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Home , Charles Avison, Handel and Haydn Society, Jephtha (Handel), Jonathan Kent (director), Pietro Locatelli, The Sixteen

CAL PERFORMANCES PRESENTS PROGRAM

Friday, April 26, 2013, 8pm Vivaldi The Four Seasons (1725) First Congregational Church in E major, Op. 8, No. 3, “Spring” Allegro The Largo e pianissimo , Artistic Director Allegro Aisslinn Nosky, Leader & Soloist Concerto in G minor, Op. 8, No. 2, “Summer” Handel and Haydn Society Period Instrument Allegro mà non molto — Allegro Adagio PROGRAM Presto

Concerto in F major, Op. 8, No. 3, “Autumn” Pietro Locatelli (1695–1764) Introduttione in D major, Op. 4, No. 5 (1735) Allegro Allegro Adagio molto Andante Allegro Presto Concerto in F minor, Op. 8, No. 4, “Winter”

Arcangelo Corelli (1653–1713) Concerto Grosso in D major, Op. 6, No. 1 Allegro non molto (ca. 1680s) Largo Allegro Largo — Allegro Largo Allegro The Handel and Haydn Society is funded, in part, by the Largo Massachusetts Cultural Council, a stage agency. Allegro Allegro

Charles Avison (1709–1770) Concerto Grosso No. 5 in D minor (1744) This performance is made possible, in part, by The E. Nakamichi Foundation.

Largo Cal Performances’ 2012–2013 season is sponsored by Wells Fargo. Allegro Andante moderato Allegro

Antonio Vivaldi (1678–1741) Sinfonia, from Il coro della muse, RV 149 (1740) Allegro molto Andante Allegro

Francesco Geminiani (1687–1762) Concerto Grosso No. 12 in D minor, La folia, after Corelli, Op. 5, No. 12 (1729)

INTERMISSION

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inspired by italy In Summer, a similar scene is brought to embellishments that produce tension against a mind with bird calls, but now the sun is de- steady and calming background. ThePresto is a talian virtuosi and composers influenced in- scribed as harsh and its effect on man and na- joyous conclusion. As a complement to the fall- Istrumental music in the early 18th century. ture is pronounced. Vivaldi captures this feeling ing figure of the first movement, the figures in Their compositions were both nuanced and vividly with a descending, or one might even this movement rise without imitation but with extravagant, designed to highlight the solo- say, wilting melodic line. The second movement remarkable effect. ist through difficult passagework and delicate brings the threat of a storm (plus annoying in- (1687–1762) began melodies. The works on today’s concert feature sects), and in third movement, the swift and his career as a promising violinist. He studied movements of contrasting character which, powerful storm arrives, leaving destruction in with and possibly combined with the performer’s interpretation of its wake. Scarlatti (1660–1725) in Rome. In 1714, the musical score, create a one-of-a-kind experi- Compared to Vivaldi, Arcangelo Corelli Geminiani moved to England, where his music ence for audience and performer alike. (1653–1713) wrote few compositions; however, was highly regarded and thought to be on the (1678–1741) composed his influence is without question. Corelli’s Op. 6 same level as Corelli and Handel. After 1732, about 770 works, including about 500 concer- are true masterpieces. Published after Geminiani lived in either London or Dublin; in tos. He is remembered today primarily as the his death in 1714, these works probably circu- those years he also traveled, painted, and wrote composer who shaped the instrumental concer- lated in manuscript form as early as the 1680s. an influential treatise on violin playing as well as to, a piece which alternates passages for soloist Each concerto is carefully crafted, balanced in treatises on music theory. with those for orchestra. His Concerto in B mi- the form and variety of individual movements, Often described as one of his best composi- nor for Four , RV 580, adheres to this and filled with musical connections both subtle tions, Geminiani’s Concerto Grosso No. 12 in principle of alternation, providing rich variety and bold. This is certainly true of the Concerto D minor, La folia, is a set of variations based on and contrast. Even the Sinfonia to Il coro delle in D major, Op. 6, No. 1, which contains con- Corelli’s Op. 5, No. 12; both use La folia, a Muse in G major, RV 149, composed in 1740, templative Largo movements offset by dazzling line and chord progression that dates to at least follows this pattern which influenced both his Allegros. In the first movement, we can hear the the Renaissance. Geminiani’s variations are di- contemporaries and future composers. alternation of these two with striking, and some- vided into three movements and incorporate the Vivaldi’s Four Seasons (Le quattro stagioni), times surprising, effects. The final two Allegros exchange between orchestra and soloist associ- were published in 1725, part of a larger collec- share a sense of control and elegance; however, ated with the concerto. tion of twelve concertos for solo violin and string this is achieved through two different means. In Although not a violin virtuoso (or Italian), orchestra issued as Op. 8. Vivaldi also supplied the penultimate Allegro, Corelli uses imitation, the English composer Charles Avison (1709– a descriptive title and poem for each of the four while in the finalAllegro passages in triplets al- 1770) preferred music by Italian composers, concertos. This, plus letters in the score that cor- ternate with sections of longer note values. a view he made public in the prefaces to his respond to lines in the accompanying sonnets Pietro Antonio Locatelli (1695–1764) was publications. Avison lived in Newcastle upon create a one-to-one correspondence between the born in Bergamo but little is known about Tyne where he was organist and Director of the poems and the music. In this way, Vivaldi took his early musical training until 1711, when he Newcastle Music Society. His Concerto Grosso written descriptions accompanying instrumen- moved to Rome to further his studies. As a violin No. 5 after Scarlatti is one of twelve works tal music to a level of specificity generally associ- virtuoso, Locatelli traveled to courts through- Avison arranged for strings, based on harpsi- ated with vocal music. out Europe; in 1729, he moved to , chord sonatas by the Italian keyboard virtuoso Looking more closely at the first two con- where he focused mainly on publishing. (1685–1757). certos, we can follow the close relation between Locatelli’s Op. 4, published in Amsterdam Each composer on today’s program wrote poems and music. In Spring, the first four lines in 1735, is a collection of twelve compositions; music for virtuosi, whether themselves or oth- of the sonnet describe the birds, breezes, and the first six are called Introduzione Teatrali ers. The technical side of these compositions is streams; Vivaldi sets the scene with bright me- and the next six, concertos. Yet, even the one part of the story; the other is expression, lodic lines and steady rhythms. Next, a storm Introduzione feature the alternation of soloist the bringing to life each musical phrase to form gathers. Although ominous, the storm does not and orchestra that characterize the concerto. unique performance experiences. last long and the birds soon return. Next, hu- The Allegro of Introduzione No. 5 begins with mans are introduced through pastoral images: a brilliant cascade of descending lines in stag- Teresa M. Neff first, a goatherd asleep with his dog and finally gered, imitative entrances. Next, a sweet, yet shepherds and nymphs celebrating with a bag- melancholy, Andante sempre piano features an pipe and dancing. graceful melody, decorated with numerous

