February 3, 2016 at The Chan Centre Vancouver

board of directors

Tony Knox president Spencer Corrigal cpa,ca treasurer Sharon Kahn past president Stuart Bowyer Chris Guzy Tim Rendell cpa,ca Ingrid Söchting Vincent Tan Mark Vessey Fran Watters CultureCulture is the expression is the expression of Canada’s soul; of itCanada’s defines soul;La culture it defines est l’expression us andde l’âme helps du Canada. bring ÷ us and helps bring us together. The Government of Elle contibue à nous définir et à nous unir. Le Canadaus together.places great valueThe onGovernment culture and is of Canadagouvernement places great du Canada value accorde on culture beaucoup committedand is to committed supporting the artsto supportingand our artists. Thisthe artsd’importance and our artists. à la culture, This et il isa à whycœur de we soutenir José Verstappen cm is why we are proud to support these performances les arts et les artistes canadiens. C’est pour cette artistic director emeritus by Earlyare proudMusic Vancouver. to support Through these its ecclectic performances raison by queEarly nous Musicsommes fiersVancouver. d’appuyer la performances and other artistic activities, this présentation de ces concerts par l’organisme Early organizationThrough gives its Canadian ecclectic musicians performances the chance to andMusic other Vancouver. artistic Grâce activities, a ses spectacles this et autres ÷ demonstrateorganization their talent gives and bring Canadian our culture musicians to life. activités the chance artistiques, to cetdemonstrate organisme donne la chance It lets music lovers discover melodies and harmonies aux musiciens canadiens de faire valoir leur talent et thattheir may come talent from and a distant bring time, our but stillculture have the to life.d’animer It lets notre music culture. lovers Il permet discover aux mélomanes de staff powermelodies to delight and inspire harmonies us today. that may comedécouvrir from ades distant mélodies time, et des harmoniesbut still qui, bien que d’une autre époque, arrivent encore à nous have the power to delight and inspire usséduire today. et a nous inspirer. Matthew White executive & artistic director As Minister of Canadian Heritage, I would like to À titre de ministre du Patrimoine canadien, je thankA thes MinisterVancouver Society of Canadian for Early Music Heritage, and all I wouldremercie like la Vancouver to thank Society the forVancouver Early Music, ainsi Nathan Lorch the Societyartists, organizers for Early and volunteers Music who and made all these the artists,que les organizers artistes, les organisateurs and volunteers et les bénévoles qui business manager performances possible. I applaud your efforts to assurent la présentation de ces concerts. Vos efforts promotewho understanding made these and performancesappreciation of early possible.en I vue applaud de mieux yourfaire connaître efforts et toapprécier la Alicia Hansen music.promote understanding and appreciationmusique of early ancienne music. méritent d’être applaudis. production & programme coordinator Diana Magallon marketing & fundraising coordinator Ron Costanzo volunteer coordinator Jan Gates The Honourable / L’honorable Mélanie Joly event photographer Laura Murray Public Relations marketing & media relations Trevor Mangion and The Chan Centre Box Office Staff emv ticket office: 604.822.2697 Our concerts are made possible through the generous assistance of our many volunteers who offer their time. For today's concert, we would like to thank in particular: 1254 West 7th Avenue, Vancouver BC, V6H 1B6 tel: 604.732.1610 fax: 604.732.1602 [email protected] earlymusic.bc.ca Interested in joining our volunteer corps? Phone 604.732.1610 for details.

2 | Early Music Vancouver Main Concert Series 2015-16 [email protected] the artists programme

Dorothee Mields Rosenmüller Sonata Settima à 4 soprano (1619-1684) from Sonatae à 2,3,4 e 5 stromenti da arco et altri (1682) – 2 violins, 2 da gamba & Sumner Thompson Largo - Adagio - Prestissimo - Adagio - Allegro - Adagio tenor / baritone Johann Philipp Krieger Einsamkeit, du Qual der Hertzen and an instrumental ensemble (1649-1725) – soprano & basso continuo directed by Marc Destrubé violin Johann Ahle Herr Gott, mein Heiland (1658) (1625-1673) – baritone, 2 violins & basso continuo Linda Melsted violin Misericordias Domini Joanna Blendulf – soprano, tenor, 2 violins & basso continuo da gamba Jubilus-Jesu dulcis Elisabeth Reed viola da gamba – baritone, 3 violas da gamba, & basso continuo Natalie Mackie viola da gamba & violone

Nathan Whittaker Dietrich Buxtehude Ich suchte des Nachts, BuxWV 50 violoncello (c.1637-1707) – soprano, baritone, 2 violins & basso continuo John Lenti Michael Jarvis chamber organ INTERVAL

Katrina Russell Dietrich Buxtehude Ciacona in e minor, BuxWV 160 – transcribed by Marc Destrubé for 2 violins, viola da gamba &

Quemadmodum desiderat cervus, BuxWV 92 (ca. 1690) – soprano, 2 violins & basso continuo

a collaboration with pacific & Johann Adam Reincken Sonata in d minor orchestra (1643-1722) from Hortus musicus, 6 Sonatas and Suites, No. 4 - for 2 violins, bass & basso continuo Pre-concert chat i. Sonata. Grave (Adagio) - Allegro - Solo. Adagio with host Matthew White at 6:45: ii. Allemand. Allegro iii. Courant & Marc Destrubé iv. Saraband v. . Presto

THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING Wie liegt die Stadt so wüste DEVICE IS STRICTLY PROHIBITED (1616-1674) – soprano, baritone, 2 violins, 3 violas da gamba & basso continuo earlymusic.bc.ca Early Music Vancouver Main Concert Series 2015-16 | 3 pacific PACIFIC BAROQUE ORCHESTRA board of trustees DONORS

Richard L. Beecher Anonymous Elaine J. Makortoff president Roman & Sigrid Babicki Lena & Olof Malmberg Yolanda Zeng Vic & Joan Baker John Mancini treasurer Colleen Barlow Monica Marantz Tracy Tai Kenneth A. Beecher Emil Marek secretary Richard Beecher Melody Mason Gabrielle Komorowska, Jennifer West Alan & Elizabeth Bell Peggy Anne Mathisen Paul G. Bradley Christina Meyers pacificbaroque.com Heather Briggs Colin L. Miles Brown Strachan Associates Michael J. & Jane Millard Norma Chatwin Jane Millen PACIFIC BAROQUE ORCHESTRA is supported by Allen Challmie Irene Miller Marylin Clark Mission Software Systems Roger A Cole Barbara Moon Ronald A. Costanzo Donelda J Parker Judith Davis Stephen B. Partridge Elisabeth Dehalmy Randall M Peterman Elizabeth Demner Hans-Karl Piltz Dr. Stephen Drance Merril Preston Helen Elfert Gerry Prins Virginia Evans Peter Reis Adam Farson Elizabeth Roach Alexander Fisher Peter Rohloff Robert & Marthena Fitzpatrick Robert Rothwell Charles and Lucile Flavelle John Sawyer Family Fund, held at the Erna Schaefer Vancouver Foundation Waltraud Schneider Sylvia K. F. Fockler Geraldine Jill Schroder Missy Follwell Lydia Semotuk Maureen Girvan Verna Semotuk John Goheen Juliet Simon Ursula Graf Lisa Slouffman Patricia Grindlay Ingrid Söchting Elizabeth Guilbride Deborah E. Sommerfeld Ian Hampton Cheryl Steinhauer

