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Evening of Church Cantata Movements Gamut Bach

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Evening of Church Cantata Movements Gamut Bach MIHO SAEGUSA iolinist Miho Saegusa, a versatile chamber musician and orchestral leader, has built a multifaceted career that allows her to cherish the spirit of collaboration. She is a founding member of the Grammy-nominated V The New York Times Aizuri Quartet, branded by as “genuinely exciting” and “imaginative” for its engaging and thought-provoking programs. Ms. Saegusa also loves the energy and intimacy of chamber orchestras. She is a member and Wednesday • May 12 • 6:00 pm currently one of the three Artistic Directors of the celebrated Orpheus Chamber Benjamin Franklin Hall Orchestra, and previously served as Concertmaster of the Chamber Orchestra American Philosophical Society of Philadelphia. Her passion for chamber ensembles was ignited and nurtured through memorable summers at the Marlboro Music Festival, Ravinia Steans Institute, and Aspen Music Festival and School. Born in Kitakyushu, Japan, Ms. Saegusa has played the violin since the age of five. She is very grateful to her principal teachers Masao Kawasaki and Dorothy DeLay. She received her Bachelor of Arts degree from Yale University, and completed graduate work at EVENING OF CHURCH The Juilliard School, earning her Master of Music and Artist Diploma. When not playing the violin, Ms. Saegusa can be found exploring farmers markets and CANTATA MOVEMENTS experimenting in the kitchen. Johann Sebastian Bach [1685-1750] NATHANIEL WEST athaniel West joined the Philadelphia Orchestra bass section in September 2017, and has served as Acting Assistant Principal Bass since October Nof 2019. He is a recent graduate of the Curtis Institute of Music, where GAMUT BACH ENSEMBLE he studied with Harold Robinson and Edgar Meyer. Mr. West is also a former member of the Kennedy Center Opera House Orchestra in Washington, DC. As KOJI OTSUKI, director a chamber musician, Mr. West has performed with the Jupiter Chamber Players in New York, the Chamber Music Society of Lincoln Center during its annual Jessica Beebe, soprano residency in Saratoga Springs, NY, and at summer festivals such as Twickenham Daniel Moody, countertenor Fest in Huntsville, AL; Caroga Lake Music Festival in Caroga Lake, NY, Luzerne Music Festival in Lake Luzerne, NY, the the Marlboro Music Festival in Vermont, Daniel McGrew, tenor and the VIVO Music Festival in his hometown of Columbus, OH. Elijah Blaisdell, baritone PAUL WIANCKO oboe/oboe d’amore/English horn aul Wiancko has led an exceptionally multifaceted musical life as a cellist, Ryan Roberts, composer, and collaborator. As a student, Mr. Wiancko simultaneously Emilie-Anne Gendron, violin Pwon international cello competitions and recorded strings for local punk Miho Saegusa, violin bands in his dorm room. That duality constitutes the core of Mr. Wiancko’s viola artistic DNA and has resulted in close collaborations with Chick Corea, Jóhann Ayane Kozasa, Jóhannsson, Max Richter, Yo-Yo Ma, and members of Arcade Fire, the National, Paul Wiancko, cello Pennywise, and the Guarneri and Juilliard Quartets. An avid chamber musician Nathaniel West, double bass and winner of the S&R Foundation’s Washington Award for Composition, Mr. organ Wiancko’s own music has been described as “dazzling” and “compelling” (Star Jonathan Oddie, Tribune). He has been commissioned by the Aizuri, Parker, St. Lawrence, and Attacca Quartets, yMusic, soprano Susanna Phillips, violinist Alexi Kenney, violist Ayane Kozasa, and the Raleigh Civic Symphony—and has been composer-in- residence at the Caramoor, Spoleto, Twickenham, Newburyport, Portland, and Methow Valley Festivals. PROGRAM JONATHAN ODDIE 1. Sinfonia to Ich steh mit einem Fuß im Grabe, BWV 156 ew Zealand-born keyboardist Jonathan Oddie enjoys a varied performing career on harpsichord, fortepiano and chamber organ. Currently based —Alto Arias— in the Seattle area, he has performed as a featured harpsichord soloist Ein ungefärbt Gemüte N 2. with the Northwest Sinfonietta and Saratoga Orchestra of Whidbey Island, and (No. 1, Ein ungefärbt Gemüte, BWV 24 [1723]) as a chamber musician on harpsichord and fortepiano for Gallery Concerts 3. Ein unbarmherziges Gerichte Seattle, the Whidbey Island Music Festival and the Salish Sea Early Music (No. 3, Was soll ich aus dir machem, Ephraim, BWV 89 [1723]) Festival. As an orchestral harpsichordist he performs regularly with ensembles 4. Vergnügte Ruh, beliebte Seelenlust including the Portland Baroque Orchestra, Seattle Symphony, and North Corner Chamber Orchestra. Mr. Oddie studied piano and harpsichord performance at (No. 1, Vergnügte Ruh, beliebte Seelenlust, BWV 170 [1726]) Indiana University, where his teachers included Elisabeth Wright, Jean-Louis —Tenor Arias— Haguenauer and Edmund Battersby. He also holds a doctorate in musicology 5. Stürmt nur, stürmt, ihr Trübsalswetter from the University of Oxford, where he researched the music of the English composer Orlando Gibbons in relation to 17th-century theories of composition. (No. 6, Schau, lieber Gott, wie meine Feind, BWV 153 [1724]) He has published articles and reviews in the journals,Early Music and Historical 6. Seufzer, Tränen, Kummer, Not Performance, and is the recipient of awards including a Performer’s Certificate (No. 3, Ich hatte viel Bekümmernis, BWV 21 [1713, ver. 1714]) from Indiana University and a Frank Huntington Beebe Fellowship. 