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Saturday, April 27, 2013, 7pm jephtha This aria is a counterbalance to all of the (male) First Congregational Church bravado that has come before; for the first time A story centered on a promise that results in we get a inkling that there will be a struggle. sacrifice, Jephtha is also a story of fate and ac- The next and arias, for the young The Handel and Haydn Society ceptance, transformed from abstract ideol- lovers Hamor and Iphis, Jephtha and Storgè’s ogy to human interactions through Handel’s daughter, express hope for their future. Hamor Harry Christophers, Artistic Director music. This was Handel’s last ; it was presses Iphis, exclaiming how he languishes in Handel and Haydn Society Period Instrument a crowning achievement of some 20 years of anticipation for her and “pants for bliss in vain.” Orchestra and Chorus oratorio composition. Iphis replies by saying that he must be a hero in (1685–1759) com- the field “and Hamor shall not want his due re- posed Jephtha in 1751 to a libretto by Reverend ward.” There is a playful seriousness about these (1703–1784). A Greek scholar, characters which blossoms in their duet “These Handel’s Jephtha Morell had supplied Handel with other libret- labors past.” tos, including Judas Maccabaeus. He based this The youthful exuberance of the preceding libretto on the Book of Judges (Chapter 11) scene is sharply contrasted with Jephtha’s dark CAST from the Old Testament and Jephtes sive Votum forebodings of the battle and his private prom- (“Jephtha, or the Vow”), written in the 16th cen- ise, if he is victorious, to sacrifice “whoever shall Jephtha Robert Murray, tenor tury by George Buchanan. first salute mine eyes” on his return. Storgè, his wife Catherine Wyn-Rogers, mezzo-soprano Act I of the oratorio opens with a decision. In another juxtaposition of hope and trepi- Iphis, his daughter, in love with Hamor Joélle Harvey, soprano The , sung by Jephtha’s brother, Zebul, dation, Storgè tells Iphis about her dreams and begins “It must be so” before explaining that her fears for her daughter. Iphis replies to this Hamor, in love with Iphis William Purefoy, Jephtha, although treated harshly by his compa- with the aria “The smiling dawn of happy days.” Zebul, his brother Woodrow Bynum, baritone triots in the past, is the best person to lead them This aria contains rising motives in which the An Angel Teresa Wakim, soprano against the Ammonites, who have ruled over voice and strings join in unison, an indication Israel for 18 years. Zebul’s proclamation that of Iphis’ conviction and belief in the words she the Israelites will no longer be forced to worship sings even as she tries to console her mother. PROGRAM a false god and make “sacred rights profane” is Act II begins with news of Jephtha’s victory answered with a Chorus of support whose music and Iphis’s decision to greet her father on his falls into a familiar dance pattern on the words return. A pastoral symphony, Iphis’s aria and George Frideric Handel (1685–1759) Jephtha (1751) “in dismal dance around the furnace blue / no the Chorus’s “Welcome as the cheerful light” more to Ammon’s god and king, fierce Moloch, elicit Jephtha’s response, “Horror!” His previous Act I shall our cymbals ring.” promise is then revealed. Jephtha agrees to command the army and A quartet encapsulates the conflicting feel- INTERMISSION sings an aria, “Virtue my soul shall still em- ings of this new situation. Scored for Jephtha, brace,” that is filled with confidence expressed Storgè, Hamor, and Zebul, and strings, “O spare Act II through strong musical lines and virtuoso pas- your daughter!” begins with exclamations from sages. After Jephtha’s acceptance, his wife, all but Jephtha. A scene indebted to , the Act III Storgè, sings a poignant aria filled with exquisite strident accompaniment in the strings and isola- text painting. The space, in terms of rests and tion of the vocal entrances, creates an unrelent- orchestration, is vast and reflects the distance ing tension. Further on in Act 2, Jephtha sings The Handel and Haydn Society is funded, in part, by the Storgè perceives between herself and her hus- “Deeper and deeper still,” recounting his shock Massachusetts Cultural Council, a stage agency. band’s duty (to which she speaks in the preced- and dread at meeting his daughter first when ing recitative). The interplay of the voice and returning from battle. Accompanied by strings, orchestra is particularly striking as Storgè sings the recitative fluctuates between a quiet inten- “In gentle murmurs will I mourn as mourns the sity and emotional outbursts. This performance is made possible, in part, by The E. Nakamichi Foundation. mate forsaken dove.” It is an aria that is exposed At the beginning Act 3, as he prepares to sac- musically just as Storgè does not withhold any rifice his daughter in fulfillment of his promise, Cal Performances’ 2012–2013 season is sponsored by Wells Fargo. of her emotions at her husband’s departure. Jephtha beseeches the angels to take his daughter

