Cal Performances Presents

Wednesday, November , , pm First Congregational Church Musica Antiqua Köln Reinhard Goebel, founding director Ilia Korol, guest leader Marijana Mijanovic, contralto (Little less than) A Century of German Music

PROGRAM

Heinrich Bach (–) Two Sonatas a cinque (c.)

Johann Christoph Bach (–) »Ach, daß ich Wassers gnung hätte« (c.)

Georg Phillip Telemann (–) Septet in E minor, TWV : () Gravement Alla breve Air Tendrement Gay

Johann Sebastian Bach (–) »Widerstehe doch der Sünde«, Cantata, BWV  (c.)

INTERMISSION

Johann David Heinichen (–) Ouverture in G major Ouverture Air Bourée I + II Air Rigaudon I + II Air. Viste

Jan Dismas Zelenka (–) “Barbara dira eff era,” ZWV  ()

Cal Performances’ – Season is sponsored by Wells Fargo.

30 CAL PERFORMANCES Texts and Translations

J. C. Bach: »Ach, daß ich Wassers gnung hätte« Ach, daß ich Wassers gnug hätte in meinem Oh that my head were waters, Haupte and mine eyes a fountain of tears, und meine Augen Tränenquellen wären, that I might weep day and night for mine daß ich Tag und Nacht beweinen könnte meine iniquities! Sünde!

Meine Sünden gehen über mein Haupt. For mine iniquities are gone over mine head; Wie eine schwere Last sind sie mir zu schwer as a heavy burden they are too heavy for me. worden, darum weine ich so und meine Augen fl ießen For these thing I weep; mit Wasser. mine eye, mine eye runneth down with water.

Meines Seufzens ist viel, und mein herz ist For my sights are many, betrübet, and my heart is faint. denn der Herr hat mich voll Jammers gemacht, Wherewith the Lord hath affl icted me am Tag seines grimmigen Zorns. in the day of his fi erce anger.

J. S. Bach: »Widerstehe doch der Sünde«

. Aria . Aria Widerstehe doch der Sünde, Stand steadfast against transgression, Sonst ergreifet dich ihr Gift. Or its poison thee will seize. Laß dich nicht den Satan blenden; Be thou not by Satan blinded, Denn die Gottes Ehre schänden, For God’s glory to dishonor Triff t ein Fluch, der tödlich ist. Brings a curse of fatal doom.

. Recitativo . Recitative Die Art verruchter Sünden Th e shape of vile transgression Ist zwar von außen wunderschön; In sooth is outward wondrous fair; Allein man muss But yet one must Hernach mit Kummer und Verdruss Receive with sorrow and dismay Viel Ungemach empfi nden. Much toil and woe thereafter. Von außen ist sie Gold; Th e outside is pure gold, Doch, will man weiter gehn, But, should one look within, So zeigt sich nur ein leerer Schatten Appears nought but an empty shadow Und übertünchtes Grab. And whited sepulcher. Sie ist den Sodomsäpfeln gleich, It is the Sodom’s apple like, Und die sich mit derselben gatten, And those who are with it united Gelangen nicht in Gottes Reich. Shall never reach God’s heav’nly realm. Sie ist als wie ein scharfes Schwert, It is just like a sharpened sword Das uns durch Leib und Seele fährt. Which doth our soul and body pierce.

. Aria . Aria Wer Sünde tut, der ist vom Teufel, Who sin commits is of the devil, Denn dieser hat sie aufgebracht. For he it was who brought it forth. please turn page quietly CAL PERFORMANCES 31 Texts and Translations

Doch wenn man ihren schnöden Banden But if one gainst its haughty fetters Mit rechter Andacht widerstanden, With true devotion stand steadfastly, Hat sie sich gleich davongemacht. Shall it at once from here take fl ight.

Zelenka: Barbara dira eff era

Immanes gentis rabies! Th e ferocious, fi erce and terrible Quae lignum sacrum crucibus fury of the brutal people! Latronum confudisti. you mixed up the sacred wood with the crosses of the thieves.