ACD2 2678 Martha Hazevoet Sam Sullivan

ACD2 2678 Jane Flick & Robert Heidbreder David A. Swan Annie Hess Thomas & Margaret Taylor Allyson M Hunter Howard Teasley GEORGE FRIDERIC HANDEL Christina Hutten Morgan Inglis Jo Anne Tharalson ORLANDO Ursula Jaekel Sheryl Thurston ORLANDO Jadwiga Jankowska Orlando ! Owen Willetts|COUNTERTENOR Craig Tomlinson & Carol Tsuyuki & Jerzy Jankowski Angelica ! Karina Gauvin|SOPRANO José Verstappen Medoro ! Allyson McHardyOrlando|MEZZO! Owen-SOPRANO Willetts|COUNTERTENOR Gabrielle Komorowska Dr. Bevan Voth and Barbara Nickel Dorinda ! Amanda ForsytheAngelica|!SOPRANOKarina Gauvin|SOPRANO Myrna Kostash Zoroastro ! Nathan Berg |BASS Barbara M. Walker Medoro ! Allyson McHardy|MEZZO-SOPRANO J. Evan & Janice Kreider Pacific Baroque Orchestra ! AlexanderDorinda ! WeimannAmanda|CONDUCTOR Forsythe|SOPRANO Barrie Webster Danette T. Kugler Zoroastro ! Nathan Berg |BASS Andrea Westcott Adele Lafleur Pacific Baroque Orchestra ! Alexander Weimann|CONDUCTOR Gwyneth Westwick Recorded following Orlando’s performances at the 2012 Vancouver Early Music Festival. Joanna Lehmann James Whittaker To be released on September 24, 2013 Maureen Lewton Recorded following the Orlando performance Martha Wintemute Audrey Lieberman at the 2012 Vancouver Early Music Festival Richard Wong Leona Luchkow Dr. Michael A. Woolnough Barbara Maass For sale in the lobby William Worrall AVAILABLE IN HD AT David W. McMurtry ATMACLASSIQUE.COM Yolanda Zeng at tonight's concert Nicolas Maftei Louise Zizka

4 | Early Music Vancouver Main Concert Series 2015-16 [email protected] the musicians

Dorothee Mields Sumner Thompson Marc Destrubé

Dorothee Mields soprano Recent engagements included his first St. Matthew Passion as a tenor Dorothee Mields is one of the leading interpreters of 17th- and 18th- at St. Thomas’ in New York City, a repeat performance of Handel’s century music and is beloved by audiences and critics alike for her with Boston’s , Handel’s Saul unique timbre and moving interpretations. Her flawless technique with Boston’s Back Bay , Monteverdi’s 1610 Vespers with and the ethereal clarity of her voice also make her ideally suited for the critically acclaimed Green Mountain Project, Britten’s War works by contemporary . Requiem with the Boston Philharmonic, Bach’s St. John Passion at the National Cathedral, and the title role in Britten’s Saint Nicolas with She appears regularly with the , Bach Collegium Philadelphia Choral Arts. On the operatic stage he performed the Japan, Bach Society, Freiburger Barockorchester, role of El Dancaïro in Carmen with the Cincinnati in the Spring RIAS Kammerchor, Orchestra of the Eighteenth Century, L’Orfeo of 2014, and performed the role of Siegmund in a concert version of Barockorchester, and Klangforum Wien under Act I of Wagner’s Die Walküre in Boston in the Spring of 2015. such conductors as Stefan Asbury, Ivor Bolton, Frans Brüggen, Pierre Cao, Beat Furrer, Paul Goodwin, , Wolfgang Mr. Thompson can be heard on the Boston Early Music Festival’s Katschner, , Emilio Pomárico, Hans-Christoph Grammy nominated recording of Lully’s Psyché on the CPO label, with Rademann, Ludger Rémy, Peter Schreier, Andreas Spering, Christoph the Handel and Haydn Society on their recording of Handel’s Messiah Spering, , and Jos van Veldhoven. on the Coro label, and also with Les Voix Baroques on Canticum Canticorum, Carissimi Oratorios, and Humori, all on the ATMA label. Dorothee Mields is a welcome guest at international festivals, including the Leipzig Bach Festival, Suntory Music Foundation In addition to his musical pursuits, Mr. Thompson spends his time Summer Festival in Japan, Boston Early Music Festival, Flanders restoring his 1885 Stick-style Victorian home, building various types Festival, Vienna Festival, the Handel Festival in Halle and the of bass guitars, and entertaining his 3 year old daughter. Tanglewood Festival. A steadily growing discography with several award-winning Marc Destrubé (director) violin recordings documents her artistic achievements. Recent releases of Marc Destrubé enjoys a diverse international career on historical “In Darkness Let me Dwell” and “Loves Alchymie” (with and modern violins, performing as soloist, chamber musician, and Lee Santana, Sony/dhm) and Purcell “Love Songs” and “Loves concertmaster or director/conductor. He is co-concertmaster of the Madness” (with the Lautten Compagney, Carus) have received great Orchestra of the 18th Century (Amsterdam), first violinist of the critical acclaim. Equally well received was “Inspired by Song” with Axelrod String Quartet (Smithsonian Institution, Washington, DC) Stefan Temmingh (Sony/dhm) released in spring 2014. and of the Vancouver quartet Microcosmos, and is a regular guest director and soloist with the Australian Brandenburg Orchestra Sumner Thompson tenor / baritone and Lyra Baroque Orchestra. In Vancouver he has been director Described as possessing “power and passion,” and “stylish elegance,” of the Pacific Baroque Orchestra, concertmaster of the CBC Radio Sumner Thompson is in high demand on the concert and opera stage Orchestra and first violinist with the Purcell String Quartet. across North America and Europe. He performs regularly for Early Music Vancouver, is Artistic Director He has appeared as a soloist with many leading ensembles and of the Pacific Baroque Festival (Victoria), a member of the Turning orchestras including the Britten-Pears Orchestra, the National Point Ensemble, and concertmaster of the Oregon Bach Festival Symphony, the Boston Early Music Festival Orchestra, Apollo’s Fire, Baroque Orchestra. His recording of Haydn violin (ATMA) Pacific Baroque Orchestra, Les Boreades de Montreal, Mercury has been critically acclaimed, and he has commissioned and Baroque, Les Voix Baroques, The Handel and Haydn Society, Boston premiered numerous works by Canadian composers. Baroque, Tafelmusik, the Orpheus Chamber Orchestra, gli angeli A highly-respected teacher, he has been a visiting artist at the Paris, genève, and the orchestras of Cedar Rapids, Phoenix, Richmond, Utrecht and Moscow Conservatories, the Banff Centre, University Memphis, Indianapolis, Buffalo, and Charlotte. of Indiana, Case Western University, UVic, UBC and VCC. He is on earlymusic.bc.ca Early Music Vancouver Main Concert Series 2015-16 | 5 pacific baroque orchestra alexander weimann | artistic director UPCOMING CONCERTS Handel’s Apollo e Dafne Friday, March 18, 2016 at 7:30 pm Vancouver Playhouse 600 Hamilton Street When public performances of opera were banned in Rome by papal edicts in the late seventeenth and early eighteenth centuries, opera audiences and composers turned to the dramatic for their fix of lust, madness and death. Under the cover of portraying mythological or historical figures, could treat the same subjects that the Pope found so objectionable without fear of legal action. George Frideric Handel’s Apollo e Dafne is perhaps the greatest example of one of these mini masquerading under the convenient pseudonym of ‘cantata’. Full of exquisite music and the vitality that characterizes Handel’s early years. A co-production with Early Music Vancouver in partnership with White Rock Concerts Handel’s Music for the Royal Fireworks Sunday, April 3, 2016 at 3:00 pm Chan Centre 6265 Crescent Road at UBC The members of the Pacific Baroque Orchestra join forces with the UBC Baroque Mentorship Orchestra Programme to perform Handel’s suite for wind band written for the fireworks celebration commemorating the end of the War of Austrian Succession in April of 1749. Fittingly, the festively-sized orchestra of students and professional players will perform a re-scoring of this famous suite for full orchestra that Handel composed to benefit the student residents of the Foundling Hospital in London. A collaboration with the UBC School of Music and Early Music Vancouver

