(1685-1750) Weihnachts-Oratorium BWV 248 (1734) Parts I, III, V, and VI

Robert Mealy guest music director Jolle Greenleaf artistic director

Jolle Greenleaf, Molly Netter, Sarah Yanovitch sopranos Tim Keeler, Kate Maroney, Elisa Sutherland altos Andrew Fuchs, Gene Stenger, Gregório Taniguchi tenors Michael Maliakel, Paul Max Tipton, Jonathan Woody basses

Perry Sutton, Brandon Bergeron, Robert Garrison trumpets Joseph Monticello, Bethanne Walker futes Gonzalo Ruiz, Julie Brye oboes Stephanie Corwin bassoon Robert Mealy, Jacob Ashworth, Katie Hyun, Abigail Karr violin I Jude Ziliak, Sarah Jane Kenner, Tatiana Daubek violin II Jessica Troy, Edward Li viola Matt Zucker cello Nathaniel Chase violone Jefrey Grossman chamber organ Sae Hashimoto timpani

December 18 and 19, 2019 Church of St. Vincent Ferrer New York City Texts and Translations Teil 1 Part 1 1 Coro 1 Chorus Jauchzet, frohlocket! auf, preiset die Tage, Shout for joy, exult, rise up, glorify the day, Rühmet, was heute der Höchste getan! praise what today the highest has done! Lasset das Zagen, verbannet die Klage, Abandon hesitation, banish lamentation, Stimmet voll Jauchzen und Fröhlichkeit an! begin to sing with rejoicing and exaltation! Dienet dem Höchsten mit herrlichen Chören, Serve the highest with glorious choirs, Laßt uns den Namen des Herrschers verehren! let us honour the name of our ruler! 2 2 Evangelist Mr. Taniguchi Es begab sich aber zu der Zeit, dass ein Gebot von It happened at that time that an order went out dem Kaiser Augusto ausging, dass alle Welt ges- from Caesar Augustus that all the world should be chätzet würde. Und jedermann ging, dass er sich assessed. And everyone went, so that he might be schätzen ließe, ein jeglicher in seine Stadt. Da machte assessed, each to his own city. Joseph went up out sich auch auf Joseph aus Galiläa, aus der Stadt Naz- of Galilee from the city of Nazareth, into the land of areth, in das jüdische Land zur Stadt David, die da Judah to the city of David which is called Bethlehem; heißet Bethlehem; darum, dass er von dem Hause for he was of the house and race of David: so that he und Geschlechte David war: auf dass er sich schät- might be assessed with Mary, his betrothed wife, who zen ließe mit Maria, seinem vertrauten Weibe, die war was pregnant. And while they were there, the time schwanger. Und als sie daselbst waren, kam die Zeit, came for her to give birth. dass sie gebären sollte. 3 Recitativo 3 Recitative Ms. Sutherland Nun wird mein liebster Bräutigam, Now my dearest bridegroom, Nun wird der Held aus Davids Stamm now the hero from the race of David Zum Trost, zum Heil der Erden for the consolation and salvation of the Earth Einmal geboren werden. shall at last be born. Nun wird der Stern aus Jakob scheinen, Now the star that comes from Jacob shall shine, Sein Strahl bricht schon hervor. its rays already burst forth. Auf, Zion, und verlasse nun das Weinen, Rise up, Zion, and abandon your weeping, Dein Wohl steigt hoch empor! your well-being climbs aloft! 4 Aria 4 Aria Ms. Sutherland Bereite dich, Zion, mit zärtlichen Trieben, Make yourself ready, Zion,with tender desires Den Schönsten, den Liebsten bald bei dir zu sehn! to welcome soon the dearest who is most beautiful! Deine Wangen Your cheeks Müssen heut viel schöner prangen, must today be far more beautifully resplendent, Eile, den Bräutigam sehnlichst zu lieben! hasten, to love your bridegroom most eagerly! 5 Choral 5 Chorale Wie soll ich dich empfangen How should I receive you Und wie begegn’ ich dir? and how should I meet you? O aller Welt Verlangen, O longing of the whole world O meiner Seelen Zier! O adornment of my soul! O Jesu, Jesu, setze O Jesus, Jesus, place Mir selbst die Fackel bei, yourself your lamp by me Damit, was dich ergötze, so that what gives you delight Mir kund und wissend sei! I may know and understand! 6 Evangelist 6 Evangelist Mr. Taniguchi Und sie gebar ihren ersten Sohn und wickelte ihn in And she gave birth to her frst son and wrapped him Windeln und legte ihn in eine Krippen, denn sie hatten in swaddling clothes and laid him in a manger for they sonst keinen Raum in der Herberge. had otherwise no room in the inn. 7 Choral e Recitativo 7 Chorale and Recitative Mr. Woody Er ist auf Erden kommen arm, He has come on Earth in poverty Dass er unser sich erbarm, so that he may have mercy on us, Und in dem Himmel mache reich, and make us rich in heaven Und seinen lieben Engeln gleich. and like his beloved angels. Kyrieleis! Lord, have mercy!

3 Wer will die Liebe recht erhöhn, Who will rightly extol the love Die unser Heiland vor uns hegt? that our Saviour cherishes for us? Ja, wer vermag es einzusehen, Indeed, who is able to realise Wie ihn der Menschen Leid bewegt? how he is moved by human sufering? Des Höchsten Sohn kömmt in die Welt, The highest’s son came into the world Weil ihm ihr Heil so wohl gefällt, because its salvation pleases him so well So will er selbst als Mensch geboren werden. that he himself is willing to be born as a man. 8 Aria 8 Aria Mr. Woody Großer Herr, o starker König, Great Lord, O mighty king, Liebster Heiland, o wie wenig dearest saviour, O how little Achtest du der Erden Pracht! you regard earthly splendour Der die ganze Welt erhält, He who maintains the whole world Ihre Pracht und Zier erschafen, and created its glory and adornment Muss in harten Krippen schlafen. must sleep in a hard crib. 9 Choral 9 Chorale Ach mein herzliebes Jesulein, Ah little Jesus dear to my heart, Mach dir ein rein sanft Bettelein, make for yourself a clean, soft bed, Zu ruhn in meines Herzens Schrein, to rest in the shrine of my heart Dass ich nimmer vergesse dein! so that I may never forget you! Teil 3 Part 3 24 Coro 24 Chorus Herrscher des Himmels, erhöre das Lallen, Ruler of heaven, hear our inarticulate speech, Laß dir die matten Gesänge gefallen, let our faint songs please you, Wenn dich dein Zion mit Psalmen erhöht! when your Zion exalts you with psalms! Höre der Herzen frohlockendes Preisen, Hear the exultant praise of our hearts, Wenn wir dir itzo die Ehrfurcht erweisen, as we show our reverence for you Weil unsre Wohlfahrt befestiget steht! since our welfare is made sure! 25 Evangelist 25 Evangelist Mr. Stenger Und da die Engel von ihnen gen Himmel fuhren, And as the angels went from them to heaven the sprachen die Hirten untereinander: shepherds said to one another: 26 Coro 26 Chorus Lasset uns nun gehen gen Bethlehem Let us now go to Bethlehem und die Geschichte sehen, die da geschehen ist, and see the event that has happened there, die uns der Herr kundgetan hat. which the Lord has made known to us. 27 Recitativo 27 Recitative Mr. Tipton Er hat sein Volk getröst’, He has consoled his people, Er hat sein Israel erlöst, He has redeemed his Israel, Die Hülf aus Zion hergesendet sent help out of Zion Und unser Leid geendet. and ended our sufering. Seht, Hirten, dies hat er getan; See, shepherds, this is what he has done; Geht, dieses treft ihr an! Go, this is what you will fnd! 28 Chorale 28 Chorale Dies hat er alles uns getan, All this he has done for us Sein groß Lieb zu zeigen an; to show his great love; Des freu sich alle Christenheit for this reason let all the Christian world rejoice Und dank ihm des in Ewigkeit. and thank him for this in eternity. Kyrieleis! Lord have mercy! 29 Aria (Duet) 29 Aria Ms. Greenleaf & Mr. Tipton Herr, dein Mitleid, dein Erbarmen Lord, your compassion, your mercy Tröstet uns und macht uns frei. console us and make us free. Deine holde Gunst und Liebe, Your gracious favour and love, Deine wundersamen Triebe your wondrous desires Machen deine Vatertreu make the love you have for us as a father Wieder neu. again new.