Hispida, saeva, horrida Coarse, savage, horrifying Carnifi cuum barbaries brutality of the executioners, Pignus dulce fossoribus you begrudged the panting excavators Anhelis invidisti. the sweet pledge [of God’s love].

Mens metus plena fl uctuat Th e mind, full of fear, is agitated: Quod lignum Redemptoris Which is the wood of the Redeemer? Cor inquietum dubitat Th e uneasy heart is in doubt: Quae crux est salvatoris. Which is the cross of salvation?

32 CAL PERFORMANCES Program Notes

Tonight’s tour of baroque Germany begins with Johann Christoph Bach (–) the impassioned musical discourses of the mid- »Ach, daß ich Wassers gnung hätte« th century, after the country had been ravaged (c.) by the Th irty Years’ War. Th e deeply melancholy Cantata for alto solo, violin, three violas and tone of J. Ch. Bach’s great lament captures the basso continuo. anguished mood of the times. His great-nephew J. S. Bach, writing at the beginning of the new Perhaps the most signifi cant musician of the Bach century, is still looking backwards at the great family in the generation before Johann Sebastian musical arts of the previous generation, but was the son of Heinrich Bach, the “great and transforming them with his own genius. With expressive” Johann Christoph Bach, whom the Telemann, Heinichen and Zelenka, we hear the family regarded as a “profound” composer. J. S. music of a newly cosmopolitan Germany in the Bach’s obituary mentions his ancestor with high th century. In their various ways, the works praise: Johann Christoph Bach “was as good of these composers incorporate the brilliant at inventing beautiful thoughts as he was at musical developments of Italy and France into expressing words. He composed, to the extent their own musical languages to form a new and that current taste permitted, in a galant and very international style. cantabile style, uncommonly full-textured.... On the organ and the keyboard he never played with Heinrich Bach (–) fewer than fi ve independent parts.” Two Sonatas a cinque (c.) Interestingly, this Bach’s works found favor not only with J. S. Bach but in the next For two violins, two violas and basso continuo. generation as well: C.P.E. Bach, who may have We often forget that Johann Sebastian Bach shared something of his ancestor’s taste for was but one of a highly distinguished family of charged and impassioned musical declamation, musicians. Among his forebears was the almost- incorporated several of Johann Christoph unknown Heinrich Bach, who spent much Bach’s movements into his own church works. of his career in Arnstadt. In his funeral elegy, Th e richness of texture characteristic of J. Ch. Heinrich Bach was praised as being an “organist Bach’s music is particularly evident in one of who touched the heart” and “a musicus practicus his masterpieces, the passionate and aff ecting famous in his art” who composed “chorales, lament, »Ach, daß ich Wassers gnug hätte«, for motets, concertos, fugues, and the like.” Only alto and strings. Here, the melancholy that is so six of his works survive today, among which are marked in much of th-century German music two sonatas for the characteristic th-century comes to the fore, as both the fi rst violin and the scoring of two violins, two violas and continuo. singer pour out their grief in highly evocative Th e fi rst of these, in C major, begins in streams of musical tears. slow triple-time, with a sonorous fi gure moving upwards through the instruments. After further Georg Philipp Telemann (–) imitative work, the sonata moves on to a Septet in E Minor, TWV : (c.) dramatic fanfare fi gure, complete with brilliant For two oboes, bassoon, two violins, two violas trills, which is discussed at length. Th e work and basso continuo. ends with this motif translated into triple-time, with echoes. Heinrich Bach’s Sonata in F begins Gravement—Alla breve—Air—Tendrement—Gay dramatically with another kind of fanfare, which again receives considerable discussion. With Georg Phillip Telemann, we turn to A striking stylus phantasticus alternation of brief the new international style of the early th adagios and brisk prestos makes up the musical century. Telemann himself was an exceptionally discourse of the rest of the movement. cosmopolitan fi gure, highly aware of the