pacificbaroque.com

6 | Early Music Vancouver Main Concert Series 2015-16 [email protected] the faculty of the Berwick Academy at the Oregon Bach Festival Early Music Institute, she can be heard on the Virgin Classics, Focus, and course co-director of the Twin Cities Baroque Instrumental and Magnatune recording labels. She also teaches baroque cello and Programme. http://marcdestrube.com viola da gamba at the University of California at Berkeley and is a 1 anonymous violin, Rogeri School (Brescia, 1685) Guild-certified practitioner of the Feldenkrais Method of Awareness 1 early baroque bow, Michelle Speller (Vancouver, 2012) Through Movement, with a focus on working with musicians and performers. Linda Melsted violin 1 viola da gamba by Mark Norfleet (Ann Arbor, 1992) The passionate artistry of violinist Linda Melsted has won the hearts of audiences across North America, Europe, and Japan. She Natalie Mackie viola da gamba & violone has appeared as soloist, member, and leader of many outstanding Natalie Mackie studied cello at the Conservatoire de Musique ensembles, including Tafelmusik, Freiburg Baroque Orchestra, (Québec), followed by a degree from the School of Music, University Pacific MusicWorks, Portland Baroque Orchestra, Pacific Baroque of British Columbia. While at UBC, she began studying viola da Orchestras, and is currently concertmaster of Seattle Baroque gamba as well, and later pursued further studies at the Koninklijk Orchestra. Linda is the featured soloist in Tafelmusik’s documentary Conservatorium in The Hague. Natalie has played with many “Le Mozart Noir”, and has recorded for Sony, ATMA Classique, and ensembles in Canada and the U.S., including New World Consort, Harmonia Mundi. Les Coucous Bénévoles, Tafelmusik Baroque Orchestra, Seattle Linda’s true love is chamber music. She has performed with many and Portland Baroque Orchestras, Les Voix Humaines, Les Voix ensembles in chamber music series from Toronto to Seattle including Baroques, Tempo Rubato, Oregon Bach Festival Orchestra, Victoria Early Music Vancouver, Gallery Concerts, Northwest Showcase, Baroque Players, Vancouver Intercultural Orchestra, and others. She Camerata Musica, , Discovery Island Music Festival, La has toured throughout Canada, the U.S. and Europe, playing in cities Primavera, and Toronto Music Garden. She is co-founder of the new such as New York, Boston, San Francisco, at London’s Wigmore Hall, chamber ensemble sound| (www.soundcounterpoint. Paris, Cologne, Strasbourg, Utrecht and Bologna, among others, and org) as well as the Cosi Quartet, a new classical quartet, and has recorded for Radio France, German Radio, BBC, CBC, and NPR, the Salish Sea Players, a group dedicated to bringing early music to as well as the Canadian label Atma Classique. She plays violone, retirement and nursing facilities (www.salishseaplayers.org). viola da gamba, and occasionally baroque cello, in Pacific Baroque 1 violin by Nicolò Amati (Cremona, 1670) Orchestra, and the Bach Cantata Project players, and frequently appears in Early Music Vancouver’s summer Festival. Natalie also Joanna Blendulf viola da gamba has a passionate and abiding interest in new music and performs newly commissioned works both as a soloist and with the ensembles Joanna Blendulf has performed and recorded with leading early of which she is a member. music ensembles throughout the United States and is a sought- 1 violone by Dominik Zuchowicz (Ottawa, 1991), after Gasparo da Salò after instructor and coach. She maintains an active performance schedule on and baroque cello, working with the Nota Bene Nathan Whittaker violoncello Viol Consort, Wildcat Viols, the Catacoustic Consort, Parthenia, the Portland Baroque Orchestra and Pacific MusicWorks. Ms. Blendulf Nathan Whittaker is a member of the Seattle Baroque Orchestra holds performance degrees with honors from the Cleveland Institute and the Seattle Baroque Soloists and performs regularly with the of Music and the Jacobs School of Music at Indiana University Pacific Baroque Orchestra (Vancouver B.C.) and Portland Baroque where she was awarded the prestigious Performer’s Certificate for Orchestra. As a member of Plaine & Easie, an Elizabethan era quartet, her accomplishments in early music performance. Joanna’s summer he won the Grand “Unicorn” Prize in the 2009 EMA Medieval and engagements have included performances at Tage Alter Musik Renaissance Competition in New York City. Over the past year, Regenburg, Musica Antigua en Villa de Lleyva in Colombia, the Mr. Whittaker has made appearances at the Oregon Bach Festival, Bloomington, Boston and Berkeley , the Ojai Indianapolis Early Music Festival, Vancouver Early Music Festival, Music Festivals as well as the Carmel and Oregon Bach Festivals. and the American Handel Festival. Ms. Blendulf has been on the faculties of the University of Oregon He has served on the faculty of the Indiana University String Academy and Indiana University Historical Performance Institute as well as and continues to be in demand with recent lecture appearances at viol workshops across the country. the Pacific Northwest Viols Conference, the Gallery Concert series, 1 bass viol by Dominik Zuchowicz (Ottowa, 2006) and the University of Washington. He recently joined the faculty at 1 bass viol bow by H.F. Grabenstein (Williston VT) The Cornish College of the Arts in Seattle and the Academy of Music Northwest. Elisabeth Reed viola da gamba 1 violoncello by Gustav Griener (Breitonfeld, , 1875) Elisabeth Reed teaches Baroque cello and viola da gamba at the San Francisco Conservatory of Music, where she is co-director John Lenti of the Baroque Orchestra. A member of Voices of Music, Pacific John Lenti’s performances on theorbo, lute, and have Musicworks, and Wildcat Viols, she has also appeared with the been described as “a joy to behold” (Seattle Times) and praised for Seattle, Portland, Pacific, and Philharmonia Baroque Orchestras, their “nuanced beauty and character” (Gramophone). He regularly and at the Boston Early Music Festival, the Berkeley Early Music deploys his “unusually big sound” (Third Coast Digest) in opera Festival, the Ohai Festival, the Whidbey Island Music Festival, the pits, churches, theaters, and living rooms all over the place, at the San Luis Obispo Mozart Festival and the Smithsonian Institution. Vancouver Early Music Festival, and with, among others, American A graduate of the North Carolina School of the Arts, the Oberlin Bach Soloists, Carmel Bach Festival, Haymarket Opera, the Los Conservatory, the Eastman School of Music, and Indiana University’s Angeles Philharmonic, Portland Baroque Orchestra, Portland Opera, earlymusic.bc.ca Early Music Vancouver Main Concert Series 2015-16 | 7 Seattle Baroque, Seattle Symphony, and Seraphic Fire. He enjoys nothing so much as making music with his chamber ensembles, the I-90 Collective, Ostraka, and Wayward Sisters. When not playing BRING EMV HOME! one or more of the many plucked, fretted instruments upon which he may expected to do something “adroit” (Washington Post) any given week, he may be found in Seattle with his wife, Sarah, singing songs and playing banjo for their baby son, Victor. John is a native of South Carolina and attended the North Carolina School of the Arts and Indiana University. He studied lute with Nigel North, Jacob Heringman, and Elizabeth Kenny. Great musical help and inspiration have come from Ronn McFarlane, Ricardo Cobo, Pat O’Brien, and Dr. Walter Gray. 1 theorbo by Klaus Jacobsen (London, 1985), after Matteo Sellas, Venice, 1635