28 CAL PERFORMANCES CAL PERFORMANCES 29 PROGRAM NOTES LIBRETTO to heaven in the aria “Waft her, angels.” In the autograph score: “Reached here on February 13, George Frideric Handel (1685–1759) orchestral opening, a rising violin line in a long- 1751, unable to go on owing to weakening Jephtha (1751) short, then steadier, rhythmic pattern is played of the sight of my left eye.” He returned to it against a pulsing bass. As the violin line reaches later in February and intermittently through Libretto by Thomas Morell (1703–1784) its goal, the voice enters with Jephtha’s plea in the summer, completing it on August 30. The this sweetly tender aria. This aria and the ac- first performance was at Covent Garden on act one companied recitative that precedes it, became February 26, 1752, with Handel conducting. favorite excerpts from the oratorio and were of- Two more performances were given that season, Recitative (Zebul) ten performed as a pair into the 19th century. and the oratorio was revived three times during It must be so, or these vile Ammonites, our lordly tyrants now these eighteen years, will crush the race of Israel. In response to his plea, an angel appears and the 1750s. Since Heav’n vouchsafes not, with immediate choice, to point us out a leader, as before, ourselves must choose. tells Jephtha that Iphis does not need to die, but And who so fit a man as Gilead’s son, our brother, valiant Jephtha? True, we have slighted, scorn’d, expell’d him only dedicate her life to God. Teresa M. Neff hence as of a stranger born, but well I know him: his gen’rous soul disdains a mean revenge when his distress- ful country calls his aid. And perhaps Heav’n may favor our request if with repentant hearts we sue for mercy. This story is complex and gives the audience much to contemplate. Jephtha is bound to a Aria (Zebul) promise that, in hindsight, was foolish. He must Pour forth no more unheeded pray’rs do what he feels is right despite the opinions of To idols deaf and vain. others, even his own wife. Jephtha’s steadfast- No more with vile unhallow’d airs ness is rewarded in the end, but not without con- The sacred rites profane. ditions. Through no fault of her own, Jephtha’s Chorus of Israelites daughter Iphis is bound by her father’s promise No more to Ammon’s god and king, as well. Her fate, and that of her lover Hamor, Fierce Moloch, shall our cymbals ring, represent the innocent victims of any action. In dismal dance around the furnace blue. These conundrums were often points of dis- Chemosh no more course in religious and philosophical inquiries Will we adore and Handel, through music, explores these ideas With timbrell’d anthems to Jehovah due. within the context of touching expressions of human emotions. Recitative (Zebul, Jephtha) In the choruses, too, Handel expresses the Zebul But Jephtha comes. Kind Heav’n, assist our plea. O Jephtha, with an eye of pity look on thy repentant brethren helplessness of the events once set into motion in distress. Forgetful of thy wrongs, redress thy sire, thy friends, thy country in extreme despair. and unifies the whole of the oratorio. In Act 1, a Jephtha dissonant chord in the organ introduces “O God, I will: so please it Heav’n; and these the terms. If I command in war, the like command (should Heav’en vouch- behold our sore distress.” Although commenting safe us a victorious peace) shall still be mine. on the plight of Israel, this chorus also speaks for Zebul all those involved in the story to come with its Agreed. Be witness, Heav’ns. opening cries set in chords (homophony) before Aria separating into parts with imitative entrances. (Jephtha) Virtue my soul shall still embrace, The chorus “Cherub and Seraphim” from Goodness shall make me great. Act 2 is nothing short of angelic in the string in- Who builds upon this steady base troduction, opening line for sopranos answered Dreads no event of fate. by , and its overall gentle mood. This cho- rus alludes to the end of the oratorio and the Recitative (Storgè) mystical nature of angels as “unbodied forms.” ’Twill be a painful separation, Jephtha, to see thee harness’d for the bloody field. But ah! how trivial are a wife’s Handel took longer to complete this orato- concerns when a whole nation bleeds, and grov’ling lies, panting for liberty and life. rio than others. He began its composition on Aria (Storgè) January 21, 1751, but had to suspend work be- In gentle murmurs will I mourn, cause his eyesight was failing. At the end of the As mourns the mate-forsaken dove, final chorus of Act 2, “How dark, O Lord, are And sighing wish thy dear return thy decrees,” Handel wrote, in German, on the To liberty and lasting love.

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Recitative (Hamor) Aria (Storgè) Happy this embassy, my charming Iphis, which once more gives thee to my longing eyes, as Cynthia, breaking Scenes of horror, scenes of woe, from th’ involving clouds on the benighted traveler. The sight of thee, my love, drives darkness and despair. Rising from the shades below, Again I live, in thy sweet smiles I live, as in thy father’s ever-watchful care our wretched nation feels new life, Add new terror to the night; new joy. Oh haste, and make my happiness complete! While in never-ceasing pain, That attends the servile chain, Aria (Hamor) Joyless flow the hours of light. Dull delay, in piercing anguish, Bids the faithful lover languish, Recitative (Iphis, Storgè) While he pants for bliss in vain. Iphis Oh, with gentle smiles relieve me. Say, my dear mother, whence these piercing cries that force me, like a frighted bird to fly my place of rest? Let no more false hopes deceive me, Storgè Nor vain fears inflict a pain. For thee I fear, my child; such ghastly dreams last night surpris’d my soul. Iphis Recitative (Iphis) Heed not these black illusions of the night, the mocking of unquiet slumbers, heed them not. My father, touch’d Ill suits the voice of love when glory calls, and bids thee follow Jephtha to the field. There act the hero, and let with a diviner fire, already seems to triumph in success, nor doubt I but Jehovah hears our pray’rs. rival deeds proclaim thee worthy to be call’d his son, and Hamor shall not want his due reward. Aria (Iphis) Aria (Iphis) The smiling dawn of happy days Take the heart you fondly gave, Presents a prospect clear, Lodg’d in your breast with mine. And pleasing hope’s all-bright’ning rays Thus with double ardor brave, Dispel each gloomy fear; Sure conquest shall be thine. While ev’ry charm that peace displays Makes spring-time all the year. Recitative (Hamor) I go, my soul, inspir’d by thy command, thirsts for the battle. I’m already crown’d with the victorious wreath, Recitative (Zebul, Jephtha) and thou, fair prize, more worth than fame or conquest, thou art mine. Zebul Such, Jephtha, was the haughty king’s reply: No terms, but ruin, slavery and death. Duet (Iphis, Hamor) Jephtha These labors past, how happy we! Sound, then, the last alarm! And to the field, ye sons of Israel, with intrepid hearts, dependent on the might of How glorious will they prove! IsraeI’s God.