CAL PERFORMANCES 33 Program Notes latest musical developments across Europe, cantatas, one refl ecting earlier German practices), and bringing to everything he undertook a this solo cantata is particularly striking for the remarkably vigorous entrepreneurial energy. opening gesture of its fi rst aria: a crashingly Written in a characteristically international mix unprepared dominant seventh chord, repeated of styles, his so-called Septet in E minor is really over a tonic pedal. Th e extremely wide-ranging a sort of concerto grosso, in which the two oboes vocal part was doubtless intended for one of the and bassoon take on occasional solo duties as the Duke’s distinguished soloists in the Capelle. concertino ensemble. Th is cantata is one of only  that Bach wrote Th e work’s movements are as cosmopolitan for solo voice, and since there is no chorus, it as the composer himself: the fi rst two movements lacks a closing chorale. Instead, Bach constructs are in the stile antico of the Italian sonata da a symmetrical form of aria-recitative-aria, with chiesa, while the last three movements are elegant the fi nal aria refl ecting its exhortation to stand confections in the French style. Th e opening fi rm against Satan by setting the text in a “fi rm” Gravement begins with a series of harmonically three-part chromatic fugue, with a sinuous th- charged rising sequences, setting a strikingly note countersubject (perhaps the devil himself?). serious tone. Th is is continued in the fugal Alla In a small-scale tour de force, Bach manages to Breve, where the opening theme, a descending turn this fugue into an ingeniously modifi ed da scale, is answered by a deft countersubject. capo aria. Here, Telemann shows his easy mastery of counterpoint, as well as the good manners never Johann David Heinichen (–) to let his learning overshadow his wit. With Ouverture in G major the Air, we have a series of dancing exchanges between the winds and the strings, while the For two oboes, two violins, viola and basso Tendrement states its case in an elegant dotted continuo. triple-time. Th e work closes with a movement Ouverture—Air—Bourée I + II—Air— simply marked Gay, in which witty pseudo- Rigaudon I + II—Air. Viste fugal writing dominates the texture. During the brief period that Telemann ran Johann Sebastian Bach (–) Leipzig’s collegium musicum, one of his young Cantata, BWV , »Widerstehe doch der charges may well have been the university Sünde« (c.) student Johann David Heinichen, at that point contemplating a career in law. Heinichen For alto solo, two violins, two violas and basso had previously received an excellent musical continuo. education at the Th omasschule; according to his Bach’s Cantata, BWV , was written while he own account, some of his youthful pieces were was employed at the court of Duke Wilhelm performed in the local churches. After a brief Ernst of Weimar, a year after he had been period as a lawyer in Weissenfels, he returned promoted to the postion of Konzertmeister there. to his fi rst love of music, and soon decided to By the text, we can judge that this cantata was experience Italian opera fi rst-hand. By , he intended for the third Sunday of Lent, known was in Rome, where the traveling Prince Leopold as Oculi, which fell on March  in . Its of Anhalt-Cöthen invited Heinichen to join his libretto, by the poet G. C. Lehms, was published retinue. When the composer declined, Leopold in a collection some four years previously, and had to settle for J. S. Bach instead. In , urges the listener to hold fi rm and avoid the the Elector of Saxony did persuade Heinichen snares of the devil. to become his Kapellmeister, and the composer Scored for alto and fi ve-part strings (a returned to Dresden, there to spend the rest of characteristic instrumentation of Bach’s early his life.

