter has been a musical presence in Chicago for more than twenty years. As an acclaimed cellist and The Loop violist da gamba he has performed in concert and over the airwaves with Second City Musick, Music of the Baroque, $500-$999 signage and verbal recognition at performance. the Chicago Symphony, Lyric Opera of Chicago, Chicago Opera Theater, the Cal Players, the Oberlin Consort of Viols, • All Festival level benefits and Great Lakes Baroque. He has performed at the Metropolitan Museum of Art, the Art Institute of Chicago, the • Invitation to annual season preview event Glimmerglass Festival, the Brooklyn Academy of Music, and the Valletta International Baroque Festival in Malta. He has appeared as soloist at the Ravinia Festival, the annual conference of the American Bach Society, with the Chicago Symphony Orchestra, and with Music of the Baroque. Trompeter has recorded works of Mozart, Biber, Boismortier, Friends of Third Coast Baroque (April 1, 2016-April 1, 2017) Marais, Handel, Greene, Henry Eccles, and a potpourri of Elizabethan composers on the Harmonia Mundi, Cedille, and Improv (Up to $99) Lakefront ($100-$249) Festival ($250-$499) The Loop ($500-$999) Centaur labels. He is Artistic Director of Haymarket Opera Company. Ben LeClair Jessie Bouwman Robyn David & Madison Grant George Beam Jeannie Clark Maura Cock Giles Davis Rebecca Berger Leigh Daeuble Gregory Colombe Michael Dodson Wendy & Gordon Gill Martha Feldman Isabelle David William Foley James Klock & Sarah Hagge Mezzo-soprano Angela Young Smucker has earned praise for her “luscious” voice (Chicago Tribune) and "powerful Bob & Nancy Janis Dennis & Michelle Friesen-Carper Joseph Myers & Carmelo Esterrich Gary Payne stage presence" (The Plain Dealer). Her performances in concert, stage, and chamber works have made her a highly Nick Petros Elisabeth Geraghty Daniel & Catherine Pesavento Marjorie Stinespring versatile and sought-after artist. Highlights of the 2016-17 season include performances with Haymarket Opera Reed & Madonna Pence Martine Henry Leslie Robb Company, Bach Collegium San Diego, Chicago A Cappella, Seraphic Fire, and Third Coast Baroque. Ms. Smucker has Steven Rings Diane & Alan Johnson Geoffrey & Caroline Rogers, Sr. Christina Senese Boyd Jones Erin Schertler also been a featured soloist with the Chicago Symphony Orchestra, Music of the Baroque, Oregon Bach Festival, and Peter Smucker Carol Keller Anthony Young Les Délices. Radio and television appearances include Garrison Keillor’s A Prairie Home Companion, WFMT’s Russ Smucker Luke Miller Impromptu and Live from WFMT, and WTTW’s Chicago Tonight. Currently pursuing her doctoral studies at Mox Tan Gregg Morton Northwestern University, Ms. Smucker holds degrees from the University of Minnesota and Valparaiso University – Kris Uhler Stefanie Moore where she also served as instructor of voice for seven years. She is a NATS Intern Program alumna, former Virginia Neal Robinson Nancy Schmitt Best Adams Fellow (Carmel Bach Festival), and serves as Executive Director of Third Coast Baroque. James Shapiro www.mezzoangela.com. Jeff & Robyn Shillington Jill Smart Alan Tecktiel Jeri-Lou Zike is a versatile, energetic musician who enjoys a variety of artistic activities in symphonic, baroque, and Sarah & Chase Wilson chamber music. She is principal and founding member of the Metropolis Symphony Orchestra and principal second violin of the Chicago Opera Theater. She is also a member of the Chicago Philharmonic, the Joffrey ballet orchestra and the Ravinia Festival Orchestra. As a period instrument performer, Ms. Zike is concertmaster of the Haymarket Opera Marathon ($1000-$2499) Museum ($2500-$4999) Architecture ($5000+) Company which she manages alongside the General director, Craig Trompeter, cellist. The opera company is taking Anonymous Sandra Timmons Future Friends of Third Coast Baroque Chicago by storm in its fourth year and according to all the critics, the praise for its quality is of highest caliber. Other Neal Ball musical credits include principal of Baroque Band, soloist with the Chicago Baroque Ensemble, Concertmaster of the Russ & Leah Chibe Robert & Alice Chrismer University of Chicago Rockefeller Chapel Concerts, as well as performances with His Majestie’s Clerkes, Kansas City Jerry Fuller Music Consort, and Music of the Baroque’s first period instrument concert. Ms. Zike is also a well-regarded contractor of Daniel Pyne musicians, providing orchestras for the Apollo Chorus, Chicago Chorale, the Cathedral Singers, and Rockefeller Chapel John Sagos choirs among others. Jeri-Lou Zike has recorded with GIA, Centaur, and Cedille Records. To balance the intensity of music making, Jeri-Lou Thomas Riley loves to swim, bike and run and is a four-time Ironman. Steve & Donna Young Laird Zacheis & Sunhee Lee PROGRAM PROGRAM