Recitative (Jephtha) Chorus of Israelites What mean these doubtful fancies of the brain? Visions of joy rise in my raptur’d soul, there play awhile, and When His loud voice in thunder spoke, set in darksome night. Strange ardor fires my breast; my arms seem strung with tenfold vigor, and my crested With conscious fear the billows broke, helm to reach the skies. Be humble still, my soul! It is the Sp’rit of God, in whose great name I offer up my vow. Observant of his dread command. In vain they roll their foaming tide, Accompagnato (Jephtha) Confin’d by that great pow’r, If, Lord, sustain’d by Thy almighty pow’r, Ammon I drive, and his insulting bands, from these our long-uncul- That gave them strength to roar. tivated lands, and safe return a glorious conqueror, what, or whoever shall first salute mine eyes, shall be forever They now contract their boist’rous pride, Thine, or fall a sacrifice. And lash with idle rage the laughing strand.

Recitative (Jephtha) ’Tis said. Attend, ye chiefs, and with united voice invoke the holy name of Israel’s God. act two

Chorus of Israelites Recitative (Hamor) O God, behold our sore distress, Glad tidings of great joy to thee, dear Iphis, and to the house of Israel I bring. Thus then, in brief. Both armies Omnipotent to plague or bless! in array of battle rang’d, our general stept forth and offer’d haughty Ammon terms of peace, most just and But turn thy wrath, and bless once more righteous; these with scorn refus’d, he bade the trumpet sound. But scarce a sword was ting’d in hostile blood, Thy servants, who thy name adore. ere all around the thund’ring Heavens open’d and pour’d forth thousands of armed cherubim, when straight our general cried: “This is thy signal, Lord, I follow Thee, and Thy bright heav’nly host.” Then rushing on proud Recitative (Storgè) Ammon, all aghast, he made a bloody slaughter, and pursu’d the flying foe till night bade sheathe the sword, Some dire event hangs o’er our heads, some woeful song we have to sing in misery extreme. O never, never was and taste the joys of victory and peace. my foreboding mind disturb’d before with such incessant pangs.

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Chorus of Israelites Nor spring so gay, Cherub and seraphim, unbodied forms, Such mighty blessings brings The messengers of fate, As peace on her triumphant wings. His dread command await; Of swifter flight, and subtler frame Chorus of Virgins Than lightning’s winged flame, Welcome thou, whose deeds conspire They ride on whirlwinds, directing the storms. To provoke the warbling lyre, Welcome thou, whom God ordain’d Aria (Hamor) Guardian angel of our land! Up the dreadful steep ascending, Thou wert born His glorious name While for fame and love contending, And great wonders to proclaim. Sought I thee, my glorious prize. And now, happy in the blessing, Recitative (Jephtha) Thee, my sweetest joy possessing, Horror, confusion! Harsh this music grates upon my tasteless ears. Begone, my child, thou hast undone thy Other honors I despise. father! Fly, begone, and leave me to the rack of wild despair!

Recitative (Iphis) Aria (Jephtha) ’Tis well. Haste, haste, ye maidens, and in richest robes adorn me, like a stately bride, to meet my father in Open thy marble jaws, O tomb, triumphant pomp. And while around the dancing banners play. And hide me, earth, in thy dark womb, Ere I the name of father stain, Aria (Iphis) And deepest woe from conquest gain. Tune the soft melodious lute, Pleasant harp and warbling flute, Recitative (Zebul, Jephtha) To sounds of rapt’rous joy; Zebul Such as on our solemn days, Why is my brother thus afflicted? Say, why didst thou spurn thy daughter’s gratulations, and fling her from thee Singing great Jehovah’s praise, with unkind disdain? The holy employ. Jephtha O Zebul, Hamor and my dearest wife, behold a wretched man, thrown from the summit of presumptuous joy, Recitative (Jephtha) down to the lowest depth of misery. Know, then, I vow’d the first I saw should fall a victim to the living God. Heav’n smiles once more on His repentant people, and victory spreads wide her silver wings to soothe our sor- My daughter, alas! it was my daughter, and she dies. rows with a peaceful calm. Zebul, thy deeds were valiant, nor less thine, my Hamor; but the glory is the Lord’s. Accompagnato and Aria (Storgè) Aria (Jephtha) First perish thou, and perish all the world! Hath Heav’n then bless’d us with this only pledge of all our love, this His mighty arm, with sudden blow, one dear child, for thee to be her murderer? No, cruel man! Dispers’d and quell’d the haughty foe. Let other creatures die? They fell before him, as when through the sky Or Heav’n, earth, seas and sky He bids the sweeping winds in vengeance fly. In one confusion lie, Ere in a daughter’s blood, Chorus of Israelites So fair, so chaste, so good, In glory high, in might serene, A father’s hand’s embrued. He sees, moves all, unmov’d, unseen. His mighty arm, with sudden blow Recitative (Hamor) Dispers’d and quell’d the haughty foe. If such thy cruel purpose, lo, your friend offers himself a willing sacrifice, to save the innocent and beauteous maid!