4 30 Evangelist 30 Evangelist Mr. Stenger Und sie kamen eilend und funden beide, Mariam und And they came in haste and found both, Mary and Joseph, dazu das Kind in der Krippe liegen. Da sie Joseph and with them the child lying in the manger. es aber gesehen hatten, breiteten sie das Wort aus, But when they had seen this, they spread the word welches zu ihnen von diesem Kind gesaget war. Und that had been spoken to them about this child and alle, für die es kam, wunderten sich der Rede, die ih- all those to whom it came wondered at the speech, nen die Hirten gesaget hatten. Maria aber behielt alle which the shepherds had told to them. Mary howev- diese Worte und bewegte sie in ihrem Herzen. er kept all these words and thought over them in her heart. 31 Aria 31 Aria Mr. Keeler Schließe, mein Herze, dies selige Wunder Enclose, my heart, this blessed wonder Fest in deinem Glauben ein! frmly in your faith! Lasse dies Wunder, die göttlichen Werke, Let this wonder, this work of God, Immer zur Stärke always serve to strengthen Deines schwachen Glaubens sein! your weak faith! 32 Recitativo 32 Recitative Mr. Keeler Ja, ja, mein Herz soll es bewahren, Yes, yes, my heart will keep Was es an dieser holden Zeit what at this gracious time Zu seiner Seligkeit for its blessedness Für sicheren Beweis erfahren. it has learned as certain proof. 33 Choral 33 Chorale Ich will dich mit Fleiß bewahren, I shall diligently keep you in mind, Ich will dir I shall for you Leben hier, live here, Dir will ich abfahren, to you I shall depart Mit dir will ich endlich schweben with you I shall one day soar aloft Voller Freud full of joy Ohne Zeit beyond time Dort im andern Leben. there in the other life. 34 Evangelist 34 Evangelist Mr. Stenger Und die Hirten kehrten wieder um, preiseten und And the shepherds went back again, glorifed and lobten Gott um alles, das sie gesehen und gehöret praised God for everything they had seen and heard, hatten, wie denn zu ihnen gesaget war. as it had been said to them. 35 Choral 35 Chorale Seid froh dieweil, Meanwhile be joyful Dass euer Heil that your salvation Ist hie ein Gott und auch ein Mensch geboren, has been born here as both God and man, Der, welcher ist He who is Der Herr und Christ the Lord and Christ In Davids Stadt, von vielen auserkoren. In David’s city, chosen from many. 24 Coro 24 Chorus Herrscher des Himmels, erhöre das Lallen, Ruler of heaven, hear our inarticulate speech, Laß dir die matten Gesänge gefallen, let our faint songs please you, Wenn dich dein Zion mit Psalmen erhöht! when your Zion exalts you with psalms! Höre der Herzen frohlockendes Preisen, Hear the exultant praise of our hearts, Wenn wir dir itzo die Ehrfurcht erweisen, as we show our reverence for you Weil unsre Wohlfahrt befestiget steht! since our welfare is made sure! Teil 5 Part 5 43 Coro 43 Chorus Ehre sei dir, Gott, gesungen, Let honour to you, God, be sung Dir sei Lob und Dank bereit. For you let praise and thanks be prepared. Dich erhebet alle Welt, All the world exalts you Weil dir unser Wohl gefällt, Because our welfare is pleasing to you, Weil anheut Because today Unser aller Wunsch gelungen, All our wishes have been achieved, Weil uns dein Segen so herrlich erfreut. Because your blessing delights us so gloriously.

5 44 Evangelist 44 Evangelist Mr. Fuchs Da Jesus geboren war zu Bethlehem im jüdischen When Jesus was born in Bethlehem in the land of the Lande zur Zeit des Königes Herodis, siehe, da kamen Jews at the time of King Herod, see, there came wise die Weisen vom Morgenlande gen Jerusalem und men from the East to Jerusalem and said: sprachen. 45 Coro e Recitativo 45 Chorus and Recitative Ms. Maroney Die Weisen Wise Men Wo ist der neugeborne König der Jüden? Where is the newborn King of the Jews? Sucht ihn in meiner Brust, Look for him in my breast, Hier wohnt er, mir und ihm zur Lust! Here he lives, to my delight and his! Die Weisen Wise Men Wir haben seinen Stern gesehen im Morgenlande und We have seen his star in the East and have come to sind kommen, ihn anzubeten. worship him. Wohl euch, die ihr dies Licht gesehen, Happy are you who have seen the light, Es ist zu eurem Heil geschehen! It has appeared for your salvation! Mein Heiland, du, du bist das Licht, My saviour, you, you are the light Das auch den Heiden scheinen sollen, Which shall shine on the Gentiles also Und sie, sie kennen dich noch nicht, And they, they do not know you yet, Als sie dich schon verehren wollen. Though they would already worship you Wie hell, wie klar muss nicht dein Schein, How bright, how clear must your radiance be, Geliebter Jesu, sein! Beloved Jesus! 46 Choral 46 Chorale Dein Glanz all Finsternis verzehrt, Your splendour consumes all darkness, Die trübe Nacht in Licht verkehrt. The gloomy night is changed to light Leit uns auf deinen Wegen, Lead us in your ways, Dass dein Gesicht So that your face Und herrlichs Licht And your glorious light Wir ewig schauen mögen! We may see forever! 47 Aria 47 Aria Mr. Maliakel Erleucht auch meine fnstre Sinnen, Illuminate also my gloomy thoughts Erleuchte mein Herze Illuminate my heart Durch der Strahlen klaren Schein! With the rays of your clear light! Dein Wort soll mir die hellste Kerze Your word will be the brightest candle for me In allen meinen Werken sein; In all my deeds; Dies lässet die Seele nichts Böses beginnen. This lets my soul begin nothing evil 48 Evangelist 48 Evangelist Mr. Fuchs Da das der König Herodes hörte, erschrak er und mit When King Herod heard this he was afraid and with ihm das ganze Jerusalem. him all Jerusalem. 49 Recitativo 49 Recitative Ms. Maroney Warum wollt ihr erschrecken? Why are you afraid? Kann meines Jesu Gegenwart euch Can the presence of my Jesus solche Furcht erwecken? arouse such fear in you? O! solltet ihr euch nicht Oh ! should you not rather Vielmehr darüber freuen, Rejoice over this Weil er dadurch verspricht, For he promises in this way Der Menschen Wohlfahrt zu verneuen. To restore the well-being of mankind. 50 Evangelist 50 Evangelist Mr. Fuchs Und ließ versammlen alle Hohepriester und Schriftge- And he gathered together all the high priests and lehrten unter dem Volk und erforschete von ihnen, wo scribes among the people and demanded of them Christus sollte geboren werden. und sie sagten ihm: where the Christ should be born. And they said to him: Zu Bethlehem im jüdischen Lande; denn also stehet in Bethlehem in the land of the Jews; For it is written geschrieben durch den Propheten: Und du Bethlehem by the prophets: im jüdischen Lande bist mitnichten die kleinest unter And you, Bethlehem in the land of the Jews, are not den Fürsten Juda; denn aus dir soll mir kommen der the least among the princes of Judah; From you will Herzog, der über mein Volk Israel ein Herr sei. come the prince who will be the lord over my people Israel.