Michael Jarvis chamber organ Michael Jarvis has been acclaimed as one of Canada’s finest harpsichordists, fortepianists, organists and continuo players, and is in demand as a collaborative artist and performance practice coach. He has performed with many of Canada’s leading orchestras and chamber ensembles across Canada, the US and Europe. As a conductor he has led many diverse programmes from 17th-century Host an EMV Guest Musician French theatrical dance and English theatre music to 21st-century 12-tone opera. He has recorded for many labels, including Marquis Do you have a guest room that often sits empty? Classics, Hungaroton, ATMA, Naxos, Solitudes and Avalon, and has Do you enjoy well-educated, articulate houseguests many times broadcast nationally and regionally for the C.B.C., as well as nationally across the U.S. on N.P.R. His CD of Hummel’s op. 5 violin from across the country and the world? Do you sonatas (with violinist Paul Luchkow) was chosen as a finalist as best like Classical music? Would you like to get the classical album of the year in the Western Canadian Music Awards ‘inside scoop’ about performing from a professional 2013. He has taught at UBC, the University of Toronto and Wilfred musician? If your answer to any of these questions is Laurier University, was featured on two national Canadian television ‘yes’, then I invite you to consider joining the growing specials, “A Baroque Christmas” and “A Baroque Easter” and was number of EMV supporters who house visiting guest also co-host and star of the 13-part television series “Come into the Parlour” for Bravo-tv. He is also an avid antique phonograph restorer musicians. and early sound recording collector. Michael lives in Victoria, BC. Get to know some of the wonderful musicians that 1 baroque-style chamber & continuo organ by Helmuth Wolff (Laval, come to Vancouver to bring you great music. QC, 1995)- from the instrument collection of Early Music Vancouver Host only when it is convenient for you; all you need Katrina Russell bassoon to provide is a private room. Born and raised in Edmonton, Katrina Russell holds a Bachelor of Music Degree in Performance from The University of Victoria and For more information please contact a Graduate Diploma in Historical Performance (with distinction in Alicia Hansen, performance) from the New England Conservatory of Music, Boston. Production Manager, Early Music Vancouver: In 1992 Katrina moved to London, England where she spent eighteen years playing both modern and historical . As a specialist [email protected] in historical performance, she has played and recorded with many 604.732.1610 extension 2004 of the period instrument ensembles in Britain and Europe, including , The King’s Consort, The Orchestra of the Age of Enlightenment, The , The Hanover Band, The Gabrieli Consort and Players, L’Orchestre des Champs- Early Music Vancouver Élysées, The Orchestra of “”, and The Amsterdam thanks the following for graciously hosting Baroque Orchestra. In late 2010 Katrina and her husband (British some of the guest musicians horn player Andrew Clark) relocated to the West Coast, and have for today's concert: established themselves near Ladysmith where they have a speciality brass making workshop producing horns and trumpets. Katrina is Maria Harris on faculty at the Nanaimo Conservatory of Music and in addition to Sharon Kahn returning to the U.K to perform, makes regular appearances with the Vancouver Island Symphony as well as the Victoria Baroque Players, J. Evan Kreider Pacific Baroque Orchestra and Early Music Vancouver. Marlene LeGates & Al Dreher 1 bassoon by Olivier Cottet (1986) after Eichentopf (early 18th cetury)

8 | Early Music Vancouver Main Concert Series 2015-16 [email protected] programme notes

This evening’s programme explores how “Pre-Bach” German Baroque composers created music of stark beauty to express religious devotion and to make sense of the constant peril of death brought on by the lingering effects of The Thirty Years’ War. Ending with the Treaty of Westphalia in 1648, this was the longest and most destructive war fought on German soil until the twentieth century. It had a profound impact on these composers that gave extra poignancy to all music of the period – both joyous and melancholic. Long neglected, the rich and varied repertoire of mid-seventeenth century Germany laid the expressive groundwork for the musical language of the great J.S. Bach.

Discussion of Johann Rosenmüller’s music is often eclipsed study with Buxtehude. When Bach finally returned to his by his colourful, even scandalous, personal biography. After full-time position in Arnstadt, the church council rebuked graduating from the University of Leipzig in 1640, serving as him for his long absence and criticized his new, “improper”, principal organist of the famous Nicolai church, and working and “curious” chorale harmonisations. Although there is no as an assistant at St. Thomas’s, he was imprisoned in 1655 on precise evidence of how his playing changed, Buxtehude must charges of pederasty. After escaping, he fled to Italy, and by have made a big impression on young Bach. 1658 was working at both Saint Mark’s and L’Ospedale della Ich suchte des Nachts, BuxWV 50 is Buxtehude’s sensual Pietà in Venice. At the end of his life he returned to Germany, setting of a passage from the Song of Songs and is an exquisite where he worked for 10 years as choirmaster at the court of evocation of a woman restlessly pacing and longing for her Duke Anton-Ulrich of Brunswick-Wolfenbüttel. Whether or lover. The ostinato, or ground bass, was one of the most not there was any truth to the allegations that forced him to common musical devices of the seventeenth century. Over flee Germany, his music masterfully incorporates German the repeating harmonic pattern, musicians dreamt up melodic Renaissance contrapuntal conventions with new Italian variations that demonstrated their compositional skill and musical trends in a style that his uniquely his own. virtuosity. Dietrich Buxtehude was particularly fond of this While almost completely unknown today, Johann Phillip technique and his Ciacona in e minor, BuxWV160, originally Krieger was one of the most distinguished German musicians written for organ, is one of his best. of the period. A student of Rosenmüller’s, he was, for over The sacred cantata Quemadmodum desiderat cervus, BuxWV forty years, Kapellmeister at Weissenfels. Music at the court 92, is one of Buxtehude’s six settings of a Latin text. It is flourished under his leadership. He was a prolific the ardent song of a believer eager to meet his Creator and who wrote over 2,000 cantatas, at least 18 operas, trio- look on His face – ‘My soul thirsts after thee, O Lord’. Above sonatas, etc. Sadly, much of his work has not survived and we the ciacona bass, Buxtehude crafts increasingly florid, even have copies of only 76 of his original 2,000 cantatas! ecstatic variations that reflect the intense longing expressed in the text. Today, Johann Ahle is known for his hymn melodies of which three remain in the German Evangelical Hymn book. Johann Adam Reincken, was, along with Dietrich Buxtehude, He also wrote an important treatise on choral singing that regarded as one of the best organists in Germany. He lived an was published several times during his lifetime. Much of his extraordinarily long life and influenced multiple generations compositional output consists of sacred choral and vocal of players and composers. In his book Music in the Castle of works like the ones you will hear on the programme tonight. Heaven, John Eliot Gardiner relates the following anecdote: He was organist for many years at the Church of St. Blasen in “Bach himself returned to play the organ in Katharinenkirche Mühlhausen. On his death, he was replaced first by his son in Hamburg for two hours at a stretch in the presence of Johann Georg Ahle (1651-1706), and then, briefly, by J.S. Bach. Reincken, who at that time was almost 100 years old and who The best known composer on tonight’s programme, Dietrich listened to him with particular pleasure. Bach chose at the Buxtehude is the most important composer of the generation request of those present to improvise on none other than the between Heinrich Schütz and J.S. Bach, and the composer of old master’s chorale variations on An Wasserflüssen Babylon – at great length (for almost half an hour) and in different ways some of the most arresting, progressive, and beautiful music that no doubt included allusions to and interpolations from of the German Baroque. As one of the greatest organists Reincken’s work. For this he was shown much courtesy by of the period, he held one of the most coveted posts in the old composer. To have been told that “I thought that this northern Germany at the Marienkirche in Lübeck. J.S. Bach art was dead, but I see that it lives in you” must have moved demonstrated his admiration by walking over 280 miles to Bach deeply.” earlymusic.bc.ca Early Music Vancouver Main Concert Series 2015-16 | 9 Matthias Weckmann began his musical training in Dresden under the direction of Heinrich Schütz and then went on to Hamburg where he worked with Jacob Praetorius. He became organist in Dresden at the Electoral Court of Saxony and then in 1655 was named organist at the Jacobikirche in Hamburg, where he founded the renowned Collegium Musicum. Wie liegt die Stadt so wüste, was inspired by a terrible plague that struck Hamburg in 1663, killing Weckmann’s boss, the town cantor Thomas Selle, and a fellow organist, . The text, from the Lamentations of Jeremiah, is reshuffled and set up as a dialogue between the soprano and bass. The soprano assumes the role of the narrator and symbolizes the mourning widow, the city of Jerusalem, while the bass takes the part of the prophet Jeremiah. The structure of the dialogue is underlined by the soprano’s accompaniment being limited to continuo while the bass is accompanied by full string ensemble. The two voices only come together at the end in their cry for help “Ach Herr, siehe an mein Elend” (O Lord behold my affliction!). It is not difficult to imagine that Weckmann personally identified with Jeremiah as they each lamented the devastation of their cities. – Brian Groos and Matthew White, February 2016

Early Music Society OF THE ISLANDS

Join us in beautiful Victoria, BC for our 2015-2016 season. Subscriptions and tickets now available. For details visit our website or check us out on Facebook

Praetorius Christmas Vespers Tafelmusik Collegium Vocale Gent Piffaro, The Renaissance Band Byron Schenkman and Friends Victoria Baroque Players 31st Pick up our colourful calendar/brochure Dialogos Ensemble Caprice in the lobby tonight – which includes full details about the summer festival, and about the www.earlymusicsocietyoftheislands.ca upcoming 2015-16 winter season. earlymusic.bc.ca