Recitative (Iphis) Aria (Hamor) Hail, glorious conqueror! much lov’d father, hail! Behold thy daughter, and her virgin train, come to salute thee On me let blind mistaken zeal with all duteous love. Her utmost rage employ. ’Twill be a mercy there to kill Aria (Iphis) Where life can taste no joy. Welcome as the cheerful light, Driving darkest shades of night, Welcome as the spring that rains Peace and plenty o’er the plains. Not cheerful day,

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Quartet (Zebul, Storgè, Hamor, Jephtha) act three Zebul Oh, spare your daughter, Aria and Accompagnato (Jephtha) Storgè Hide thou thy hated beams, O sun, in clouds and darkness, deep as is a father’s woe; a father, off’ring up his only Spare my child, child in vow’d return for victory and peace. Hamor My love! Aria (Jephtha) Jephtha Waft her, angels, through the skies, Recorded stands my vow in Heav’n above. Far above yon azure plain, Hamor, Zebul, Storgè Glorious there, like you, to rise, Recall the impious vow, ere ’tis too late. There, like you, for ever reign. Jephtha I’ll hear no more, her doom is fix’d as fate! Accompagnato (Iphis) Hamor, Zebul, Storgè Ye sacred priests, whose hands ne’er yet were stain’d with human blood, why are ye thus afraid to execute my And think not Heav’n delights father’s will? The call of Heav’n with humble resignation I obey. In Moloch’s horrid rites. Aria (Iphis) Recitative (Iphis) Farewell, ye limpid springs and floods, Such news flies swift. I’ve heard the mournful cause of all your sorrows. Of my father’s vow Heav’n spoke its Ye flow’ry meads and leafy woods; approbation by success. Jephtha has triumph’d, Israel is free. Farewell, thou busy world where reign Short hours of joy and years of pain. Accompagnato (Iphis) Brighter scenes I seek above For joys so vast too little is the price of one poor life; but oh! accept it, Heav’n, a grateful victim, and thy blessing In the realms of peace and love. still pour on my country, friends, and dearest father! Chorus of Priests Aria (Iphis) Doubtful fear and rev’rent awe Happy they! This vital breath Strike us, Lord, while here we bow, With content I shall resign, Check’d by Thy all-sacred law, And not murmur or repine, Yet commanded by the vow. Sinking in the arms of death. Hear our pray’r in this distress, And Thy determin’d will declare. Accompagnato (Jephtha) Deeper, and deeper still, thy goodness, child, pierceth a father’s bleeding heart, and checks the cruel sentence on Recitative (Angel) my falt’ring tongue. Oh, let me whisper it to the raging winds, or howling deserts; for the ears of men it is too Rise, Jephtha, and ye rev’rend priests, withhold the slaught’rous hand. No vow can disannul the law of God, nor shocking. Yet have I not vow’d? And can I think the great Jehovah sleeps, like Chemosh and such fabled deities? such was its intent when rightly scann’d; yet still shall be fulfill’d. Thy daughter, Jephtha, thou must dedicate to Ah no; Heav’n heard my thoughts, and wrote them down; it must be so. ’Tis this that racks my brain, and pours God, in pure and virgin state forever, as not an object meet for sacrifice, else had she fall’n an holocaust to God. into my breast a thousand pangs that lash me into madness. Horrid thought! My only daughter, so dear a child, The Holy Spirit, that dictated thy vow, bade thus explain it, and approves thy faith. doom’d by a father! Yes, the vow is past, and Gilead hath triumph’d o’er his foes. Therefore, tomorrow’s dawn... I can no more. Aria (Angel) Happy, Iphis shalt thou live, Chorus While to thee the virgin choir How dark, O Lord, are Thy decrees, Tune their harps of golden wire, All hid from mortal sight! And their yearly tribute give. All our joys to sorrow turning, Shalt thou live, and ages late And our triumphs into mourning, Crown thee with immortal praise. As the night succeeds the day. No certain bliss, Aria (Jephtha) No solid peace, For ever blessed be Thy holy name, We mortals know Lord God of Israel! On earth below, Yet on this maxim still obey, Recitative (Iphis) Whatever is, is right. My faithful Hamor, may that Providence which gently claims or forces our submission, direct thee to some happier choice.

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Quintet (Iphis, Hamor, Storgè, Jephtha, Zebul) THE HANDEL AND HAYDN SOCIETY Iphis Harry Christophers, Artistic Director All that is in Hamor mine, Freely I to Heav’n resign. Hamor period instrument orchestra All that is in Iphis mine, Freely I to Heav’n resign. violin i flute Iphis Aisslinn Nosky* Christopher Krueger† Duteous to the will supreme, Abigail Karr Still my Hamor I’ll esteem. Ogata Hamor Krista Buckland Reisner Gonzalo X. Ruiz† Duteous to almighty pow’r, Jane Starkman Marc Schachman Still my Iphis I’ll adore. Anne Black‡ Iphis, Hamor, Storgè, Jephtha, Zebul bassoon Joys triumphant crown thy days, violin ii Andrew Schwartz And thy name eternal praise. Christina Day Martinson† horn Chorus of Israelites Guiomar Turgeon Linda Quan Richard Menaul† Theme sublime of endless praise, Julie Leven Lawrence Ragent Just and righteous are thy ways; Jesse Irons And thy mercies still endure, trumpet Ever faithful, ever sure. viola Jesse Levine† David Miller† Paul Perfetti Laura Jeppesen Jenny Stirling organ Anne Black‡ Michael Beattie† Ian Watson violoncello Guy Fishman† Sarah Freiberg Ian Watson† André O’Neil archlute bass Paula Chateauneuf† Robert Nairn†

* Concertmaster † Principal ‡ viola (April 26), violin (April 27)