6 51 Aria 51 Aria Ms. Yanovitch, Ms. Maroney, & Mr. Fuchs Ach, wenn wird die Zeit erscheinen? Ah, when will the time appear ? Ach, wenn kömmt der Trost der Seinen? Ah, when will he, the comfort of his people come ? Schweigt, er ist schon würklich hier! Be silent, he is really already here! Jesu, ach so komm zu mir! Jesus, ah, then come to me ! 52 Recitativo 52 Recitative Ms. Maroney Mein Liebster herrschet schon. My beloved already rules. Ein Herz, das seine Herrschaft liebet A heart that loves his dominion Und sich ihm ganz zu eigen gibet, And gives itself completely to him as his own Ist meines Jesu Thron. Is the throne of my Jesus. 53 Choral 53 Chorale Zwar ist solche Herzensstube Indeed such a room in my heart Wohl kein schöner Fürstensaal, Is certainly no fne royal palace Sondern eine fnstre Grube; But rather a dark pit; Doch, sobald dein Gnadenstrahl Yet, as soon as the rays of your mercy In denselben nur wird blinken, Only gleam within there Wird es voller Sonnen dünken. It will seem flled with sunlight. Teil 6 Part 6 54 Coro 54 Chorus Herr, wenn die stolzen Feinde schnauben, Lord, when our arrogant enemies snort with rage So gib, dass wir im festen Glauben Then grant that we in frm faith Nach deiner Macht und Hülfe sehn! May look to your power and help! Wir wollen dir allein vertrauen, We want to trust you alone, So können wir den scharfen Klauen Then we can escape the sharp claws Des Feindes unversehrt entgehn. Of the enemy unhurt. 55 Evangelist 55 Evangelist Mr. Taniguchi Da berief Herodes die Weisen heimlich und erlernet Then Herod summoned the wise men secretly and mit Fleiß von ihnen, wenn der Stern erschienen wäre? carefully learned from them when the star had ap- und weiset sie gen Bethlehem und sprach: peared. And he directed them to Bethlehem and said: Herodes Herod Mr. Tipton Ziehet hin und forschet feißig nach dem Kindlein, Go there and enquire carefully about the little child, und wenn ihr’s fndet, sagt mir’s wieder, dass ich auch and when you have found him come back and tell me komme und es anbete. so that I also may go and worship him. 56 Recitativo 56 Recitative Ms. Netter Du Falscher, suche nur den Herrn zu fällen, You cheat, you only seek the Lord to bring him down Nimm alle falsche List, You use all your false cunning Dem Heiland nachzustellen; To hunt after the saviour; Der, dessen Kraft kein Mensch ermißt, But he whose power no man can measure Bleibt doch in sichrer Hand. Still remains in safe hands. Dein Herz, dein falsches Herz ist schon, Your heart, your false heart is already, Nebst aller seiner List, des Höchsten Sohn, With all your treachery, by the son of the Highest, Den du zu stürzen suchst, sehr wohl bekannt. Whom you seek to cast down, very well-known. 57 Aria 57 Aria Nur ein Wink von seinen Händen Just a wave of your hand Stürzt ohnmächtger Menschen Macht. Casts down the powerless strength of men. Hier wird alle Kraft verlacht! Here all might is derided Spricht der Höchste nur ein Wort, If the highest speaks one word Seiner Feinde Stolz zu enden, To put an end to the pride of his enemies, O, so müssen sich sofort Oh, then at once must Sterblicher Gedanken wenden. Thoughts of mortals be changed. 58 Evangelist 58 Evangelist Mr. Taniguchi Als sie nun den König gehöret hatten, zogen sie And when they had heard the King, they went away. hin. Und siehe, der Stern, den sie im Morgenlande And see, the star, which they had seen in the East gesehen hatten, ging für ihnen hin, bis dass er kam went before them, until it came and stood over the und stund oben über, da das Kindlein war. Da sie den place where the little child was. When they saw the

7 Stern sahen, wurden sie hoch erfreuet und gingen in star, they rejoiced greatly das Haus und funden das Kindlein mit Maria, seiner And went into the house and found the child with Mutter, und felen nieder und beteten es an und täten Mary, his mother, and they fell down and worshipped ihre Schätze auf und schenkten ihm Gold, Weihrauch him and opened their treasures and gave him gold, und Myrrhen. frankincense and myrrh. 59 Choral 59 Chorale Ich steh an deiner Krippen hier, I stand here and your crib O Jesulein, mein Leben; O Little Jesus, my life; Ich komme, bring und schenke dir, I come, bring and give you Was du mir hast gegeben. What you have given to me. Nimm hin! es ist mein Geist und Sinn, Take it! It is my spirit and mind, Herz, Seel und Mut, nimm alles hin, Heart, soul and courage, take it all Und lass dirs wohlgefallen! And may it be pleasing to you! 60 Evangelist 60 Evangelist Mr. Taniguchi Und Gott befahl ihnen im Traum, dass sie sich nicht And God ordered them in a dream that they should sollten wieder zu Herodes lenken, und zogen durch not return to Herod, and so they departed by another einen andern Weg wieder in ihr Land. way back to their own country. 61 Recitativo 61 Recitative Mr. Stenger So geht! Genug, Go then! It is enough mein Schatz geht nicht von hier, that my treasure does not depart from here, Er bleibet da bei mir, He stays here by me, Ich will ihn auch nicht von mir lassen. I will not let him leave me Sein Arm wird mich aus Lieb His arm out of love Mit sanftmutsvollem Trieb With desire full of gentleness Und größter Zärtlichkeit umfassen; And with great tenderness will embrace me; Er soll mein Bräutigam verbleiben, He will remain my bridegroom, Ich will ihm Brust und Herz verschreiben. I will dedicate my heart and prayers to him Ich weiß gewiss, er liebet mich, I know for certain that he loves me Mein Herz liebt ihn auch inniglich My heart also loves him ardently Und wird ihn ewig ehren. And will always honour him. Was könnte mich nun für ein Feind What sort of enemy could now Bei solchem Glück versehren! Do me harm when I am so fortunate! Du, Jesu, bist und bleibst mein Freund; You, Jesus, are and remain my friend Und werd ich ängstlich zu dir fehn: And if I beg you anxiously Herr, hilf!, so lass mich Hülfe sehn! “Lord, help!”, then let me see your help 62 Aria 62 Aria Mr. Stenger Nun mögt ihr stolzen Feinde schrecken; Now, you arrogant enemies, may try to scare me Was könnt ihr mir für Furcht erwecken? What sort of fear can you arouse in me Mein Schatz, mein Hort ist hier bei mir. My treasure, my refuge, is here with me Ihr mögt euch noch so grimmig stellen, Though you may appear ever so ferce Droht nur, mich ganz und gar zu fällen, And threatened to cast me down once and for all Doch seht! mein Heiland wohnet hier. Yet see! My saviour lives here 63 Recitativo 63 Recitative Mr. Yanovitch, Mr. Keeler, Mr. Fuchs, & Mr. Maliakel Was will der Höllen Schrecken nun, What will the terror of hell do now, Was will uns Welt und Sünde tun, What will the world and send do for us Da wir in Jesu Händen ruhn? Since we rest in the hands of Jesus 64 Chorale 64 Chorale Nun seid ihr wohl gerochen Now you are well avenged An eurer Feinde Schar, On the host of your enemies; Denn Christus hat zerbrochen, Christ has broken in pieces Was euch zuwider war. What was against you. Tod, Teufel, Sünd und Hölle Death, Devil, Sin and hell Sind ganz und gar geschwächt; are weakened once and for all; Bei Gott hat seine Stelle With God is the place Das menschliche Geschlecht. For the human race.