10 | Early Music Vancouver Main Concert Series 2015-16 Early Music Society / Vancouver [email protected] Festival July 2015 / 150 line screen greyscale / 3.5” x 4.75” texts & translations

Johann Rosenmüller (1619-1684): Sonata Settima à 4 from Sonatae à 2,3,4 e 5 stromenti da arco et altri (1682) 2 violins, 2 violas da gamba & basso continuo Largo - Adagio - Prestissimo - Adagio - Allegro - Adagio

Johann Philipp Krieger (1649-1725): Einsamkeit, du Qual der Hertzen soprano & basso continuo

Einsamkeit, du Qual der Hertzen, Loneliness, torment of the hearts, du verderbst mir alle Lust. you ruin my every pleasure. Will ich nur ein wenig schertzen, I only want to fi nd a little joy but instead fi nden sich die größten Schmertzen I fi nd the greatest pain in der abgezehrten Brust. in my haggard breast. Einsamkeit, du Qual der Hertzen, Loneliness, torment of the hearts, du verderbst mir alle Lust. you ruin my every pleasure. Einsamkeit, du Qual der Seelen, Loneliness, torment of the souls, du betrübst mich biß in Todt: you grieve me to death. Deine Pein ist nicht zu zehlen, Your agony cannot be counted, wolt ich sie auch gleich verhehlen, even if I tried to conceal it, kam ich in die größte Noth. I would sink into greatest misery. Einsamkeit, du Qual der Seelen, Loneliness, torment of the souls, du betrübst mich biß in Todt. you grieve me to death. Einsamkeit, du Qual der Hertzen, Loneliness, torment of the hearts, halt mich doch nicht länger auf! do no longer hold me back. Sihst du nicht die Hertzen schertzen Don’t you see the hearts jest mit den schönsten Liebes-Kertzen? with most beautiful love candles? Laß dem Glücke seinen Lauff . Let happiness take its course. Einsamkeit, du Qual der Hertzen, Loneliness, torment of the hearts, halt mich doch nicht länger auf do no longer hold me back.

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Early Music at Green College

Viola d’amore duets UBC Green College - Coach House - admission free with Tekla Cunningham & Elly Winer Thursday, March 31 at 5pm

earlymusic.bc.ca Early Music Vancouver Main Concert Series 2015-16 | 11 Johann Ahle (1625-1673): Herr Gott, mein Heiland (1658) baritone, 2 violins & basso continuo

Herr Gott, mein Heiland, Lord God, my Saviour, Ich schreie, Tag und Nacht für dir. I cry day and night for you. Lass mein Gebet für dich kommen; Let my prayer come unto you; und neige deine Ohren zu meinem Geschrei. incline thine ears unto my cry. Denn meine Seele ist voll Jammers For my soul is full of troubles und meine Gestalt ist jämmerlich, für Elende. and I am full of pitiful woes. Du machest, dass meine Freunde, und Nächsten, You cause my friends, people who are dear to me, und meine Verwandten sich ferne von mir thun, and my relatives to stay away from me um solches Elendes willen. because of this misery. Herr, thue ein Zeichen an mir, dass mir’s wohl gehe, Lord, give me a sign, which will be seen by dass es sehen, die mich hassen, und sich schämen müssen, those who hate me and must be ashamed, dass du mir beistehest und tröstest mich. that you support and comfort me.

Misericordias Domini soprano, tenor, 2 violins & basso continuo

Ich will singen, will singen von der Genade des Herren, I will sing, I will sing of the Grace of the Lord for ever. von der Genade des Herren ewiglich I will sing of the Grace of the Lord for ever. Misericordias, Domini in æternum cantabo, I will sing of the Mercy of the Lord for ever Amen. Amen.

Jubilus-Jesu dulcis baritone, 3 violas da gamba, violone & basso continuo

Jesu dulcis memoria The sweet memory of Jesus dans vera cordi gaudia: Giving true joy to the heart, sed super mel et omnia But more than honey and all things [does so] ejus dulcis præsentia. His sweet presence. Nil canitur suavius, Nothing more delightful is sung, nil auditur jucundius, Nothing more pleasing heard, nil cogitatur dulcius, Nothing sweeter thought, quam Jesus Dei Filius. Than Jesus, the Son of God.

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12 | Early Music Vancouver Main Concert Series 2015-16 [email protected] Dietrich Buxtehude (c.1637-1707): Ich suchte des Nachts, BuxWV 50 soprano, baritone, 2 violins & basso continuo

DUETT Ich suchte des Nachts in meinem Bette, In my bed at night den meine Seele liebet, I searched for the one who loves my soul, aber ich fand ihn nicht. But I found him not.

VIVACE Ich will aufstehn und in der Stadt umgehen I want to rise and go into town, auf den Gassen und Straßen into the alleys and streets, und suchen, den meine Seele liebet. And search for the one who loves my soul. (Adagio) Ich suchte (Adagio) I searched aber ich fand ihn nicht. But I found him not.

ARIE Ich durch den Sündenfall verfluchte, I, damned because of my sins, ich suchte ohne Licht I searched without light des Nachts in meinem Bette, at night in my bed den ich so gern gefunden hätte the one I would so dearly have found. und fand ihn nicht. And I found him not. Ich ging die Gassen auf und nieder, I went up and down the alleys kam wieder und suchte ohne Licht came back, and searched without light den meine Seele liebet, for the one who loves my soul, den ich so sehr betrübet, the one I have grieved so much, und fand ihn nicht. And I found him not.

DUETT Es funden mich die Wächter, The night watchmen die in der Stadt umgehen. who go around the town, found me. Habt ihr nicht gesehen, Have you not seen den meine Seele liebet? the one who loves my soul?

ARIE

Ihr Wächter, habt ihr nicht gesehen You, watchmen, have you not seen him hier gehen, den meine Seele liebt? come by, the one who loves my soul Ihr schweigt und laßt mich fragen. You are silent and let me ask Ich bin, nun ihr nichts könnet sagen, As you cannot say anything noch mehr betrübt. I am even more distressed

DUETT Da ich ein wenig für ihnen überging, By and by, da fand ich den meine Seele liebet, I found the one who loves my soul Ich halt ihn und will ihn nicht lassen, I hold him and will not let him go, bis daß ich ihn bringe until I take him in meiner Mutter Haus, to my mother’s house in meiner Mutter Kammer. Into my mother’s chamber.

– INTERVAL – earlymusic.bc.ca Early Music Vancouver Main Concert Series 2015-16 | 13 Dietrich Buxtehude: Ciacona in e minor, BuxWV 160 transcribed by Marc Destrubé for 2 violins, viola da gamba & cello

Quemadmodum desiderat cervus, BuxWV 92 (ca. 1690) soprano, 2 violins & basso continuo