Nach dir, Herr, verlanget mich, BWV 150 Su la cetra amorosa J.S. Bach (1685-1750) Tarquinio Merula (1595-1665) 1. Sinfonia Su la cetra amorosa In dolce e lieto stile 2. Coro On the amorous lyre, Io non pensavo mai, di più cantar Me thought I would ne’er again Nach dir, Herr, verlanget mich. Lord, I long for you. Ch’anima tormentosa, Sing sweetly and blithely, Mein Gott, ich hoffe auf dich. My God, I hope in you. In suon funesto humile For the tortured soul Laβ mich nicht zu Schanden werden, Let me not be put to shame, Dove a pianger mai In wretched, mournful tones, daβ sich meine Feinde nicht freuen über mich. So that my enemies will not rejoice over me. Sempre e sospirar Must forever but weep and sigh Pur da nova cagion Yet Love now gives me fresh reason 3. Aria Chiamato son d’amor al canto son To sing and play Doch bin und bleibe ich vergnügt, Yet I am and remain content, Io ch’amante infelice Cener fredd’apena obgleich hier zeitlich toben, although at the moment here may rage I who, disappointed in love, Dal rogo riportai l’infausto amor Kreuz, Sturm und andre Proben, cross, storm and other trials, With ashes of the stake still warm, Sento che più non lice Tod, Höll’, und was sich fügt. Death, Hell, and what is theirs. Sang of ill-fated love, Con rocha e stanca lena, Ob Unfall schlägt den treuen Knecht, Though misfortune strike the true servant, Now esteem it no longer fitting, Narrar le fiamme antich’e’l vecchio ardor, Recht ist und bleibet ewig Recht. Right is and remains eternally right. To tell, with hoarse and weary voice, Hora che novo sol m’accende, e vuol Of past loves and burning passion; Ch’io di lui canti, 4. Coro For now a new sun Ch’io di lui canti Sol Inflames my heart and I must sing only of her Leite mich in deiner Wahrheit, und lehre mich, Lead me in your Truth and teach me; denn du bist der Gott, der mir hilft, for you are the God, who helps me, Questa lacera spoglia Instead of allowing täglich hare ich dein. I await you daily. D’un cor traffitto e arso A poor, humble grave Miserabile arcano de’i martir, To receive these meagre shreds 5. Trio Invece che l’accoglia Povero avello e scarso, Of a pierced, scorched heart Amor tiranno anche pur vuol ferir Cedern müssen von den Winden Cedars must, before the winds, The pitiable remains of such anguish Eccomi fatto egual Scuopo oft viel Ungemach empfinden often feel much hardship, Tyrannical Love wants to wound it once more; Al suo stral dispietato e mortal oftmals werden sie verkehrt. often they will be destroyed. Here am I, the target of his pitiless, mortal arrow Rat undTat auf Gott gestellet, Place your words and deeds before God, Io non intesi mai, achtet nicht, was widerbellet, Heed not what howls against you, I have never heard of dragging Che si tragga di tomba, mai denn sein Wort ganz anders lehrt. Since his Word teaches otherwise. One’s deceased enemy from the grave Nemico estinto a farli guerra più To continue making war on him 6. Coro E pur Amor homai Sona guerriera tromba, Yet Love, henceforth, Sounds the trumpet of war Pur contro chi d’amor gia morto fù Even against him who has already died of love Meine Augen sehen stets zu dem Herrn, My eyes gaze continually at the Lord; Ecco à battaglia à battaglia me rappella, Alas, he now recalls me denn er wird meinen Fuβ aus dem Netze ziehen. For he will draw my foot out of the net. Ahimè, d’Amor d’honor di fè To the battle of love, honour and faith 7. Coro Meine Tage in den Leiden endet Gott dennoch zu Freuden; My days in suffering Christen auf den Dornen wegen God will nevertheless end in joy; führen Himmels Kraft und Segen; Christians upon the thorny pathways bleibet Got mein treuer Schatz,… are led by Heaven’s power and blessing. achte ich nicht Menschen kreuz. If God remains my dearest treasure, Christus, der uns steht zur Seiten, I need not heed mankind’s cruelty; hilft mir täglich sieghaft straiten. Christ, who stands by our side, Helps me daily fight to victory PROGRAM