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chorus

chorusmaster Margaret Lias John Finney Thea Lobo Miranda Loud soprano Emily Marvosh Elissa Alvarez Jennifer Ashe tenor Jessica Cooper Jonas Budris Cassandra Extavour Marcio de Oliveira Monica Hatch Thomas Gregg Margot Rood Randy McGee Sonja DuToit Tengblad Alex Powell Erika Vogel Stefan Reed Teresa Wakim Brenna Wells bass Jonathan Barnhart alto Woodrow Bynum Douglas Dodson Jacob Cooper Mary Gerbi Bradford Gleim Catherine Hedberg Scott Jarrett Helen Karloski David McFerrin ounded in in 1815, the Handel throughout New England. Recently, H&H Fand Haydn Society (H&H) is considered has been featured in The New York Times, America’s oldest performing arts organization in The Wall Street Journal, The Boston Globe, continuous existence and one of the nation’s pre- and Gramophone. In 2011, The Hub Review eminent choral and period instrument ensem- (Boston) dubbed H&H “the best chorus in New bles, and will celebrate its Bicentennial in 2015. England.” Since its first recording collaboration It gave the American premieres of many cho- with Harry Christophers on the Coro label, re- ral masterworks, including Handel’s , leased in September 2010, it has issued three live Haydn’s , and Bach’s St. Matthew commercial recordings of works by Mozart— Passion. Its mission is to enrich life and influence Mass in C minor (2010), Requiem (2011), and culture by performing Baroque and Classical Coronation Mass (2012)—to be followed by music at the highest levels of artistic excellence, Haydn Volume One (September 2013) and an a and by providing engaging, accessible, and cappella holiday program with its professional broadly inclusive music education and training choir (October 2013). activities. H&H’s Period Instrument Orchestra As a 21st-century performing arts organiza- and Chorus present live and recorded histori- tion, H&H’s primary roles are to perform and cally informed performances of this repertoire educate, and to serve as a community partner in ways that stimulate the musical and cultural and resource center. Its Karen S. and George development of our Greater Boston community D. Levy Educational Outreach Program, estab- and contemporary audiences across the nation lished in 1985, reaches 10,000 children each year and beyond. through public school visits and chorus partner- Under Artistic Director Harry Christophers, ships, four youth choruses, and pre-professional H&H is widely known through its concert series, vocal training. H&H also maintains partner- tours, local and national broadcasts, and record- ships with cultural and higher education insti- ings. Its nine-program series, held at Symphony tutions, offers college students opportunities and Jordan Halls in Boston and Sanders to learn about and develop mastery in Baroque Theatre in Cambridge, reaches audiences from and Classical music, and offers youth and adult

40 CAL PERFORMANCES CAL PERFORMANCES 41 ABOUT THE ARTISTS ABOUT THE ARTISTS education opportunities that include free con- Mr. Christophers is also Principal Guest Music Festival, and the Montreal Baroque Robert Murray (tenor) certs and lectures at libraries, community cen- Conductor of the Granada Symphony Orchestra Festival. I Furiosi’s latest disc is entitled Crazy. studied at the Royal ters, and museums. and a regular guest conductor with the Academy As a founding member of the Eybler Quartet, College of Music and the of St. Martin in the Fields. As well as perform- Ms. Nosky explores repertoire from early quar- National Opera Studio. He Harry Christophers, ing on the concert stage He to lend his artis- tet literature on period instruments. The Eybler’s was awarded second prize CBE (Artistic Director), tic direction to opera. In 2006, he conducted recording of Haydn’s Op. 33 string quartets was in the Kathleen Ferrier marks his fourth sea- Mozart’s Mitridate for the Granada Festival, released in 2012 on the Analekta label. awards 2003 and was a Jette Parker Young Artist son as Artistic Director and after outstanding success at Buxton Opera Since 2005, Ms. Nosky has been a member at House, Covent Garden. of the Handel and in past seasons, he returns this year to conduct of Tafelmusik Baroque Orchestra and has toured Operatic roles include Tamino in Die Haydn Society with Handel’s Jephtha. Previous productions include and appeared as soloist with this renowned en- Zauberflöte, Borsa in Rigoletto, Gastone in La tra- the 2012–2013 Season. Mozart’s Die Zauberflöte and Purcell’s King semble. As Canada’s foremost period instrument viata, Harry in La Fanciulla del West, Lysander Appointed in 2008, he Arthur for Lisbon Opera, Monteverdi’s Poppea orchestra, Tafelmusik maintains a rigorous an- in A Midsummer Night’s Dream, Agenore in began his tenure with and Handel’s for English National nual touring schedule in North America and Il re pastore, Belfiore in La finta giardiniera,