Quemadmodum desiderat cervus As the hart desireth the waterbrooks Quemadmodum desiderat cervus, As pants the hart ad fontes aquarum, ita desiderat anima mea, ad te, Deum, after the water brooks, so pants my soul after You, O God. sitivit anima mea ad te, Deum, fontem vivum. My soul thirsts for God, the living God. Quando veniam et apparebo ante faciem tuam? When shall I come and appear before Your face? O fons vitæ, vena aquarum viventium, O source of life, wellspring of the living waters, quando veniam ad aquas dulcedinis tuæ? when will I attain the waters of Your delight? Sitio, Domine, fons vitæ es, satia me, I thirst, Lord, You are the source of life, quench my thirst, sitio te Deum vivum, sitio. I thirst for the living God. O quando veniam et apparebo, Domine, ante faciem tuam, O when shall I come and appear, Lord, before Your face? putas me, videbo diem illam jucunditatis et lætitiæ, You cleanse me and I shall see the day of joy and happiness, diem, quam fecit Dominus, the day that the Lord gives, exsultemus et lætemur in ea, when we shall rejoice and be happy. ubi est certa, certa securitas, secura tranquillitas, Where there is certainty, certain safety, safe calm, etPACIFIC tranquilla jucunditas, MUSICWORKS and calm joy, jucunda felicitas,Stephen felix æ Stubbs,ternitas, æterna Artistic Director joyful happiness, happy eternity, eternal beauty and beatitudo et beata Trinitas the beauty of the Trinity, et Trinitatis unitas, et unitatis Deitas, et and the unity of the Trinity, and the Godhead united, Deitatis beata201 visio,5/2016 SEASON and the wonderful sight of the Godhead qua est gaudium Domini tui, which is the delight of your Lord, Monteverdio gaudium supergaudium, vincesSAT omne gaudium.OCT 24 8:00pm O delight surpassing all others, conquering all other delights. St. James Cathedral, Seattle PACIFIC MUSICWORKS 1610 Vespers Stephen Stubbs, Artistic Director 2015 12 PACIFIC MUSICWORKS Stephen2 Stubbs,015/2 Artistic016 Director SEASON Johann Adam ReinckenPACIFIC PACIFIC(1643-1722) :MUSICWORKS MUSICWORKS Handel SAT DEC 12 8:00pm Stephen Stubbs,Monteverdi Artistic DirectorSAT OCT 24 8:00pm Sonata in d minor 2Stephen015/2 Stubbs,016 ArtisticSEASON Director SUN DEC 13 2:00pm 1610 Vespers St. James Cathedral, Seattle Messiah from Hortus musicus, 6 Sonatas201 and 5/2Suites, 0No.1 46 SEASON Meany Theater,for 2 violins, UW, bassSeattle viol & bassoMonteverdi continuo20120155/2 016SAT SEASON OCT 24 8:00pm 2015 1610 Vespers St. James Cathedral, Seattle MonteverdiMonteverdi SAT OCTSAT 24 OCT 8:00pm 24 8:00pm i. Sonata. Grave (Adagio)1610 - Allegro 2015Vespers - Solo. HandelAdagioSt. James Cathedral,SAT Seattle DEC 12 8:00pm ii. Allemand. Allegro 1610 VespersMessiah St. James Cathedral,SUN DEC Seattle 13 2:00pm Vivaldi iii. Courant 2015 SUN FEB 28 2:00pm Handel2015 2015 SAT DECMeany 12 8:00pm Theater, UW, Seattle Meany iv.Theater, Saraband UW, Seattle The Four v. Gigue. Presto HandelMessiah SAT DECSUN 12 DEC 8:00pm 13 2:00pm Handel MeanySAT DEC Theater, 12 UW, 8:00pm Seattle Seasons MessiahMessiah2015 VivaldiSUN DECSUN 13 DEC 2:00pmSUN 13 FEB2:00pm 28 2:00pm 12 Meany Theater, UW, Seattle 2016 20152015 The Four Meany Theater,Meany UW, Theater, Seattle UW, Seattle Vivaldi Seasons SUN FEB 28 2:00pm The Four2016 Meany Theater, UW, Seattle Gluck Orphée FRI MAY 20 7:30pmVivaldiVivaldi SUN FEBSUN 28 FEB 2:00pm 28 2:00pm Seasons Meany Theater, UW, Seattle The FourThe Four Meany Theater, UW, Seattle 2016PACIFIC MUSICWORKSSAT MAY 21 7:30pm Gluck Orphée FRI MAY 20 7:30pm Stephen Stubbs, Artistic Director Seasons2016 SUN MAY 22 2:00pm Seasons2016 SAT MAY 21 7:30pm 2016 2016 2015/2016Meany SEASON Theater, UW, Seattle Gluck Orphée FRI MAYSUN 20 7:30pmMAY 22 2:00pm SAT MAYMeany 21 Theater,7:30pm UW, Seattle www.pacificmusicworks.org Gluck 2016Orphée FRI MAY 20 7:30pm Monteverdi SAT OCT 24 8:00pm Gluck Orphée SUNFRI MAY MAY 20 22 7:30pm 2:00pm Pacific MusicWorks is a resident organization at the University of Washington School of Music2016 SATwww.pacificmusicworks.org MAYSAT 21MAY 7:30pm 21 7:30pm St. James Cathedral, Seattle 2016 Pacific MusicWorks is Meanya resident organization Theater, at the UniversityUW, Seattleof Washington School of Music 1610 Vespers SUN MAYSUN 22MAY 2:00pm 22 2:00pm www.pacificmusicworks.orgMeany Theater, UW, Seattle 14 2015| Early Music Vancouver Main Concert Series 2015-16 Meany Theater,[email protected] UW, Seattle Pacific MusicWorks is a resident organization at the University of Washington School of Music www.pacificmusicworks.org Pacific MusicWorks is a residentwww.pacificmusicworks.org organization at the University of Washington School of Music Handel SAT DEC 12 8:00pm Pacific MusicWorks is a resident organization at the University of Washington School of Music Messiah SUN DEC 13 2:00pm 2015 Meany Theater, UW, Seattle

Vivaldi SUN FEB 28 2:00pm The Four Meany Theater, UW, Seattle Seasons 2016

Gluck Orphée FRI MAY 20 7:30pm 2016 SAT MAY 21 7:30pm SUN MAY 22 2:00pm Meany Theater, UW, Seattle

www.pacificmusicworks.org Pacific MusicWorks is a resident organization at the University of Washington School of Music Matthias Weckmann (1616-1674): Wie liegt die Stadt so wüste soprano, baritone, 2 violins, 3 violas da gamba & basso continuo

Wie liegt die Stadt so wüste How doth the city sit solitary Wie liegt di Stadt so wüste, die voll Volkes war! How doth the city sit solitary, that was full of people! Wie liegt di Stadt so wüste, die voll Menschen war! How doth the city sit solitary, that was so populous! Sie ist wie eine Witwe, How iss he become as a widow, die eine Fürstin unter den Heiden she that was great among the nations, und eine Königin in den Landen war, and princess among the provinces, muss nun dienen! how iss he become tributary! Wie liegt die Stadt so wüste, die voll Volkes war! How doth the city sit solitary, that was full of people! Euch sage ich allen, die ihr vorübergehet All ye that pass by: Schauet doch und sehet, Behold and see ob irgend sei ein Schmerze If there be any sorrow wie mein Schmerze, der mich troffen hat. Like unto my sorrow, which is done unto me. Sie weinet des Nachts She weepeth sore in the night, dass ihr die Tranen uber die Wangen fliessen and her tears are on her cheeks. Schauet doch und sehet Behold, and see ob irgen sein ein Schmerze If there be any sorrow wie mein Schmerze, der mich troffen hat. Like unto my sorrow, which is done unto me. Sie weinet des Nachts She weepeth sore in the night, dass ihr die Tranen uber die Wangen fliessen, and her tears are on her cheeks, und ist niemand unter allen ihren Freunden, among all her lovers she hath der si troste. none to comfort her. Schauet doch und sehet, Behold and see ob irgend sei ein Schmerze If there be any sorrow wie mein Schmerze, der mich troffen hat Like unto my sorrow, which is done unto me. Denn der Herr hat mich voll Jammers gemacht The Lord hath afflicted me Am Tage seines grimmigen Zorns. In the day of his fierce anger. Jerusalem hat sich versündiget; Jerusalem hath grievously sinned; Darum ist sie wie ein unrein Weib. Therefore she is become as an impure woman. Alle ihre Nächsten verachten sie All her friends condemn her, Und sind ihre Feinde worden. they are become her enemies. Man höret’s wohl, dass ich seufze, They have heard that I sigh, und habe keine Tröster. there is none to comfort me. Mein Herz wallet mir im Leibe, Mine heart is turned within me, denn ich bin hoch betrübet. for I am grief stricken. Ach Herr, siehe an mein Elend; O Lord, behold my affliction; Denn der Feind pranget sehr! Because the enemy prevails! 12

earlymusic.bc.ca Early Music Vancouver Main Concert Series 2015-16 | 15 MONICA HUGGETT ARTISTIC DIRECTOR

Bring a Youth for Free! Early Music Vancouver’s audience initiative for young people aged 7-17: Youths receive free admission to any of our concerts when they bring along a paying adult (one youth per attending adult). These free tickets are only available in advance through the offi ce of Early Music Vancouver, by phone: 604 732 1610 (for our concerts at the Chan Centre for the Performing Arts at least one week before the concert date), or at the door on the evening of the concert. (Subject to availability). 2015-16 SEASON Rush Seating for Students, at only $10 per ticket! FEATURING ALL SIX BRANDENBURGS Early Music Vancouver off ers rush tickets for students at a special rate of only $10. This off er applies to all our pbo.org 503.222.6000 concerts! These rush seats are available only at the venue box offi ce, one hour before the start of each performance; bring your valid student ID. (Subject to availability). Need to plan ahead? Students with valid ID can now purchase Series Tickets at a price of only $10 /concert. This offer applies to our summer Festival and our Main Series. Rush Tickets for the Fox Cabaret Series will only be available at the door on the evening of the performance, subject to availability.