Lagrime mie In the black dismal dungeon of despair, Z. 190 Now that the sun hath veiled his light Barbara Strozzi (1619-1677) Henry Purcell (1659-1695) (An Evening Hymn on a Ground), Z. 193 (Purcell) In the black, dismal dungeon of Despair, Lagrime mie, à che vi trattenete? My tears, why do you hold back? Pin’d with tormenting care, Perché non isfogate il fier dolore Why do you not let burst forth the fierce pain Now that the sun hath veil’d his light Wrack’d with my fears, Che mi toglie’l respiro e opprime il core? That takes my breath and oppresses my heart? And bid the world goodnight, Drown’d in my tears, To the soft bed my body I dispose, With dreadful expectation of my doom Lidia che tant’adoro, Because she looked on me with a favorable glance, But where shall my soul repose? And certain horrid judgement soon to come, Perch'un guardo pietoso, ahi mi donò, Lidia, whom I so much adore, Dear God, even in thy arms, and can there be Lord, here I lie, Il paterno rigor l’impriggionò. Is imprisoned by her stern father. Any so sweet security? Lost to all hope of liberty, Trà due mura rinchiusa Between two walls Then to thy rest, O my soul, and, singing, praise Hence never to remove Sta la bella innocente, The beautiful innocent one is enclosed, The mercy that prolongs thy days! But by a miracle of love, Dove giunger no può raggio di sole; Where the sun’s rays can’t reach her; Alleluia. Which I scarce dare hope for, or expect, E quel che più mi duole And what grieves me most Being guilty of so long, so great neglect. Ed’accrese’ al mio mal tormenti e pene, And adds torment and pain to my suffering, Fool that I was, worthy a sharper rod, È che per mia cagione Is that my love Passacaglia: How happy the lover – from King To slight thy courting, O my God! Provi male il mio bene. Suffers on my account. Arthur, Z. 628 (Act 4, Scene 2) For thou did’st woo, intreat, and grieve, E voi, lumi dolente, non piangete? And you, grieving eyes, you don’t weep? (Purcell) Did’st beg me to be happy and to live; Lagrime mie, à che vi trattenete? My tears, why do you hold back? But I would not; I chose to dwell How happy the lover, With Death, far, far from thee, too near to Hell. Lidia, ahimè, veggo mancarmi Alas, I miss Lidia, How easy his chain, But is there no redemption, no relief? L’idol mio che tanto adoro; The idol that I so much adore; How sweet to discover Jesu! is there no redemption, no relief? St colei trà duri marmi She’s enclosed in hard marble, He sighs not in vain. Thou sav’d’st a Magdalen, a thief, is there no Per cui spiro e pur non moro. The one for whom I sigh and yet do not die. redemption, no relief? For love ev’ry creature O Jesu! Thy mercy, Lord, once more advance, Is form’d by his nature; Se la morte m’è gradita, Because I welcome death, O give me such a glance No joys are above Hor che son privo di spene, Now that I’m deprived of hope, As Peter had; thy sweet, kind, chiding look The pleasures of love. Dhe, toglietemi le vita, Ah take away my life, Will change my heart, as it did melt that rock; Ve ne prego, aspre mie pene. I implore you, my harsh pain. In vain are our graces, Look on me, sweet Jesu, as thou did’st on him; In vain are your eyes, ‘Tis more than to create, thus, to redeem. Ma ben m’accorgo che per tormentarmi But I well realize that to torment me In vain are our graces Maggiormente la sorte All the more If love you despise; Mi niega anco la morte. Fate denies me even death. When age furrows faces ‘tis too late to be wise. Se dunque è vero, ò Dio Thus since it’s true, oh God, Che sol del pianto mio That wicked destiny Then use the short blessing Il rio destino hà sete, Thirsts only for my weeping, That flies in possessing; Lagrime mie, à che vi trattenete? My tears, why do you hold back? No joys are above The pleasures of Love.

Audite me, divini fructus Tota pulchra es amica mea Giovanni Felice Sances André Campra (1660–1744)

Audite me, divini fructus, Hear me, divine offspring, Tota pulchra es, amica mea, You are wholly beautiful, my love, et quasi rosa plantata super rivos and like a rose planted by a stream of water, Et mácula non est in te. and there is no blemish in you aquarum fructificate. bud forth. Favum distillans lábia tua, Your lips drop honey like a honeycomb, Quasi Libanus odorem suavitatis habete. Produce a fragrance as sweet as frankincense. Mel et lac sub lingua tua, honey and milk are on your tongue, Odor unguentórum tuórum the scent of your ointments Florete flores quasi lilium, et date odorem, Send forth flowers as the lily, and yield an aroma, super ómnia arómata. is above all other perfumes. et frondete in gratium, et collaudate canticum, and bring forth leaves in grace, and praise in song, et benedicite Dominum in operibus suis. and bless the Lord in his works. Jam enim hiems tránsiit, For now the winter is past, Alleluia. Alleluia. imber ábiit et recéssit, the rains are over, and have gone. Flores apparuérunt in terra nostra, The flowers have appeared in our land, Vox túrturis audíta est, the voice of the turtle dove can be heard, Ficus prótulit grossos suos, the fig tree has put forth its figs Vineæ floréntes dedérunt odórem suum; the budding vines give a good smell,

Surge, própera, amica mea, Rise up, my love colúmba mea, formósa mea, et veni, my dove, my beautiful one, and come; veni de Líbano, veni, coronáberis. come from Lebanon, come to be crowned.