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Eastman Bach Cantata Series 2020-2021 BWV 111: Was mein Gott will, das g’scheh allzeit J. S. Bach Cantata for the Third Sunday after Epiphany (1685-1750) 20’ I. Chorale II. Bass Aria III. Alto Recitative IV. Alto & Tenor Duet V. Soprano Recitative VI. Chorale Eastman Bach Cantata Series Soli: Elise Noyes, soprano Veronica Siebert, mezzo-soprano BWV 111: Was mein Gott will, das g’scheh allzeit Joshua Carlisle, tenor James Wolter, conductor Peter Schoellkopff, bass Orchestra: Lydia Becker, violin I BWV 101: Nimm von uns, Herr, du treuer Gott Christophe Koenig, violin II Juliana Kilcoyne, viola Eric Meincke, conductor Hannah Rubin, cello Brendan Shirk, oboe I Gwyneth Allendorph, oboe II Alexander Little, organ James Wolter, conductor Sunday, March 28, 2021 Kodak Hall at Eastman Theatre 3pm ~ INTERMISSION ~ BWV 101: Nimm von uns, Herr, du treuer Gott J. S. Bach ~ PROGRAM NOTES, TEXTS AND TRANSLATIONS ~ Cantata for the Tenth Sunday after Trinity (1685-1750) 25’ I. Chorus II. Tenor Aria III. Soprano Recitative Bach composed Was mein Gott will, das g’scheh allzeit for the third Sunday IV. Bass Aria after Epiphany on January 21st, 1725. Movements one and six directly quote V. Tenor Recitative the text and melody of the the fi rst and fourth verses respectively of the hymn of the same name by Albert, Duke of Prussia published in 1555. While the VI. Soprano & Alto Duet last movement is the straightforward harmonization of the chorale, the fi rst VII. Chorale movement combines an instrumental ritornello with the chorale in the soprano voice in cantus fi rmus style; the soprano sustains the melody while the lower three voices embellish the chorale with lively counterpoint. The text of the middle movements come from an unknown librettist with the Soli: exception of one line from the bass aria, “Gott ist dein Trost und Zuversicht” Darby Schmidt, soprano (God is your comfort and solace), the opening line from the second verse of Madelin Morales, mezzo-soprano the hymn. The alto recitative comments on the futility of hiding from God’s omniscience while extolling those who trust in the protection of God. The alto/ Jacob Hunter, tenor tenor duet then assertively proclaims allegiance and faith to God even to the S Joshua Sheppard, baritone grave. The ensuing soprano recitative accompanied by oboes and basso continuo examines the hour of death and uses militaristic language depicting God as defending the soul from corruption and sin which leads directly to the fi nal Orchestra: chorale both musically and thematically. Lydia Becker, violin I - James Wolter Christophe Koenig, violin II Juliana Kilcoyne, viola Clara Hope Simpson, cello 1. Chorale Nina Robinson, flute Was mein Gott will, What my God wills Daniel Hirshbein, oboe I das g’scheh allzeit, always comes to pass, Gabriela Fry, oboe II Sein Will, der ist der beste, His will is the best, Alexander Kang, English horn Zu helfen den’n er ist bereit, He is ready to help those, Die an ihn glauben feste. who steadfastly believe in him. Alexander Little, organ Er hilft aus Not, He, the righteous God, der fromme Gott, helps those in distress, Eric Meincke, conductor Und züchtiget mit Maßen. And chastens with measure. Wer Gott vertraut, Who trusts in God fest auf ihn baut, builds firmly on him, Den will er nicht verlassen. He will not abandon them. 2. Bass Aria Nimm von uns, Herr, du treuer Gott (BWV 101) was composed in 1724 for the Entzetze dich, mein Herze, nicht, Fret not, my heart, 10th Trinity Sunday as part of Bach’s duties as Thomaskantor in Leipzig. The entire Gott ist dein Trost und Zuversicht God is your comfort and solace cantata revolves around the melody of the chorale, “Leit uns mit deiner rechten Hand,” Und deiner Seele Leben. And your soul’s life. which was written by noted German poet and mystic Martin Moller in 1584 during a Ja was sein wieser Rat bedacht, Surely what his sage council considered, plague epidemic. In the fi rst movement, each phase of the chorale is presented in strict Dem kann die Welt und Menschenmacht The world and humanity’s power counterpoint with fugue-like entrances in each of the voices representing the beginning Unmöglich widerstreben. cannot possibly resist. of each new chorale phrase. The soprano always enters last, singing the chorale melody verbatim as a cantus fi rmus while the other voices continue the same text in imitative 3. Alto Recitative polyphony. In the subsequent recitative, the soprano also sings the chorale melody, O Törichter! O foolish one but this time in a triple meter and lightly embellished. The phrases of the chorale are der sich von Gott entzieht who hides themself from God