34 CAL PERFORMANCES Program Notes

Heinichen’s Ouverture in G was composed house on a newer and more spectacular scale, for the celebrated orchestra of Dresden, then and gave the Kapellmeister position instead to at the peak of its powers. As in the Telemann J. A. Hasse, who conveniently brought with him Septet, the wind band here occasionally serves his wife Faustina Bordoni, the most celebrated as a concertino trio in contrast with the full diva of her day. ensemble. Th e Ouverture itself reveals how far Zelenka’s Barbara dira eff erta probably dates this form has evolved from Lully’s spiky dotted from around , when his star was being overtures; instead, we are treated to far more eclipsed by these new operatic developments. galant and fl owing fi guration in the opening Although a church motet, it displays Zelenka’s slow section. Its fast part does indeed begin with brilliant sense of theatricality, and may well the traditional imitative entries, but Heinichen have been composed to remind the new elector quickly abandons any pretense at fugal writing that he could perfectly well produce thrillingly to concentrate on brilliant sequences of th-note dramatic works. Th e text derives from the scales. Th e elegant, galant tone continues with medieval “Golden Legend,” a collection of the subsequent movements: fi rst a light / Air stories about saints. According to this popular that is passed back and forth between the whole source, Saint Helena found the “true cross” of band and the solo wind trio, then a sprightly Christ buried in a confused pile with the crosses pair of Bourrées, with the second given over to of the two thieves who were crucifi ed with him. the winds, a slow Air that is really a sarabande in She and her companions are unable to tell which disguise, a pair of energetic Rigadons, and fi nally is which until a funeral cortege passes by; each a headlong Air viste. cross is laid in turn on the dead body, and when the third cross touches the corpse, the dead man Jan Dismas Zelenka (–) springs back to life. “Barbara dira eff era,” ZWV  () Marked “Allegro assai, e sempre fi ero,” this solo motet opens with vigorous th-note Motet in F major for alto solo, two oboes, bassoon, activity and driving syncopations; it is in fact a two violins, viola and basso continuo. rage aria for the church. When the singer enters, Where Heinichen rose to the splendor of the she must display as much agility as Zelenka role of Kapellmeister at the Dresden court, his demands from the winds and strings. Note colleague Jan Dismas Zelenka never quite the shocking arrival on two diminished chords achieved such an exalted position. Czech by at the word “horrida.” Th e second time, this birth, Zelenka arrived in Dresden around  is even marked fortissimo—a rare event in the to play violone in the famously virtuosic court Baroque! Other fi gures in the ritornello turn orchestra. Zelenka was a devout Catholic, and out to illustrate particular words: the “wrong” his fi rst great success in Dresden was a Missa off -beat syncopations convey how the various Sanctae Caeciliae, performed to much acclaim crosses are “confused,” while sweet paired notes in the splendid, newly opened Hofkirche. represent the “pignus dulce,” the sweet pledge of (Th is Catholic church had been built after the salvation. Th e whole work bristles with Zelenka’s Saxon Elector, Friedrich August I, converted to characteristically fertile compositional energy, Catholicism as part of his successful bid for the making a splendid close to this program. Polish crown.) Zelenka expended a great deal of his ©  Robert Mealy compositional energy on works for court services there, and upon the death of Heinichen in  expected to move into his colleague’s position. But after the death of Friedrich August I in , the new Elector preferred to revive the opera