8 years to many Bach scholars. Bach’s use of the technique known as “parody” (reworking earlier music by setting new Program Notes text to it) is upsetting to some because it implies that the Johann Sebastian Bach put together his Christmas Orato- new work is somehow tainted by a lack of originality, that rio, BWV 248, sometime in the fall of 1734 for the coming it is “inauthentic” in some deep sense. And when the orig- Christmas season. Judging by the autograph score, he inal setting is overtly secular, in fact political, its reuse in a was working fast. He borrowed the music for the opening sacred context made many nineteenth-century scholars chorus from another cantata, but forgot and copied the uncomfortable. But in Bach’s world, a gesture of praise old words into the score, which he then had to cross out. and homage was the same, whether for God or for his In other movements, sketches were hastily abandoned royal representatives on earth. after they were begun, something that almost never Parody can raise some practical problems, though, if the happens in a Bach autograph. This was a big project: the original text suggested a vivid musical image whose point entire production of six cantatas is a sacred drama spread is lost when set to diferent words. The very opening of over all twelve days of Christmas, ending with the arrival the whole is perhaps the best example of the Three Kings on Epiphany. Although this cycle origi- of this: it started as a secular cantata that begins “Sound nally took nearly two weeks to perform, Bach specifes on forth, you drums,” which would explain the timpani fanfare his title-page that this is a single oratorio that comes in six that follows. But Bach doesn’t usually rely on such explicit parts. (Unlike Handel, Bach reserves the term “oratorio” for word-painting, and most of his re-worked movements a series of cantatas linked by a sacred plot-line.) Tonight, accommodate their new text comfortably. (More comfort- we’ll be hearing four of the cantatas (parts one, three, fve, ably, indeed, than Handel’s re-workings: the odd text-ac- and six) since the whole oratorio takes a lot more time cents of “For unto us a child is born” in Messiah make a lot than we’re used to spending in a concert hall—though more sense in his original Italian duet.) And luckily Bach’s probably not much longer than church services went on political cantatas use generic texts of praise and cele- every Sunday morning in Leipzig! This oratorio, Bach’s bration, so they don’t elicit too much in the way of overt frst new large-scale production in some time for the two musical illustration anyway. But why—apart from reasons big Leipzig churches, was an important chance for him to of sheer time-saving as he worked against a deadline— consolidate much of the music he had composed in the would Bach have chosen to re-use these works? Perhaps previous two years, music which was frst intended for the most telling explanation for Bach’s recycling of the ephemeral political celebrations. year’s crop of secular cantatas was a pragmatic concern There was a good reason for this uncharacteristic food of for their survival: after all, Christmas comes around every secular cantatas. By 1733, Bach had become increasingly year, but who now remembers Electress Maria Josepha? interested in the possibilities ofered by the court at Dres- Re-using these secular choruses and arias also meant den. He had fnished enough full cycles of cantatas for the that a huge six-part work would keep a certain stylistic church year that he didn’t need to concentrate on provid- coherence. Bach was obviously concerned with fnding a ing music for Sunday morning. His attempts to reform the way to unify this huge oratorio. Most importantly, he pro- musical situation at the church by getting better students vided an overall tonal structure by setting the whole work at the Thomasschule only mired him in endless bureau- in a cycle of keys. Of course, over thirteen days, not much cratic battles. He had found one new creative outlet in sense of key contrast can register, but this ensures that directing the collegium musicum at Leipzig, a weekly so- each cantata has its own distinctive orchestral color. The ciety of students and amateurs, but the vision of working frst, third, fourth, and sixth cantatas, of which we’ll hear all with the resources of a great court like Dresden must have but the fourth tonight, are in D Major, and gleam with the held an enormous attraction for him. The sound of trumpets and drums to celebrate the glory of was one result of this efort to attract royal patronage; the Christ the King. The opening of the frst cantata, in particu- series of cantatas he wrote for various court anniversa- lar, displays all the instrumental colors of Bach’s orchestra. ries was another. These occasions ranged from birthdays Bach reinforces this sense of a prevailing orchestral color (Prince Friedrich Christoph on September 5) to coronation by bringing back each cantata’s opening material at its anniversaries (August III on October 5). In keeping with the close, transformed into a chorale setting. tastes of opera-going Dresdeners, Bach’s music for these celebrations tends to be uncomplicated and “modern,” Unlike the tremendously dramatic St. Matthew Passion, with clear structures and colorful orchestral colors. where even the chorus takes on several roles, nothing much happens in the Christmas Oratorio. Or rather, what About a third of the Christmas Oratorio is taken from these does happen is not particularly staged. Mostly the bibli- secular cantatas, and their exuberant freshness gives the cal narrative is delivered in straightforward recitative. This Oratorio its distinctively festive sound. Since these cho- puts the focus instead on the arias and choruses, which ruses and arias were originally intended for royal birthdays meditate upon the images and metaphors raised by the and anniversaries, enshrining the music in a lengthy work bible verses. More lyric than epic, the libretto dwells upon celebrating the birth of Christ the King makes perfect the contrasts inherent in an all-powerful King of Heaven sense (and, for a composer in a hurry, provided a lot of appearing as a small, defenseless baby, and by extension material for a large-scale work). But all this secular music the miracle of God being born in each of us. Two other re- has made the Oratorio something of a problem in past lated images recur throughout the cycle: the star appear-

9 ing in the night sky, providing illumination and guidance in speaking as one—Bach introduces magnifcent variations a dark world, and the intimate union between the soul and upon all these forms. The chorus will suddenly interrupt Christ as bride and groom, which is derived from the Song an aria with a chorale, or an aria will weave in and out of of Songs. an accompanied recitative, or the full orchestra will break into the fnal chorale, echoing some earlier movement. The drama is in the contrasts these images contain: at The efect of all this variety in such a capacious work is to the same time light and dark, great and small, intimate give us a diferent kind of drama, one which is less about and universal. To convey these meditations, Bach uses all getting caught up in a dramatic narrative and more about the possibilities ofered by the cantata form. Along with the pleasure of absorbing ourselves in the images and the usual elements of a festive cantata—the large-scale associations unfolding from the Christmas story. opening “concerto” or chorus, the aria where voice and in- strument refect upon a particular image, and the closing —Robert Mealy chorale with all its Lutheran associations of the people