interrupted several times by sections of secco recitative. The tenor plays a similar role in Und wie ein Jonas dort And like Jonas the movement fi ve recitative, but with a more literal recollection of the original chorale Vor Gottes Angesichtes fl ieht; Flees from the face of God melodies. In the fourth movement, throughout contrasting passages of technical and Auch unser Denken ist ihm offenbar, For even our thoughts are obvious to him lyrical playing and singing by the oboe section and bass soloist, the fi rst phrase of the Und unsers Hauptes Haar And the hairs on our head chorale is presented as a transposed melody twice by the bass in the immediate two Hat er gezählet. He has counted. Andante sections, and is reprised in its entirety by the oboe section during the pleading Wohl dem, der diesen Schutz erwählet Blessed are they who choose this protection slow section before the fi nal Vivace. Finally, in a refl ective soprano and alto duet in Im gläubigen Vertrauen, In faithful trust, movement six, the chorale melody is played fi rst by the English horn, while the fl ute Auf dessen Schluß und Wort On whose end and word plays a more ornamented line in counterpoint. Those roles reverse before the soprano Mit Hoffnung und Geduld zu schauen. Behold with hope and patience. and alto play the same roles with their entrances. The chorale referenced numerous times throughout the work closes the cantata, refl ecting the message that is also consistent 4. Alto and Tenor Duet throughout the piece: asking God for mercy and forgiveness amidst a lifetime of sin. So geh ich mit geherzten Schritten, Thus I go with spirited steps - Eric Meincke Auch wenn mich Gott zum Grabe führt. Even if God leads me to the grave. 1. Chorale Gott hat die Tage aufgeschrieben, God has written out the days, Nimm von uns, Herr, du treuer Gott, Take away from us, Lord, faithful God, So wird, wenn seine Hand mich rührt, When his Hand touches me, so will Die schwere Straf und große Not, the heavy punishment and great suffering, Des Todes Bitterkeit vertrieben. Death’s bitterness be dispelled. Die wir mit Sünden ohne Zahl which we, with countless sins Verdienet haben allzumal. have too much deserved. 5. Soprano Recitative Behüt für Krieg und teurer Zeit, Protect us against war and precarious times, Drum wenn der Tod zuletzt den Geist Therefore, when death in the end forcefully Für Seuchen, Feur und großem Leid. against plagues, fire, and great misery. Noch mit Gewalt aus seinem Körper reißt, Rips the spirit from the body, So nimm ihn, Gott, Then take it, God, 2. Tenor Aria in treue Vaterhände! into the trusting hands of the Father! Handle nicht nach deinen Rechten Do not deal with us wicked servants of sin Wenn Teufel, Tod und Sünde When the devil, death, and sin Mit uns bösen Sündenknechten, according to your justice; mich bekriegt besiege me Laß das Schwert der Feinde ruhn! let the sword of the enemy rest! Und meine Sterbekissen And my death pillow Höchster, höre unser Flehen, Highest, hear our pleading, Ein Kampfplatz werden müssen, Must become a battleground, Daß wir nicht durch sündlich Tun so that, through sinful acts, So hilf, damit in dir mein Glaube siegt! So help, so that in you my faith is victorious! Wie Jerusalem vergehen! we might not be destroyed like Jerusalem! O seliges, gewünschtes Ende! O blessed, desired, end! 3. Chorale and Soprano Recitative Ah! Lord God, through your love 6. Chorale Ach! Herr Gott, durch die Treue dein our country shall enjoy peace and quiet. Noch eins, Herr, will ich bitten dich, Just one plea, Lord, I ask of you, Wird unser Land in Fried und Ruhe sein. If an unlucky storm threatens, Du wirst mir’s nicht versagen: You will not deny this: Wenn uns ein Unglückswetter droht, then shall we call, Wenn mich der böse Geist anfi cht, When the evil spirit arraigns me, So rufen wir, Barmherzger Gott, merciful God, on You Laß mich doch nicht verzagen. Let me not despair. zu dir in solcher Not: in such necessity: Hilf, steur und wehr, ach Gott, mein Herr, Help, guide, and defend, o God, my lord, Mit Trost und Rettung uns erschein! appear to us with comfort and rescue! Zu Ehren deinem Namen. To the honor of your name. Du kannst dem feindlichen Zerstören You can turn aside the hostile destruction Wer das begehrt, dem wird’s gewährt; Who desires this, to them it will be granted; Durch deine Macht und Hilfe wehren. through your power and aid. Drauf sprech ich fröhlich: Amen. Thus I gladly say: Amen. Beweis an uns deine große Gnad Reveal to us your great mercy Und straf uns nicht auf frischer Tat, and do not punish us in the very act, Wenn unsre Füße wanken wollen when our feet want to wander Und wir aus Schwachheit straucheln sollten.