Are you 35 or younger? We have tickets for you at half price! Early Music Vancouver now also off ers half-price tickets for audiences 35 & younger! Tickets at this special rate may be ordered in advance, and will also be available at the door on the day of the concert (some restrictions apply). This 50% discount will also apply to our Series Tickets.

Some restrictions apply. Contact us for more details: earlymusic.bc.ca

16 | Early Music Vancouver Main Concert Series 2015-16 [email protected] partners

early music vancouver gratefully acknowledges the assistance and support of:

government support

We acknowledge the support of the Province of British Columbia

foundations

the drance family early music vancouver fund

production partners

Whidbey Island Music Festival EARLY MUSIC GUILD

pacific LAUDATE baroque SINGERS orchestra

corporate support

Tony Knox Barrister & Solicitor, Arbitrator

Tel: 604 263 5766 Cell: 604 374 7916 Fax: 604 261 1868 Email: [email protected]

1291 West 40th Avenue, we also gratefully acknowledgeVancouver, B.C. V6M 1V3 Canada the generosity of our many individual donors. thank you! www.knoxlex.com

Knox & Co. denotes D.A.Knox Law Corporation You can be in good company too! The corporate sponsors of Early Music Vancouver give back to their community through the support of our performances and education & outreach programmes. Their eff orts make a meaningful diff erence for concertgoers and musicians alike.

Our wide range of activities off ers unique sponsoship opportunities for both large and small companies to support us while also reaching their corporate goals. A range of sponsorship advantages is available, including logo recognition, complimentary tickets for your clients, employee discounts, and many other benefi ts tailored to your specifi c needs. Call Matthew White to discuss how our audience profi le may fi t with your company’s objectives: 604 732 1610. earlymusic.bc.ca Early Music Vancouver Main Concert Series 2015-16 | 17

EARLY MUSIC VANCOUVER EARLY MUSIC VANCOUVER Leave a Legacy ENDOWMENT FUND DONORS A select group of donors has, in addition to their annual donations, generously contributed to Early Music Vancouver’s Endowment Fund which is administered by the Vancouver Foundation, and which currently stands at over $600.000. Interest from this Fund will continue to support our performances & activities in perpetuity.

 ($100,000+)  (up to $1,000) The Drance Family Evelyn Anderson Early Music Vancouver Fund Alan & Elizabeth Bell Meo Beo  ($20,000+) Jeffrey Black & Mary Chapman Vic & Joan Baker L & C Bosman Ralph Spitzer & Hisako Kurotaki A donation in memory of

Photo credit Jan Gates credit Photo José Verstappen C Y Chiu 2 Anonymous Donors A donation in memory of Help us give the gift of Early Music Basil Stuart-Stubbs  ($5,000+) Judith Davis to future generations Marcia Sipes Jane Flick & Robert Heidbreder Dr Val Geddes You can ensure the continued health and vibrancy of Early  ($2,500+) Margot Guthrie Music in Vancouver through one of the most powerful tools A donation in memory of Patrick Gilligan-Hackett in your possession – your estate plan. Legacy gifts are an Tom Blom Mark Halpern expression of your values, wishes and hopes for the future. Maurice & Tama Copithorne Linda Johnston Frank & Helen Elfert Peter Kwok There are different ways in which you can make a legacy gift. James C. & Wendy Russell Elizabeth Lamberton Each type has different benefits for you and your family. Susanne Lloyd Examples:  ($1,000+) Janette McMillan Heather Franklyn & Douglas Graves • A Bequest in your Will – naming Early Music Vancouver Martha Hazevoet Benjamin Milne as a beneficiary Dorothy Jantzen Alberto Mondani • Naming EMV as a beneficiary of a Life Insurance Policy or Tony & Margie Knox Alfred & Jennifer Muma RRSP Ottie Lockey & Eve Zaremba Barbara Murray Greg Louis Judith & Greg Phanidis • Creating or contributing to an Endowment Fund Glenys McDonald Joan Rike If you have already included Early Music Vancouver The RPC Family Foundation Elfriede & Peter Rohloff in your estate plan or would like more information Karen Shuster Dr Robert S Rothwell on possibilities for legacy gifts, please contact our Nicholas Swindale Jo & Bob Tharalson Managing Director Tim Rendell at 604.732.1610 or Lorna Weir Anona Thorne & Takao Tanabe [email protected] for more information. A donation in memory of James Walsh Peter Wood Glenys Webster & Paul Luchkow To ensure that your particular needs are met and that your 1 Anonymous Donor 5 Anonymous Donors exact wishes are honoured, we recommend that you consult your legal and/or financial advisors. It is possible to contribute to the Early Music Vancouver Planned gifts can create excellent tax advantages; ask your Endowment Fund with a current gift, which can be pledged financial advisor to help determine the most advantageous over time, or through a gift in your will. Matching funds for plan for you. current gifts are available from Canadian Heritage. All donors to the Fund, whether their gift is current or planned, will be Thank you for your support! recognised in our programmes, with the donor’s permission. To Full Legal name: Vancouver Society for Early Music find out more, please contact Managing Director Tim Rendell Charitable Number: 10816 7776 RR0001 at 604.732.1610 or [email protected]. Early Music Vancouver is pleased to accept gifts of publicly traded securities. When you donate securities traded on a Early Music Vancouver designated stock exchange directly to Early Music Vancouver, 1254 West 7th Avenue, you benefit from the donation tax credit, and the complete elimination of the capital gains tax. As a result, the combined Vancouver BC, V6H 1B6 tax savings can be quite impressive.

18 | Early Music Vancouver Main Concert Series 2015-16 [email protected] early music vancouver - donors and supporters

Early Music Vancouver gratefully acknowledges our many contributors & donors, who play a vital role in supporting the well-being of our organisation, and ensuring our continuing success. Thank you!