Biographies Preëminent New York City-based early music ensemble TENET Vocal Artists celebrates its 11th anniversary season in 2019- 20. Under Artistic Director Jolle Greenleaf, TENET Vocal Artists has won acclaim for its innovative programming, virtuosic singing and command of repertoire that spans the Middle Ages to the present day. Highlights of recent seasons include performances of J.S. Bach’s St. Matthew Passion, St. John Passion, Bach’s motets, Handel’s Messiah, a three-year cycle of Carlo Gesualdo’s Tenebrae Responsories, regular performances of works by Purcell and his contemporaries celebrating St. Cecilia (music’s patron saint), two medieval survey series (The Sounds of Time and The Cycle of Invention), and original theatrical performances highlighting works composed by, for, and about women in 17th century Italy. Renowned for their interpretations of Renaissance and Baroque repertoire, TENET Vocal Artists’ distinguished soloists have been praised for their pristine one-voice-to-a-part singing “to an uncanny degree of precision” (The Boston Globe). TENET’s highly praised Green Mountain Project gives annual performances of Claudio Monteverdi’s Vespers of 1610 and other Vespers that have been newly reconstructed and include music by Monteverdi, Chiara Margarita Cozzolani, Giovanni Gabrieli, Antoine Charpentier, Michael Praetorius, and their contemporaries. A driving force in cultivating the New York City early music community, TENET Vocal Artists collaborates regularly with other acclaimed ensembles and organizations including Blue Heron, Dark Horse Consort, Ensemble Caprice, Five Boroughs Music Festival, Quicksilver Baroque, the Sebastians, and many others. TENET Vocal Artists performs regularly at , the Metropolitan Museum of Art, Caramoor, , , and numerous other venues in and around New York City. Further afeld, TENET Vocal Artists has performed at the Festival Casals de Puerto Rico, Berkshire Bach Festival, Con- necticut Early Music Festival, Costa Rica International Music Festival, Montreal Baroque Festival, and many other festivals and prominent locations throughout the United States, Latin America and Europe. 10 Jacob Ashworth is the “impressive Artistic Director” (The New York in New York City, Stephanie performs with ensembles at home Times) of the baroque and modern “crack ensemble” (The New and throughout North America, including Handel and Haydn Yorker) Cantata Profana, and Co-Music Director of the “categori- Society, American Classical Orchestra, Tafelmusik, Philharmonia, cally imaginative and radical” (The New Yorker) Trinity Wall Street, and chamber ensembles Heartbeat Opera. Equally at home on modern or Kleine Kammermusik and Repast. A graduate of period instruments, Jacob has been called a Davidson College, Stephanie earned degrees “lithe and nimble” (The New York Times) baroque from Yale (MM) and Stony Brook (DMA), where violinist, an “exacting and sensitive” ( The Boston she studied with Frank Morelli, as well as a Globe) new music player, a “richly detailed” (The Performer Diploma in Historical Bassoons from New York Times) conductor, and “a fat-out tri- Indiana University as a student of Michael umph” (Opera News). He has performed as con- McCraw. Stephanie recently made her solo certmaster for Mark Morris Dance Group and Opera Lafayette; debut at Carnegie Hall with the Chamber Orchestra of New York with American Bach Soloists, Trinity Baroque Orchestra, Helicon and in March of 2020 she will perform as a soloist with the Ensemble, New York Baroque Inc.; and at festivals such as Cham- American Classical Orchestra at Alice Tully Hall. ber Music Northwest, Staunton Music Festival, France’s Festival Tatiana Daubek is known for her “sleekly elegant” playing Daniou, and Music Mountain. His album “Hermestänze,” on MSR (Gazettes Long Beach) and “soloistic precision Records, featuring solo violin cycles by Susan Kander, was played (Early Music America). In a recent performance of “expressively and knowingly throughout” (Gramophone). Bach’s famous Chaccone, Daubek’s “fawlessly Originally from Austin, TX, Brandon Bergeron enjoys playing lyrical rendering flled the cavernous, gold-leaf anything from early music to jazz in some of New York City’s top cathedral with splendor and gave the music the venues. He has performed with ensembles such as The American fuidity it wants” (Bachtrack). She is concertmas- Classical Orchestra, The American Brass Quintet, The AIMS Festi- ter for New York’s oldest Bach cantata series, val Orchestra, and The New York Trumpet Ensemble. Brandon Bach Vespers Holy Trinity. In addition, she per- has had the opportunity to tour the world profes- forms frequently with the American Classical Orchestra, Carmel sionally and with Juilliard415, Juilliard’s Historical Bach Festival, , Musica Angelica, and Performance ensemble, to London, Paris, The Trinity Baroque Orchestra. Ms. Daubek is a founding member of Netherlands, Austria, Finland, Sweden, and India. House of Time, a chamber ensemble with a thriving series in While a student, he co-founded the brass Manhattan dedicated to performing music on period instruments. quintet 511 Brass, who are currently artists in Ms. Daubek has taken part in multiple tours across North and residence at Strings Music Festival in Steamboat South America with Musica Angelica/Wiener Akademie of The Springs, CO. Mr. Bergeron is a recent graduate of Infernal Comedy and The Giacomo Variations starring John The Juilliard School, where he received his B.M. and M.M. study- Malkovich, ing with Raymond Mase and Mark Gould. Tenor Andrew Fuchs recently made his Lincoln Center debut in A native of Oregon, Julie Brye is at home on modern and baroque J.S. Bach’s Magnifcat (American Classical Orchestra) and his oboes. After two seasons as English horn soloist in Santiago, Chile, Kennedy Center debut in Monteverdi’s Vespers her oboes have taken her to play Mozart in Toronto and Tokyo, of 1610 (The Thirteen). Other highlights include Purcell in Singapore, Rameau in Montreal, Berio Reich’s Three Tales and Daniel Variations in Seattle, Stravinsky with the Kansas City (Ensemble Signal), the premiere of Alexander Symphony, and Stockhausen in The Hague, to Goehr’s Verschwindendes Wort (The Juilliard name a few. Currently she is busy performing School’s Focus Festival), Evangelist in both the Bach, Handel, and Telemann in New York and St. Matthew and St. John Passions (Saint Andrew nearby states. She has enjoyed working with Chorale), and solo appearances with the Mark many ensembles; highlights include regular Morris Dance Group, American Opera Projects, and Lyric Fest. He work with Trinity Wall Street Baroque Orchestra, is an alumnus of the Tanglewood