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  • 5178 Bookl:Layout 1 06.05.2013 12:03 Uhr Seite 1 5178 Bookl:Layout 1 06.05.2013 12:03 Uhr Seite 2

    5178 Bookl:Layout 1 06.05.2013 12:03 Uhr Seite 1 5178 Bookl:Layout 1 06.05.2013 12:03 Uhr Seite 2

    5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 1 5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 2 FRANZ SCHREKER (1878-1934) DER FERNE KLANG Oper in drei Aufzügen / Opera in 3 Acts Text: Franz Schreker - Gesamtaufnahme / Complete Recording - Grete GABRIELE SCHNAUT Fritz THOMAS MOSER Der alte Graumann VICTOR VON HALEM Frau Graumann BARBARA SCHERLER Der Wirt JOHANN WERNER PREIN Altes Weib JULIA JUON Ein Schauspieler HANS HELM Dr. Vigelius SIEGMUND NIMSGERN Milli / Kellnerin: Barbara Hahn · Mizzi / Ein Mädchen: Gudrun Sieber · Mary / Choristin: Gertrud Ottenthal Ein Individuum: Rolf Appel · Erster Chorist: Peter Haage · Der Graf: Roland Hermann Der Chevalier: Robert Wörle · Der Baron / Zweiter Chorist / Der Polizist: Gidon Saks · Rudolf: Claudio Otelli RIAS KAMMERCHOR · RUNDFUNKCHOR BERLIN (Einstudierung / Chorus Master: Dietrich Knothe) RADIO-SYMPHONIE-ORCHESTER BERLIN GERD ALBRECHT (Dirigent / conductor) Co-Produktion: RIAS Berlin - CAPRICCIO ©+P 1991 / 2013 CAPRICCIO, 1010 Vienna, Austria Made in Austria www.capriccio.at 3 5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 3 CD 1 ERSTER AUFZUG / ACT ONE [1] Vorspiel …………………………………………………………………………………………………………. 4:02 1. SZENE / SCENE 1 [2] „Du willst wirklich fort, Fritz“ (Grete, Fritz) …………………………………………………………………. 2:10 [3] „Ein hohes, hehres Ziel schwebt mir vor Augen“ (Grete, Fritz) …………………………………………. 5:37 [4] „Hörst du, wie sie toben“ (Grete, Fritz) …………………………………………………………………….. 2:06 2. SZENE / SCENE 2 [5] „Frau Mama zu Hause?“ (Die Alte, Grete) ………………………………………………………………… 2:10 3. SZENE / SCENE 3 [6] „Was weinst denn?“ (Mutter, Grete) ………………………………………………………………………. 1:36 4. SZENE / SCENE 4 [7] „Nur herein, meine Herren“ ………………………………………………………………………………….. 7:23 (Graumann, Wirt, Schauspieler, Grete, Vigelius, Mutter, Chor) 5. SZENE / SCENE 5 [8] „Fräulein sollten sich‘s überlegen“ (Wirt, Mutter, Grete) ………………………………………………….