CAL PERFORMANCES 35 About the Artists

Founded in  by Reinhard Goebel and fellow students from the Conservatory of Music in Cologne, Musica Antiqua Köln initially de- voted itself to the performance of chamber and sacred music of the Baroque. In , Musica Antiqua Köln attained its international break- through with the ensemble’s debut at London’s Queen Elizabeth Hall and with fi ve concerts at the Holland Festival. On the occasion of its th anniversary, the ensemble broadened its forces and for the fi rst time made appearances as a full orchestra, establishing itself in both concerts and recordings with works for the orchestral repertoire. Since , the ensemble, with Mr. Goebel as its concertmaster, has regularly made concert tours of the United States, as well as sev- Musica Antiqua Köln eral appearances in Australia and South America, and in  on the occasion of the “Bach Year” Ilia Korol, guest leader even traveled to the People’s Republic of China. Susanne Regel, oboe Musica Antiqua Köln received the Buxtehude Wolfgang Dey, oboe Prize from the City of Lübeck and has also re- Rainer Johannsen, bassoon ceived awards from Siemens and the State of Ilia Korol, violin Nordrhein-Westfalen. In , the ensemble Franz Peter Fischer, violin was named “Artists of the Year” by the Deutsche Margret Baumgartl, viola Phonoakademie. Chiharu Abe, viola A hand injury in the early s forced Klaus Dieter Brandt, violoncello Mr. Goebel to stop playing for a period, and, al- Ulrich Wolff , violone though he later resumed playing, since that time Léon Berben, harpsichord he has acted as music director while the role of fi rst violin has been taken up by his protégés. November’s concerts by Musica Antiqua Musica Antiqua Köln and Reinhard Goebel Köln will mark the ensemble’s last. For over have been under exclusive recording contract with  years, Musica Antiqua, under the leadership Archiv Produktion since . Th e exquisiteness of Reinhard Goebel, has performed in virtu- and uniqueness of the ensemble’s choice of rep- ally every known musical center and festival for ertoire have been emphasized by the recording early music, having become the quintessence of prizes it has received, including the Grand Prix a lively and virtuosic interpretation of the mu- International du Disque and the Gramophone sic of the th and th centuries, and of an Award. Th e recording of Heinichen’s Dresden ingenious and imaginative engagement in his- Concerti became a sensational world success and torical performance practice. For health reasons, in – received fi ve coveted honors: the Mr. Goebel will unfortunately not appear in the Jahrespreis der Deutschen Schallplattenkritik, ensemble’s fi nal tour. November’s concerts will the Gramophone Award, the Prix Caecilia, the be lead by Ilia Korol, who has been a member of Schallplattenpreis Echo-Klassik and the CD the ensemble since . Mr. Korol is the direc- Compact Award. Among the most successful tor of his own ensemble, moderntimes, which is of the ensemble’s recordings is the release of based in Vienna. Handel’s Marian Cantatas and Arias with Anne

36 CAL PERFORMANCES About the Artists

Sofi e von Otter, which was distinguished with the  CD Compact Award in the Baroque vocal category, as well as a CD of orchestral works of Heinichen, Veracini, Quantz, Dieupart and Pisendel, entitled Concerti per l’orchestra di Dresda, in addition to a recording of Johann Adolf Hasse’s Salve Regina with Bernarda Fink and Barbara Bonney. More recent releases on Deutsche Grammophon Archiv-Produktion are the joint recording with the Gabrieli Consort & Players of the Missa Salisburgensis, presumably com- posed by Heinrich Ignaz Franz Biber in  on the occasion of the ,th anniversary of the Salzburg Cathedral (rereleased on SACD in ), and an album with mezzo-soprano Anne Sofi e von Otter, entitled Lamenti, which received the Diapason d’Or. One CD series, by now comprising two releases, is dedicated to yet unrecorded compositions by Georg Philipp Telemann, certainly one of Germany’s most prolifi c and wittiest Baroque composers. Th e Contralto Marijana Mijanovic is rapidly be- fi rst recording of this series was nominated for coming one of Europe’s leading soloists in the a Grammy Award, and for the same recording, baroque repertoire. She was born in Valjevo, Reinhard Goebel received the Telemann-Preis the former Yugoslavia. In , after her piano der Stadt Magdeburg. Another equally success- studies at the Academy of Belgrade, she came ful project is a series of CDs, entitled Bachiana, to the Netherlands and went on to study voice which explores the works of J. S. Bach’s lesser at Sweelinck Conservatorium in Amsterdam known relatives. Th e recording of Biber’s with Dutch mezzo-soprano Cora Canne Meijer. Harmonia Artifi ciosa, released in , was In , she won numerous International Voice nominated for a Grammy Award and received Competitions including the Jo Bollekamp and the Japanese Record Academy Award. at the Erna Spoorenberg Competition as well as the International Opera Competition, the Prix Jeunesse, in Amsterdam’s Concertgebouw. Ms. Mijanovic has appeared with most of Europe’s with leading ensembles and conductors most notably William Christie, Emmanuelle Haim, Marc Minkowski, Philippe Herreweghe, Paul McCreesh and Rene Jacobs. Her US de- but was in  with Les Arts Florissants per- forming the role of Penelope in Monteverdi’s Il Ritorno de’Ulisse at the Brooklyn Academy of Music. She returned in  with the Venice Baroque Orchestra performing in Boston and New York. Th is concert marks her Bay Area debut.

CAL PERFORMANCES 37