Music Center and the Fall Island Tempesta di Mare, Holy Trinity Bach Vespers, Sebastians, Dryden Vocal Arts Seminar, and was a fnalist in the 2015 Joy In Singing Ensemble, Tafelmusik/Opera Atelier, and Arion. She is heard on competition. An adept chamber singer, he frequently performs SONY Classical, Naxos, Newport Classics, CBC Records, with preeminent ensembles such as TENET, Pegasus Early Chandos, and Chaconne labels, among others. Music, ARTEK, and New York Polyphony. Bassist Nathaniel Chase performs a wide range of music, from Originally from Birmingham, Alabama, Robert Garrison is current- orchestral repertoire with the Allentown ly enrolled in his Masters in Trumpet Performance at The Juilliard Symphony, to new music with Ensemble LPR School, where he is under the tutelage of Christopher Martin, Ray and Ensemble Échappé, and period perfor- Mase and John Thiessen. His prior enrollment for mance with the Sebastians and the Trinity undergraduate studies was at the University of Baroque Orchestra. He recently performed on North Texas, where he studied under Caleb Broadway in the critically acclaimed production Hudson, Ryan Anthony, Jason Bergman, Tanya of Farinelli and the King with countertenor Iestyn Darby and Adam Gordon. Robert has performed Davies. He is a graduate of the New England with the Alabama Symphony Orchestra, Conservatory and the Yale School of Music, where he was a Sherman Symphony Orchestra, and the New winner of the 2010 Woolsey Hall Concerto Competition. World Symphony. Robert attended the Aspen Music Festival in the summer of 2019 as an Orchestra Fellow. He Praised for her “warmth and composure” (Wichita Eagle), was a semifnalist in the undergraduate solo division of the bassoonist Stephanie Corwin enjoys a varied career playing National Trumpet Competition in 2017 and 2019. modern, classical, baroque and renaissance instruments. Based 11 Soprano Jolle Greenleaf is one of today’s foremost fgures in the She also holds a degree in historical performance from The Juil- feld of early music. Ms. Greenleaf has been hailed by The New liard School. Abigail appears with many ensem- York Times as a “golden soprano” and “a major bles, including the Handel & Haydn Society of force in the New York early music-scene.” She is Boston (as occasional principal player and solo- a celebrated interpreter of the music of Bach, ist) and the Trinity Baroque Orchestra of Manhat- Buxtehude, Handel, Purcell and, most nota- tan. With keyboardist Yi-heng Yang, she has re- bly, Claudio Monteverdi. She has performed as a corded Mendelssohn’s complete works for violin soloist in venues throughout the U.S., Scandina- and piano on the Olde Focus label; the album is via, Europe, and Central America for exceptional the frst period instrument recording of this rep- presenters including Early Music Vancouver, ertoire. Abigail’s solo and chamber music performances have Denmark’s Vendsyssel Festival, Costa Rica International Music drawn praise from such publications as The New York Times, To- Festival, Puerto Rico’s Festival Casals, Utrecht Festival, at ronto NOW magazine, and the Boston Musical Intelligencer. Panama’s National Theater, and the Cathedral in Havana, Cuba. Countertenor and conductor Tim Keeler is sought after as a Keyboardist and conductor Jefrey Grossman specializes in vital, performer and an educator. He has sung with Chanticleer, the engaging performances of music of the past, through processes Choir of Trinity Wall Street, New York Polyphony, that are intensely collaborative and historically TENET, Gallicantus, and Ekmeles. As an educa- informed. As the artistic director of the acclaimed tor, Tim directed the choirs at the Special Music baroque ensemble the Sebastians, this season School High School in Manhattan and worked Jefrey directs concerts including Bach’s St. closely with the Young People’s Chorus of New Matthew Passion and Handel’s Messiah from the York City as a vocal coach and conductor. He organ and harpsichord, both in collaboration was also the choral conductor for Juilliard’s new with TENET Vocal Artists. In recent seasons, Summer Performing Arts program in Geneva, Jefrey has performed with TENET, the Green Switzerland. He holds an AB in Music from Princeton University, Mountain Project, the Saint Paul Chamber Orchestra, Quodlibet, an MPhil in Music and Science from Cambridge University, an MM the Boston Early Music Festival, and numerous other ensembles in Choral Conducting from the University of Michigan, and is across the country. Jefrey can be heard on the Avie, Gothic, currently pursuing his DMA in choral conducting at the University Naxos, Albany, Soundspells, Métier, and MSR Classics record la- of Maryland. bels. A native of Detroit, Michigan, he holds degrees from Harvard Baroque violinist Sarah Jane Kenner has performed throughout College, the Juilliard School, and Carnegie Mellon University. the US and internationally as a chamber musician, orchestral Hailing from Osaka, Japan, Sae Hashimoto is an exhilarating player, and soloist. Ms. Kenner has recently percussionist in New York City. Her unique performances have performed with ensembles such as The English been described as “seductive yet sharp” by The New York Times, Concert, New York Baroque Incorporated, The and “remarkably dynamic” in New York Classical Sebastians, Trinity Wall Street, and the Teatro Review. She has served as guest timpanist with Nuovo Bel Canto Festival. In 2018, she made her the and New York City Lincoln Center solo debut as a winner of the Ballet Orchestra. She currently serves as the Juilliard Historical Performance concerto principal timpanist of New Jersey-based orches- competition. Ms. Kenner is based in New York tra Symphony in C. Her extensive collaboration City and holds degrees from Temple University, the Manhattan with avant-garde composer John Zorn has School of Music, and the Juilliard School. Currently, she is working resulted in premiering nine of his works and on a recording project centered around the violin sonatas of performances throughout the US and Europe. Since September Giovanni Antonio Pandolf Mealli. of 2018, she has been a member of Ensemble Connect, a Edward Li is a New York City-based interdisciplinary artist special- program based at Carnegie Hall that combines musical izing in period string instruments and new music. He has excellence with education, advocacy and entrepreneurship. appeared as soloist at Carnegie Hall and served as concertmaster A winner of Astral’s 2016 National Auditions, violinist Katie Hyun for orchestras at Lincoln Center and New York City Center. Edward has appeared as a soloist with NOVUS Trinity Wall Street, and the has collaborated with the Martha Graham Dance Busan Sinfonietta and Incheon Philharmonic in Company, the Lincoln Center Theater Directors South Korea, among others. On Baroque violin, Lab, the New York Public Library, the New School Katie frequently performs with Trinity Baroque of Jazz, and various Grammy-winning artists, Orchestra. Her self-curated program, entitled including Broadway director Leslie Stifelman “Two Minstrels”, incorporates both her modern and composer Jane Ira Bloom. A published and Baroque violins in recital. Katie