7. Ich traue seiner Gnaden (No. 4, In allen meinen Taten, BWV 97 [1734]) RYAN ROBERTS 8. Sinfonia to Der Herr denket an uns, BWV 196 [1708] ecognized for his “beautiful”, “eloquent” and “exquisite” playing by the New York Times, Ryan Roberts is the newly appointed English horn/Oboe —Bass Arias— of the New York Philharmonic and a member of the oboe faculty at the 9. Ich habe genung R Bard College Conservatory of Music. Mr. Roberts has performed as guest prin- (No. 1, Ich habe genung, BWV 82 [1727]) cipal oboe and English horn with many of the country’s leading orchestras, in- 10. Hier, in meines Vaters Stätte cluding the Chicago Symphony, the Philadelphia Orchestra, the San Francisco (No. 3, Liebster Jesu, mein Verlangen, BWV 32 [1726]) Symphony, the Metropolitan Opera Orchestra, and the Ft. Worth Symphony. A 11. Sinfonia to the Second Part, passionate teacher, Ryan has worked with students in the US and abroad at The Die Himmel erzählen die Ehre Gottes, BWV 76 [1723] Juilliard School, the San Francisco Conservatory of Music, and the music schools 12. Sinfonia to the Second Part, of Montclair State University, Cal State Long Beach, UC Irvine, and Chapman University. An award-winning oboist, Ryan received first prize at the Interna- Die Elenden sollen essen, BWV 75 [1723] tional Double Reed Society’s 2018 Young Artist Competition and the National —Soprano Movements— Society of Arts and Letters’ 2018 Woodwind Competition. Before joining the 13. Komm, komm, mein Herze steht dir offen New York Philharmonic, Mr. Roberts spent one season as a member of the New World Symphony under the direction of Michael Tilson-Thomas. In 2018, Ryan (No. 2, Wer mich liebet, der wird mein Wort halten, BWV 74 [1725]) premiered Michael Torke’s Oboe Concertino with the Albany Symphony and re- 14. From Mein Herze schwimmt im Blut, BWV 199 [1713, ver. 1723] corded the work for Albany Records. An avid chamber musician, Ryan performs 3. Recitative: Doch Gott muß mir genädig sein at the Marlboro Music Festival during the summer under artistic directors -Mit 4. Aria: Tief gebückt und voller Reue * suko Uchida and Jonathan Biss; he has also collaborated in recitals with the 8. Aria: Wie freudig ist mein Herz Pacifica Quartet and Emanuel Ax. www.ryanrobertsoboe.com * This movement is dedicated to the memory of Arlene Wartenberg. Please note: For everyone’s safety, we require that you wear your mask at all times and that it fully covers your mouth and nose. If you should test positive for the coronavirus after attending this event, please notify us at 215-569-8080 immediately. We thank you for your attendance and cooperation! 1 10 DANIEL McGREW raised for his “lovely, nuanced tenor” (Boston Musical Intelligencer), Daniel ABOUT GAMUT BACH ENSEMBLE amut, in music, is the complete range of pitches in a musical sys- McGrew is an active performer of a broad range of repertoires spanning opera, musical theatre, early, and new musics. He has recently appeared tem, and the word derives from “ Γ (Gamma) Ut”—the lowest P tone recognized in medieval music theory. Paying respects to the in recital with Brooklyn Art Song Society, Five Boroughs Music Festival, Mirror G Visions Ensemble, New York Festival of Song, and the University Musical root of so much of what classical music is today, the Gamut Bach En- Society, where he joined Martin Katz and three other singers for performances semble (GBE) is on a mission to bring you Bach’s cantatas—a relatively comprising the complete Mörike Songs of Hugo Wolf. In 2019, Mr. McGrew spent under-explored vocal genre that makes up a large part of the composer’s his inaugural summer at the Marlboro Music Festival. Before that, at Tanglewood oeuvre. The original GBE was conceived by director Koji Otsuki in 2005 as he performed the role of François in Bernstein’s A Quiet Place and participated a period instrument ensemble in Tokyo, Japan, consisting of internation- in the annual Festival of Contemporary Music with a performance of Kurtág’s ally recognized baroque specialists. A decade later, here in the US, the Three Ancient Inscriptions the Boston Globe called “viciously beautiful.” An early Marlboro Music Festival sprouted the Philadelphia version of GBE which music specialist, Mr. McGrew has performed Bach with conductors including Matthew Halls, John Harbison, David Hill, and Masaaki Suzuki, and toured India is a unique collaboration between a historically informed Bach specialist and the Baltic region with Juilliard415 and Yale University’s Schola Cantorum. and young, exceptional, modern chamber musicians. Already in its very Beyond the classical repertory, he has participated in concerts including the young existence, the Ensemble has drawn attention from both chamber symphonic premier of James Lapine’s Sondheim on Sondheim with the Boston and early music audiences.
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