 Archangels ($10,000-50,000): Donations in memory of Betty Drance Richard Beecher Jocelyn Pritchard * Bette Cosar * Elaine Adair * Ernst & Young LLP Richard Bevis * Jesse Read Greg Cross * Carol Brauner Charles & Lucile Flavelle Family Fund * Peter & Doris Bietenholz Joan Rike * Catherine Crouch * The Mary & Gordon Christopher Jane Flick & Robert Heidbreder * Janine Bond * Barb Robertson * Dr Gaelan de Wolf * Foundation * Martha Hazevoet * Gordon Briggs Rhona Rosen Ruth Enns * Howard & Margaret Evans Agnes Hohn * David Brent Selma Savage * A donation in memory of The Leon and Thea Koerner Heather & Bill Holmes Karl Brunner * Elaine Sawyer Szajndla & Moses Fisch Foundation Etsuko Fuseya Jennings * Frank Cameron Traudi Schneider * Sharon Fitzsimons Long-term friends of Paula Kremer Andrew J A Campbell * Stuart & Wendy Scholefield * Elinor Frey Early Music Vancouver * Hisako Kurotaki * David Chercover Shirley Sexsmith * Kenneth Friedman * Evelyn Leaf * Peter & Hilde Colenbrander * Lorraine Sharpsteen & Carl Douglas Mary Godolphin  Angels ($5,000-$9,999): John Leighton * Gordon Cool * Mr. Paris Simons * Emmett Hall Bryan & Gail Atkins * David Lemon Ron Costanzo * Marcia Sipes Robert Haywood-Farmer Dr Stephen Drance * Ian Michaud Cull Family Fund A donation in honour of Eileen Stevens * Annie Hess Sharon Kahn * Hans-Karl & Irene Piltz * Judith Davis * David & Eileen Tamblin * Elizabeth Hunter * Tony & Margie Knox * Tim & Janet Rendell Elisabeth de Halmy * Douglas Todd Gretchen & Robert Ingram The Lloyd Carr-Harris Foundation * Elfriede and Peter Rohloff Marc Destrubé & Anna Goren * Grant Tomlinson * Valerie Jones The Nemetz Foundation * Dr Robert S Rothwell * Margaret Duke Doug Tuck Louise Klaassen Dr Katherine E Paton * Karen Shuster * Carolyn Eckel Vancouver Viols Robert Koepke José Verstappen * Nicholas Swindale * David Fallis & Alison Mackay Nicholas Voss * Yolande LaFleur * Bruce Munro Wright Mark Tindle & Leslie Cliff Martina Farmer Barbara M Walker * A donation in memory of 2 Anonymous Angels Bruno Wall & Jane Macdonald Keith Farquhar & Koji Ito * James Walsh * Edgar Latimer * Fran Watters A donation in memory of Heddi & Tony Walter * Julia MacRae  Patrons ($1,000-$4,999): Dr James Whittaker * Mrs Eve Farson Jon Washburn Reva Malkin Mary Brown * Wolrige Mahon LLP Marguerite Fauquenoy & Jim Wearing * Jim McDowell Spencer Corrigal * 3 Anonymous Sponsors Bernard Saint-Jacques Lorna Weir Colleen McLaughlin-Barlow Helen & Frank Elfert * Ingrid Fedoroff Gwyneth & Roy Westwick Colin Miles * A donation in memory of  Benefactors ($300-$499): Robert & Marthena Fitzpatrick * Audrey Winch Nina Moser * Alfred Leo Fischer Wendy Affleck Judith Forst * Nancy Wong Helen & John O’Brian Heather Franklyn * Evelyn Anderson * Andrew Fyson Dr Michael & Jane Woolnough * Celia O’Neill Dr Val Geddes * Hugh Anton James Gaffney Dale & Ted Wormeli * Jane L Perry * Marianne Gibson * Alan & Elizabeth Bell * John Grace Karen Wright Connie Piper * Ursula Graf * Stuart Bowyer Paul Gravett & Mark Hand * Rosemary & Owen Wright Diane Richer Chris Guzy & Mari Csemi * Patricia Coldren Jolle Greenleaf Reece Wrightman Carole Ruth * The Hamber Foundation * Alex Fisher & Lisa Slouffman * Elizabeth Guilbride Jennifer & Kenneth Yule David Ryeburn * The Martha Lou Henley David & Nancy Fraser Elizabeth & Keith Hamel 20 Anonymous Donors Valerie Shackleton Charitable Foundation Hannah & Ian Gay * Ian Hampton & Susan Round * Juliet Simon The John & Leni Honsaker Fund * Beverley Green * Dr Evelyn J Harden *  Friends (up to $100): Peter & Rosa Stenberg * Dorothy Jantzen Winifred Hall Christina Hutten Simone Artaud Ronald & Dorothy Sutherland * Donations in honour of Maria Harris Ralph Huenemann & Deirdre Roberts * Kerry Baisley Beverly Taylor * Sharon Kahn and Barrie MacFadden Delma Hemming * Denise Hui Jeremy Berkman & Sheila McDonald * Esther Vitalis D.A. Knox Law Corporation Barry Honda & Valerie Weeks Elsie & Audrey Jang Fund Patricia Birch William H. Walsh * J. Evan & Janice Kreider * Hanna & Anne Kassis * Patrick Jordan * G. Pat Blunden * Norma Wasty Yvonne McLean * Peter Kwok * Lars & Anne Kaario * Natalie & Gary Boychuk Steven & Deborah Weiner David W McMurtry * Graeme & Paddy Macleod * Lynn Kagan Janet Brynjolfsson Hector, Caroline, & Edward Williams James C & Wendy Russell * Marta & Nicolas Maftei * Tasos & Joy Kazepides * Norma Chatwin * John Wright Ingrid Söchting * Glenys McDonald * Miles Kelly Marylin Clark * Elizabeth Yip Vincent Tan Patricia Merivale * Judy Killam * Abe Cohen Andrew Young Jo & Bob Tharalson * Christi Meyers Harold & Simone Knutson * Brian Coleman * 17 Anonymous Friends Anona Thorne & Takao Tanabe * Jodi Norrison Joslin Kobylka * Michael Collins * Dr Carol Tsuyuki * Stephen Partridge * David Lach & Suzann Zimmering * Mark Vessey and Maya Yazigi * Pam Ratner & Joy Johnson Elizabeth Lamberton * These listings include donations received prior to January 20, 2016 Birgit Westergaard & James & Jean Simpson * Nicholas Lamm Norman Gladstone * Tom & Margaret Taylor * Ursula Litzcke A donation in memory of Ada Ho & Doug Vance * Sheryl MacKay — SPECIAL THANKS TO — Peter Wood * John Wiebe Shirley MacKenzie Gordon W. Young * Karen Wilson * A donation in memory of Prism Printing and Digital Centre | The Rosedale on Robson 3 Anonymous Patrons Tessa Wright Catherine MacLaughlin 6 Anonymous Benefactors E.J. Makortoff * Sikora’s Classical Records | Urban Impact Recycling  Sponsors ($500-$999): Emil Marek Dr Patricia Baird *  Donors ($100-$299): Fraidie Martz Christina Burridge Debra Anderson Melody Mason * Patrick & Meredith Cashion Sarah Ballantyne Lucie McNeill * Gift of French Double-Manual Maurice & Tama Copithorne * Leslie Bauming * Dr Barbara J Moon Alfred & Jennifer Muma * by Carol Brauner John Munro * A Special Thank-You Sarah Munro * Early Music Vancouver gratefully acknowledges the Barb Murray * recent donation by Carol Brauner of a double-manual Shari & Larry Nelson * * to our Loyal Long-Time Donors Geoffrey Newman French harpsichord, made by Edward R. Turner of The names in these listings which are marked with an Sharon Newman * Pender Island. This instrument, built in the mid-70s, is Margaret O’Brien * modelled after a superb 18th-century harpsichord by asterisk [*] indicate donors who have supported Early Music Neil & Donna Ornstein Vancouver annually for five years or more. Their loyal and Wilfried Ortlepp * Pascal Taskin in the Russell Collection in Edinburgh; ongoing generosity has been especially valued, and has Jane Papageorgis * this new addition, which is particularly appropriate JoAnn Perry for performance of late baroque repertoire, will helped ensure that we can plan our annual projects & seasons David M. Phillips * with confidence and with a solid sense of security. Thank you! Hannelore Pinder enrich our collection tremendously. Anne Piternick * earlymusic.bc.ca Early Music Vancouver Main Concert Series 2015-16 | 19 UPCOMING CONCERTS

MASTERWORKS SERIES AT THE CHAN BAROQUE PLAYHOUSE SERIES

Handel’s Tafelmusik Baroque Orchestra Music for the Royal Fireworks House of Dreams Sunday, April 3, 2016 at 3:00 pm An imaginative multi-media concert, with Chan Shun Concert Hall at the Chan Centre works by Bach, Handel, Vivaldi and Marais Pacific Baroque Orchestra Friday, March 4, 2016 at 7:30 pm & UBC Baroque Mentorship Orchestra Vancouver Playhouse Alexander Weimann conductor

George Frideric Handel’s Phillipe Herreweghe and Collegium Vocale Gent Lagrime di San Pietro Apollo e Dafne Friday, March 18, 2016 at 7:30 pm One of the world’s most accomplished vocal ensembles Vancouver Playhouse performs “The Tears of Saint Peter”, a cycle of twenty exquisite sacred by Orlande de Lassus Yulia Van Doren soprano Douglas Williams baritone Friday, April 15, 2016 at 7:30 pm Alexander Weimann music director Chan Shun Concert Hall at the Chan Centre Pacific Baroque Orchestra

SUBSCRIPTIONS STILL AVAILABLE : These 4 remaining concerts for the price of 3 !

Information: earlymusic.bc.ca Tickets / Subscriptions: 604.822.2697 Early Music Vancouver