has appeared mathematician and former pastry chef, Edward in numerous festivals, most recently at the Bird- received his Master of Music degree at Mannes foot Festival (New Orleans), Tippet Rise Arts School of Music and is a current member of Juilliard415. Center (Montana), Chamber Music Northwest (Portland), NYinCC Michael Maliakel recently made his Of-Broadway debut in (South Korea), Bravo! Vail (CO), Mostly Mozart (NY), and the Anything Can Happen: The Songs of Maury Yeston American Bach Soloists Academy (CA). Katie is the founder and alongside Broadway veterans Robert Cuccioli director of Quodlibet Ensemble, which has appeared at the and Jill Paice. The review was produced by the Baryshnikov Arts Center (NYC), the Tri-Noon Recital Series at multiple Tony Award-winning composer himself Rockefeller University (NYC), among others. at the Triad Theatre. Michael also recently played A native of Boston, Massachusetts, violinist Abigail Karr earned the groom, Hemant, in the world premier of Mira Bachelor and Master of Music degrees at Rice University’s Shep- Nair’s musical stage adaptation of Monsoon herd School of Music, studying violin with the late Sergiu Luca. Wedding in a box ofce record-breaking produc- 12 tion at the Berkeley Repertory Theatre. A native of New Jersey, current full-time member of the choir. Molly has performed as a Michael received his earliest vocal training as a treble in the Amer- soloist with the Chicago Symphony Orchestra, Apollo’s Fire ican Boychoir and did his undergraduate studies at Georgetown Baroque Orchestra, the Smithsonian Chamber Orchestra, the Al- University and the Peabody Institute of Music of Johns Hopkins bany Symphony, Yale Opera, Heartbeat Opera, BOP Opera in University. Michael is the 2016 Gold Medalist in the American Tra- Montreal, Contemporaneous Ensemble, the Staunton Music Fes- ditions Competition. tival, with Juilliard415 at Lincoln Center, and in Lorelei Ensemble, Seraphic Fire, TENET, and Clarion Music Society. Recognized for “vibrant and colorful” singing (The New York Times) mezzo-soprano Kate Maroney’s recent appearances include Gonzalo X. Ruiz is one of America’s most sought-after historical with the Orlando Philharmonic Orchestra, India- woodwind soloists. In recent seasons he has appeared as princi- napolis Symphonic Choir, New York City Ballet, pal oboist and soloist with leading groups in the U.S. and Europe. Santa Fe Desert Chorale and Symphony, He is featured on dozens of recordings and has Seraphic Fire, Berkshire Choral Festival, TENET, received both a Gramophone Award and a Carmel Bach Festival, Opera Grand Rapids, New Grammy nomination. Critics have called him York Baroque Incorporated at Trinity Wall Street, “one of only a handful of truly superb baroque LA Opera, Lincoln Center Festival, Oregon Bach oboists in the world” (Alte Musik Aktuell) and “a Festival, Musica Sacra, Bach Collegium San master of expansive phrasing, lush sonorities, Diego, Princeton Pro Musica, Bach Vespers Holy Trinity, Mark and deft passagework” (San Francisco Chronicle) Morris Dance Group, Yale Choral Artists, American Opera Projects, and he also performs frequently on recorders Berkshire Bach Society, and Clarion. Kate has premiered works and guitar. Mr. Ruiz is on the faculty of The Juilliard School and his and collaborated closely with Philip Glass, John Corigliano, David former students now fll the ranks of most top groups across the Lang, Martin Bresnick, Julia Wolfe, Missy Mazzoli, among many. country. He is an acknowledged expert in historical reed tech- niques, and examples of his work are on permanent display at the One of America’s leading historical string players, Robert Mealy Metropolitan Museum of Art. has recorded and toured a wide variety of repertoire with many ensembles both here and in Europe, including Hailed as an “impressive tenor” (The New York Times) who creates Les Arts Florissants, Tafelmusik, Sequentia, the “the most lasting moments” (The Virginia Gazette) Boston Camerata, and the American Bach of the performance, Gene Stenger has been a Soloists. Mr. Mealy is principal concertmaster at featured soloist with ’s Internatio- Trinity Wall Street and the orchestra director of nale Bachakademie Stuttgart, the Virginia Sym- the Boston Early Music Festival Orchestra; he phony Orchestra, TENET Vocal Artists, American received a Grammy for his work with the festival. Classical Orchestra, Voices of Ascension, Colora- A devoted chamber musician, he co-directs the do Bach Ensemble, Bach Society of St. Louis, the acclaimed 17th-century ensemble Quicksilver. He recently Staunton Music Festival, Bach Collegium at St. completed a series of concerts surveying the obbligato sonatas Peter’s (NYC), Madison Bach Musicians, and the Oregon, Baldwin of J.S. and C.P.E. Bach in Washington at the Smithsonian, and Wallace, Carmel, Bach Akademie Charlotte, and Northeast Penn- directed and programmed a series of medieval programs sylvania Bach Festivals. Originally from Pittsburgh, PA, Gene holds exploring secular lyric for TENET. Committed to education as well degrees from Yale University’s School of Music, and the Institute as performing, he directs Juilliard’s Historical Performance of Sacred Music, Colorado State University, and Baldwin Wallace program, where he joined the faculty in 2009. He has recorded University Conservatory of Music. He currently resides in New over 80 CDs on most major labels. Haven, CT, where he serves as vocal instructor at Yale University. Flutist Joseph Monticello’s playing has been praised by both The Elisa Sutherland is a mezzo-soprano known for her detailed, New York Times and Wall Street Journal as “graceful” and for being stylistic interpretations of both early and new as “exciting as the singers.” Equally at home on music. This upcoming season, she will perform both modern and historical futes, Joseph is sec- with Philadelphia’s contemporary music choir ond futist of the Florida Grand Opera and Palm The Crossing, New York ensembles Ekmeles Beach Symphony orchestras, but remains active and New Chamber Ballet, Cleveland’s Apollo’s in the historical performance world, performing Fire, Miami’s Seraphic Fire, and her own early with Philharmonia Baroque, Boston Baroque, and new music sextet, Variant 6. She has sung New York Baroque Incorporated, and as princi- with LyricFest, Philadelphia’s premiere art song pal fute of the Teatro Nuovo festival orchestra, concert series, and will be featured this season in a recital with specializing in the historically informed presentation of Bel Canto Brooklyn Art Song Society. In addition to winning the Philadelphia opera on period-appropriate instruments. Joseph is a graduate of District of the Metropolitan Opera Auditions in 2015, Elisa is the The Juilliard School and Oberlin Conservatory. 