the 2009–2010 Season Rosner Stu Opera, and the U.K. premiere of Messager’s Europe. Ms. Nosky has been a featured solo- Jacquino in Fidelio, and Don Ottavio in Don and has conducted Handel and Haydn each sea- Fortunio for Grange Park Opera. ist at festivals including the Ravinia Festival, Giovanni for the , Covent son since September 2006, when he led a sold- Mr. Christophers is an Honorary Fellow the Aspen Music Festival, Klang & Raum Garden. He sang the title role in Albert Herring out performance in the Esterházy Palace at the of Magdalen College, Oxford, and also of the Musikfestival, and the Seoul International (Glyndebourne on Tour); Tom Rakewell in Haydn Festival in Eisenstadt, Austria. Royal Welsh Academy. In October 2008, he Bach Festival. The 2011–2012 season found The Rake’s Progress, La périchole, and Tamino Mr. Christophers and H&H have since embarked was awarded an Honorary Degree of Doctor Tafelmusik touring Australia with its innovative (Garsington Opera); The Simpleton Boris( on an ambitious artistic journey that began in the of Music. Galileo Project. Tafekmusik’s Carnegie Hall de- Godunov), Tamino, Toni Reischmann (Henze’s 2010–2011 season with a showcase of works pre- but sold out in 2011, and they return to New Elegy for Young Lovers), Idamante (Idomeneo), miered in the by the Handel and Canadian-born violinist York in spring 2013. Don Ottavio (), and Steuerman Haydn Society over the last 197 years, and the Aisslinn Nosky (Violin and Ms. Nosky’s most recent recording, Bach, (Der fliegende Holländer) (ENO); Benvolio in release of the first two of a series of recordings on Leader) is one of the most Ysaÿe, Oesterle was her first self-produced al- Roméo et Juliette (Salzburg Festival); Ferrando in Coro leading to the 2015 Bicentennial. versatile and dynamic vio- bum and is a collection of works for solo violin Così fan tutte (Opera North) and Male Chorus Mr. Christophers is known internation- linists today. She is in de- that include J. S. Bach’s E major Partita, bwv in The Rape of Lucretia (Norway Opera). ally as founder and conductor of the U.K.-based mand internationally as a 1006; Sonata No. 2, Op. 27, by Eugène Ysaÿe He has performed at the Newbury, Two choir and period instrument ensemble The soloist and leader and was (1858–1931); and Stand Still, a piece com- Moors, Brighton, Aldeburgh, and Edinburgh Sixteen. He has directed through- appointed Concertmaster of the Handel and missioned in 2011 from Canadian composer festivals and at London’s Wigmore Hall. He out Europe, America, Australia, and the Far Haydn Society in 2011. She has performed in Michael Oesterle. appeared on Malcolm Martineau’s Complete East, gaining a distinguished reputation for his solo and recitals across North Ms. Nosky began playing violin at age three Poulenc Songs series for Signum; excerpts from work in Renaissance, Baroque, and 20th-cen- America, Europe, and Asia. Recent appearances and received her early training at the Nanaimo Britten’s Gloriana with Edward Gardner for tury music. In 2000, he instituted the “Choral as soloist include the Thunder Bay Symphony, Conservatory with Heilwig von Konigslow. At Chandos; Berlioz’s Grande Messe des Morts and Pilgrimage,” a tour of British cathedrals from the Lameque International Baroque Festival age eight, she made her solo debut with the Mendelssohn’s with the Gabrieli Consort York to Canterbury. He has recorded over 100 Orchestra, Arion Baroque Orchestra, the CBC Vancouver Orchestra. When she was 15, & Players for their own label; and Handel’s titles for which he has won numerous awards, Calgary Philharmonic, Collegium Musicum Ms. Nosky began studying in Toronto with with Harry Christophers and The Sixteen including a Grand Prix du Disque for Handel’s Hanyang, and Tafelmusik Baroque Orchestra. Lorand Fenyves at the Royal Conservatory of for Coro. Messiah, numerous Preise der Deutschen As Co-Artistic Director of I Furiosi ’s Glenn Gould School. Further studies Current and future appearances include Schallplattenkritik (German Record Critics Ensemble, Ms. Nosky has helped bring an en- included both solo and chamber music for sev- Mr. Murray’s debut at the Staatsoper Hamburg Awards), the coveted Gramophone Award for thusiastic new audience to Baroque music. Since eral summers at the Banff Centre for the Arts, as the Earl of Essex in Britten’s Gloriana and Early Music, and the prestigious Classical Brit 2001, I Furiosi has presented its own flamboyant and chamber music at the Steans Music Institute the title role of Jephtha for Boston’s Handel and Award for his disc entitled Renaissance. In 2009, and inventive concert series in Toronto, and they of the Ravinia Festival as a member of the Metro Haydn Society. he received one of classical music’s highest acco- have toured North America and Europe with String Quartet. Ever embracing of all musical lades, the Gramophone Artist of the Year Award; engagements at Tage Alter Musik (Regensburg, forms, Ms. Nosky has also performed and re- The Sixteen also won the Baroque Vocal Award Germany), the Galway Early Music Festival, corded with some of Toronto’s best-known for Handel’s Coronation Anthems, a CD that also the Lameque International Baroque Festival, indie-rock bands, such as the Hidden Cameras, received a Grammy Award nomination. the Mosel Musikfestival, the Indianapolis Early Hunter Valentine, and Rock Plaza Central.