2014 winner of the Lynne Harvey Cooper Award, and was the frst- place winner of the inaugural Handel Aria Competition at the Canadian-American soprano Molly Netter enlivens complex and Madison Early Music Festival in 2013. beautiful music, both old and new, with “clear, beautiful tone and vivacious personality” (The Perry Sutton, baroque trumpet, leads a musically diverse New York Times). This season includes the US life, performing in baroque, orchestral, premiere of a new solo work by David Lang con- chamber, Broadway and commercial mu- ducted by Joe Hisaishi at Carnegie Hall and in sic settings with equal dexterity. His ear- Tokyo, as well as solo engagements with the ly music credits include performances with GRAMMY Award-winning Boston Early Music Apollo’s Fire, Washington Bach Consort, Trin- Festival, the Grand Rapids Bach Festival, the ity Baroque, La Fiocco, The Bach Collegium of New World Symphony, New York Baroque Incorporated, and the Philadelphia, the North Carolina Baroque Or- “Times Arrow Festival” at Trinity Wall Street, where she is also a chestra, and Tempesta di Mare: The Baroque 13 Orchestra of Philadelphia. Perry has degrees from Mason Gross McGegan, Christoph von Dohnányi, Alan Gilbert, Michael Tilson School of the Arts, and Rowan University Col- Thomas, Herbert Blomstedt, Osmo Vanska, David Hill, and Wil- lege of Fine and Performing Arts. liam Christie. Gregório Taniguchi crafts compelling performances that move Bass-baritone Jonathan Woody is a sought-after performer of audiences. His dedication to rhetoric in music draws listeners to early and new music in New York and across North America. hear historical works as a dynamic and living part Praised as “charismatic” and “riveting” by The of our musical culture, illuminating classics for a New York Times, Jonathan has appeared with modern audience. Gregório has empowered Apollo’s Fire, Boston Early Music Festival, Pacifc narratives with an intuitive sense for storytelling MusicWorks, Bach Collegium San Diego, Port- as the Evangelist in Bach’s St. John Passion with land Baroque Orchestra and New York Baroque John Butt, Aeneas in Cavalli’s La Didone, and Incorporated in recent seasons, and is a mem- Miles Zegner in Missy Mazzoli’s Proving Up. As ber of the Grammy-nominated Choir of Trinity one of the nation’s fnest choral artists, he has Wall Street. Upcoming engagements include appeared with Cantus, The Thirteen, Santa Fe Desert Chorale, appearances with the Washington Bach Consort, Cathedral Cho- and the Oregon Bach Festival. Gregório is passionate about being ral Society, Opera Lafayette and the Choir of St. Thomas Fifth Av- an active part of the community of artists, supporting composers enue as soloist. Recording credits include Israel in Egypt with the in recording new works as a studio singer and faith communities Choir of Trinity Wall Street (Musica Omnia), Boston Early Music as a choral scholar. Festival’s St. Matthew Passion of J. Sebastiani (RadioBremen), New York Polyphony’s Roma Æterna (BIS Records), and the Choir of Described by the Atlanta Journal-Constitution as a dignifed and Trinity Wall Street’s Missa Gentis Humanae (Musica Omnia). beautiful singer, bass-baritone Paul Max Tipton has soloed under such notable fgures as Matthias Pintscher, Consistently recognized for her rich sound and musical sensitivity, Helmuth Rilling, Nicholas McGegan, and Martin Boston-based soprano Sarah Yanovitch is in demand as a con- Katz. He recently recorded Nicolaus Bruhns’s cert soloist and ensemble musician. Ms. Yanovitch is a frequent solo cantatas for bass for the BIS label, and has soloist with Boston’s Handel and Haydn Society appeared in recital with Masaaki Suzuki. Current under the artistic direction of Harry Christophers, operatic credits include the role of Archibald singing the role of Belinda in Purcell’s Dido and Grosvenor in Patience with Odyssey Opera in Aeneas, and soprano solos in Bach’s B minor and Boston and Plutone in Monteverdi’s Orfeo with G major masses, and many cantatas. She made Göteborg Baroque in Sweden. He studied at Yale University with her solo debut at Tanglewood in the summer of tenor and at the University of Michigan with tenor 2017 with H+H in Purcell’s Fairy Queen. During the George Shirley, and was made a Lorraine Hunt Lieberson Fellow 2016-2017 season, Ms. Yanovitch was the at Emmanuel Music in 2012. Lorraine Hunt Lieberson Fellow with Emmanuel Music, appearing as a featured soloist in Bach’s Weinachtsoratorium, cantata 51 Jessica Troy, viola, wears a variety of freelance hats. Since 1998 (Jauchzet Gott in allen Landen), and as Melia in their staged pro- she has toured extensively with the Mark Morris Dance Group duction of Mozart’s Apollo et Hyacinthus. Music Ensemble, from San Juan to Sydney, and appeared with Yo-Yo Ma across the US and Violinist Jude Ziliak is active across the United States as a cham- Japan. On baroque viola, ensembles she per- ber musician, concertmaster, and soloist. A specialist in historical forms frequently with include: the Sebastians, string techniques, his repertoire embraces music Trinity Baroque Orchestra, Opera Lafayette, from the ffteenth century to the present. He is a Concert Royal, Helicon, and the 4 Nations member of Sonnambula, the resident ensemble Ensemble; she has guested with Anima Eterna at the Metropolitan Museum in 2018-19, and the Brugge, and appeared with Renée Fleming on American Bach Soloists, with whom he frequent- the David Letterman Show. A member of the Orchestra of St. ly appears as leader or soloist. A graduate of the Luke’s, the New York City Opera Orchestra, and the Westchester Juilliard School, Jude teaches violin and directs and Brooklyn Philharmonics, she performs frequently with many Baroque ensembles at the Special Music School, other area ensembles, including the Mostly Mozart Festival New York’s K-12 public school for musically gifted children. Orchestra and NOVUS NY. She has recorded quartet parts for Lou Reed and Ani DiFranco, performed on TV with Whitney , Cellist Matt Zucker appears regularly with period-instrument en- and on flm with David Byrne. sembles throughout the United States and overseas. Recent en- gagements include performances with Les Arts Known for her intensity and versatility in her performances and Florissants, the Boston Early Music Festival Or- repertoire, futist Bethanne Walker is dedicated to modern, or- chestra, Trinity Baroque Orchestra, The Sebas- chestral, and historical performance practice. tians, Washington National Cathedral Baroque She is the principal futist of the Stockton Sym- Orchestra, New York Baroque Incorporated, and phony, and performs with the San Francisco Bourbon Baroque. Matt spends his summers Symphony among several others. As a baroque performing at festivals such as Dans les Jardins futist, she is a 2019-2020 Mercury Orchestra de William Christie in Thiré, France and Teatro Juilliard Fellow, and has also performed with the Nuovo, a festival dedicated to historically-informed performanc- American Bach Soloists, New York Baroque es of 19th-century opera. Matt graduated from the Historical Per- Incorporated, Sonnambula, Ars Antiqua, Cal formance program at the Juilliard School, where he studied ba- Performances, and Les Arts Florissants at the Dans le Jardin de roque cello with Phoebe Carrai and viola da gamba with Sarah William Christie. She has had the pleasure of performing under Cunningham. Upon completing his studies, he was awarded a the leadership of Masaaki Suzuki, Richard Egarr, Nicholas Benzaquen Career Advancement Grant.

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