42 CAL PERFORMANCES CAL PERFORMANCES 43 ABOUT THE ARTISTS ABOUT THE ARTISTS

Catherine Wyn-Rogers With an established repu- Summer 2012 saw Ms. Harvey’s debut with As a professional singer, Mr. Bynum appears (mezzo-soprano) was a tation in the United Glyndebourne Festival Opera in a revival of regularly in concert with and Foundation Scholar at the Kingdom, including per- Jonathan Kent’s acclaimed production of The alike. Recent solo appearances include Handel’s Royal College of Music, formances with the Fairy Queen. She also sang Bach’s Mass in B mi- Messiah with the Dallas Bach Society and Bach’s studying with Meriel Orchestra of the Age of nor with at both the BBC St. John Passion with Saint Thomas Church St Clair and gaining several Enlightenment, Hanover Proms and in Leipzig. During the 2012–2013 Fifth Avenue. With Albany Pro Musica, he prizes including the Dame Band, English Concert, season, she is engaged to sing Susanna in Le was soloist in Bach’s St. John Passion, Duruflé’s Clara Butt Award. She con- and The Sixteen, William nozze di Figaro on tour with the Glyndebourne Requeim, and Fauré’s Requiem. He has also ap- tinued her studies with Purefoy (countertenor) also Festival and also with Arizona Opera; Handel’s peared as soloist in Beethoven’s Symphony No. 9 Ellis Keeler and now works with Diane Forlano. frequently performs inter- Messiah, in a return to the San Francisco and Mendelssohn’s Elijah, as well as Bach’s Mass Ms. Wyn-Rogers works extensively in re- nationally with concerts, recitals, and operatic Symphony; music from Peer Gynt with the San in B minor. cital and oratorio, appearing with the major appearances in New Zealand, the United States, Francisco Symphony, conducted by Michael He marked his debut with the Handel and British orchestras and choral societies and at the France, Austria, Germany, and Switzerland, and Tilson Thomas; the role of Tigrane in a U.S. Haydn Society at Boston Symphony Hall sing- Three Choirs, Edinburgh, and Aldeburgh festi- gave his debut at Carnegie Hall in New York tour of , with Harry Bicket and The ing the bass solo in Handel’s . vals and at the BBC Proms, of which she was a in 2008. English Concert; and the Mendelssohn and Mr. Bynum also serves as Director of Music for memorable soloist at the Last Night of the 1995 A graduate of Magdalen College, Oxford, Bach Magnificats for her debut with the New the Cathedral of All Saints, where he conducts Proms. She is equally renowned for her perfor- and the Guildhall School of Music and Drama York Philharmonic. the Cathedral Choir of Men and Boys, the old- mances with the period instrument orchestras. in London, Mr. Purefoy was a finalist in the Future seasons will include further perfor- est continuously performing ensemble of its Her recent engagements have included appear- Kathleen Ferrier Awards and a winner of the mances with the Glyndebourne Festival Opera, kind in the United States. ances with the Philharmonia under Leonard NFMS Young Concert Artists Award. Arizona Opera, and the Dallas Opera, as well Slatkin, the BBC Symphony Orchestra un- His many recordings to date have in- as with the New York Philharmonic and the Teresa Wakim (soprano) der Bernard Haitink and Andrew Davis, the cluded Pärt’s Stabat Mater (Theatre of Voices/ Kansas City Symphony. has garnered wide acclaim Netherlands Radio Orchestra under Gennady Harmonia Mundi), Buxtehude’s Scandinavian Additional engagements of note include performing and recording Rozhdestvensky, the European Union Youth Cantatas (Theatre of Voices/Da Capo), Vaughan- Carmina Burana and Gilbert & Sullivan’s music from the Renaissance Orchestra under Mr. Haitink, and her debut Williams’s Mass in G minor (Hickox/Chandos), Iolanthe with the San Francisco Symphony; to the freshly composed, with the Vienna Philharmonic Orchestra under Boyce’s Ode for Saint Cecilia’s Day and David’s Handel’s Messiah with The English Concert; and is perhaps best known . Lamentation over Saul and Jonathan (Hanover and Michal in Handel’s Saul with The Sixteen. as a Baroque stylist. She Ms. Wyn-Rogers’s numerous recordings Band/ASV Gaudeamus), Rosie Blood (John Ms. Harvey appears on Coro’s recording of Saul, has performed as soloist include Handel’s with The Sixteen un- Harle Terror and Magnificence/Decca Argo), and conducted by Harry Christophers, released under many of the world’s der Harry Christophers, Mozart’s Vespers with the role of Spirit in Dido and Aeneas (Orchestra in 2012. renowned early music specialists, including for DG, Vaughan Williams’s of the Age of Enlightenment/Chandos). He Harry Christophers, Laurence Cummings, Ton Serenade to Music with Mr. Norrington for was featured in the television series In Search Woodrow Bynum (bari- Koopman, Nicolas McGegan, Martin Pearlman, Decca, and Elgar’s The Dream of Gerontius of Shakespeare and the film Young Victoria and tone) was born in Arkansas Stephen Stubbs, and Jeannette Sorrell. She re- for EMI. She has joined Graham Johnson’s has given recitals at the Wigmore Hall, the in 1975 and began pursu- cently won First Prize in the International Complete Schubert Edition for Hyperion, re- Barbican, and the Purcell Room, as well as in ing his musical education Soloist Competition for Early Music in Austria, corded Mozart’s Requiem with the Scottish Innsbruck and Graz. at the Interlochen Arts and was named Lorraine Hunt Lieberson Fellow Chamber Orchestra and Sir Charles Mackerras, Academy before graduat- by Emmanuel Music. Noted engagements in- and Mrs. Sedley (Peter Grimes) with the London A native of Bolivar, New ing summa cum laude from clude soloist in Mozart’s Coronation Mass with Symphony Orchestra and Sir Colin Davis. York, Joélle Harvey (so- the University of Michigan. the Handel and Haydn Society, Bach’s Mass in She appears regularly on the opera stage prano) is quickly becom- Following a residency at B minor and St. John Passion with the Amsterdam and has worked with Scottish Opera, Welsh ing recognized as one of the Detroit Opera House, Baroque Orchestra, Bach’s Wedding Cantata with National Opera, Opera North, the Semperoper the most promising Mr. Bynum moved to New York, studying at the the Cleveland Orchestra, Handel’s Messiah with , the Bordeaux Opera, the Teatro young talents of her gen- Juilliard School and singing in the choir of Saint the Charlotte Symphony, the role of Pamina in Real Madrid, the Netherlands Opera, and the eration. She is the recipi- Thomas Church Fifth Avenue. He studied voice The Magic Flute with Apollo’s Fire, and a title Salzburg Festival. ent of a First Prize Award in 2011 from the with Lorna Haywood, Rita Shane, and Beverley role in Handel’s Acis and Galatea with the Gerda Lissner Foundation Vocal Competition Peck Johnson; his other musical influences in- Boston Early Music Festival. She can be heard as and a 2009 Sara Tucker Study Grant from the clude Robert Glasgow, Gerre Hancock, and soloist on numerous recordings, including four Richard Tucker Foundation. John Scott. Grammy Award-nominated albums with the

44 CAL PERFORMANCES CAL PERFORMANCES 45 ABOUT THE ARTISTS

Boston Early Music Festival and Seraphic Fire, and the Handel and Haydn Society’s latest disc for Coro, Mozart Coronation.

John Finney has been Handel and Haydn Society Chorusmaster since 1990 and was named Associate Conductor in 1992. He has since directed many of H&H’s performances. He is also widely praised for

his harpsichord and organ Miranda Loud playing; he holds degrees in organ performance from the Oberlin College Conservatory of Music and the Boston Conservatory. He is the Distinguished Artist-in-Residence at Boston College, where he serves as Director of the University Chorale and Conductor of the Boston College Symphony Orchestra. He has directed the Boston College Chorale on concert tours in major cities throughout the world, in- cluding , Prague, Vienna, and Rome. Mr. Finney recently celebrated his 25th anniver- sary as Director of Music for the Wellesley Hills Congregational Church, where his organ-play- ing and conducting continue to enhance wor- ship services every Sunday morning. Since 1987, Mr. Finney has been conductor of the Heritage Chorale in Framingham, Massachussets.

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