Bach's Easter Oratorio

Home , Easter Oratorio, Evangelist (Bach), Sara Macliver

SE_Easter_A5_ProgramCover.indd 1 15/3/21 3:21 pm West Australian Symphony Orchestra and Wesfarmers Arts, creating the spark that sets off a lifelong love of music.

Julia Brooke – WASO Horn Welcome

Dear Patrons, I am delighted to welcome you to Perth Concert Hall tonight for the West Australian second collaborative concert between St George's Concert Series and the Symphony Orchestra West Australian Symphony Orchestra. and Wesfarmers Arts, Tonight's programme celebrates the season of Lent through the passion and creating the spark beauty of Duruflé's Requiem, and we are led to the glory of Christ's Resurrection in that sets off a lifelong Bach's jubilant Easter Oratorio. love of music. I am particularly fond of Duruflé's Requiem, and tonight you will be hearing allow you to hear both the duet original it as Duruflé originally conceived it, and the expansion of the movement into for choir and organ. Written in 1947 a four-part chorus. I have also taken the as an obvious homage to Fauré's liberty of adding a reprise to the final Requiem, Duruflé fuses together chorus, as the original, to my ears, sounds plainsong, modality, counterpoint and rather abrupt and unresolved. Tonight's the harmonies of Ravel, Debussy and performance is, most likely, a West his own perfectionist teacher, Dukas. It Australian premiere. is an interesting side-note that Duruflé and Messiaen were friends and fellow I would like to conclude this welcome students, yet the divergence of their by thanking everyone who supports musical paths could not be more striking. WASO and the St George’s Cathedral Concert Series. It would be most remiss Bach's Easter Oratorio was first performed of me, however, not to single out our in Leipzig as a cantata for Easter Sunday indefatigable supporters, Julian and in 1725. Tonight, I will be incorporating Alexandra Burt, for special thanks. the choral version of the third movement that Bach made in the 1740s, which will Dr Joseph Nolan

Julia Brooke – WASO Horn

3 Bach’s Easter Oratorio and Duruflé Requiem

Presented in collaboration with St George’s Cathedral

Maurice DURUFLÉ Requiem [organ version] (41 mins) 1. Introit 6. Agnus Dei 2. Kyrie 7. Lux aeterna 3. Domine Jesu Christe 8. Libera me 4. Sanctus 9. In Paradisum 5. Pie Jesu Interval (25 mins)

Johann Sebastian BACH Easter Oratorio (52 mins) 1. Sinfonia 2. Adagio 3. Chorus and duet (tenor, bass) “Kommt, eilet und laufet” (Come, hasten and run) 4. Recitative (alto, soprano, tenor, bass) “O kalter Männer Sinn!” (O cold hearts of men) 5. Aria (soprano) “Seele, deine Spezereien” (My soul, your spices) 6. Recitative (tenor, bass, alto) “Hier ist die Gruft” (Here is the tomb) 7. Aria (tenor) “Sanfte soll mein Todeskummer” (My death throes shall be gentle) 8. Recitativo (soprano) “Alt Indessen seufzen wir” (Meanwhile we sigh) 9. Aria (alto) “Saget, saget mir geschwinde” (Tell me, tell me quickly) 10. Recitativo (bass) "Wir sind erfreut" (We are full of joy) 11. Chorus “Preis und Dank” (Praise and thanks)

Joseph Nolan conductor Sara Macliver soprano Fiona Campbell mezzo-soprano Paul McMahon tenor James Clayton baritone Stewart Smith organ St George’s Cathedral Consort

Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week’s speaker, Margaret Seares AO (see page 20 for her biography). The Pre-concert Talk will take place at 6.45pm in the Terrace Level Foyer.

Listen to WASO This performance is recorded for broadcast on ABC Classic. For further details visit abc.net.au/classic

4 COVIDsafe A5 Ad.indd 1 11/2/21 2:58 pm West Australian Symphony Orchestra

From the centre of Perth to the furthest WASO Chorus, to create exceptional corners of our State, every year since 1928, performances for hundreds of thousands we set hearts racing with extraordinary of people each year. music and exhilarating performances for all West Australians to share. Our Orchestra is led by Principal Conductor and Artistic Adviser West Australian Symphony Orchestra Asher Fisch. Israeli-born, Fisch is an (WASO) is a not-for-profit company that internationally renowned conductor thrives on the enthusiasm, passion and in both the operatic and symphonic support of our entire community. We repertoire, and is a frequent guest at the harness this energy to create events and world’s great opera houses including La programs across the State to stimulate Scala, the Bayerische Staatsoper and the learning and participation in a vibrant Metropolitan Opera in New York. cultural life. We are proud to call Perth Concert Hall We are both fierce advocates for our home. great classical musical heritage and passionate leaders in the commissioning and performance of new music by leading Australian and international Connect With WASO composers. Every year we mobilise and waso.com.au nurture a new generation of young and emerging artists to help secure a bright facebook.com/ future for music in Australia. WASymphonyOrchestra

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6 On Stage

WASO

VIOLIN VIOLA PICCOLO TRUMPET Laurence Jackson Daniel Schmitt Michael Waye Brent Grapes Concertmaster Alex Brogan • Pamela & Josh Pitt • Anonymous Kathryn Aducci^ Riley Skevington Alison Hall OBOE Assoc Concertmaster Allan McLean Peter Miller Zak Rowntree* Liz Chee A/Principal Oboe Principal 2nd Violin CELLO TIMPANI Rebecca Glorie Rod McGrath COR ANGLAIS Alex Timcke Beth Hebert • Tokyo Gas Leanne Glover CONTINUO CELLO Lucas O’Brien Nicholas Metcalfe • Sam & Leanne Walsh Noeleen Wright^ Melanie Pearn DOUBLE BASS BASSOON Jane Serrangeli ORGAN Andrew Sinclair* Jane Kircher- Stewart Smith^ Lindner FLUTE Andrew Nicholson • Chair partnered by • Anonymous * Instruments used by these musicians are on loan from Janet Holmes à Court AC.

Principal Associate Principal Assistant Principal Contract Musician˚ Guest Musician^

St George’s Cathedral Consort

SOPRANO ALTO TENOR BASS Alexandra Bak Elsie Gangemi Smith Andrew Hislop David Buckley Sarah Cranfield Lydia Gardiner Jason Kroll Francis Cardell-Oliver Bonnie De La Hunty Amber Lister Ben Jobson James Chapman Anne-Marie Duce Thomas McQuillan Perry Joyce Ruben Davies Brianna Louwen Laura Pitts Harry Playford Patrick Watson Kate McNamara Gabrielle Scheggia David Woods

7 About The Artists

Musica Viva, Perth Festival and with the West Australian Symphony Orchestra, garnering consistently superlative reviews in The Australian, The West Australian, Australian Book Review, Limelight and Seesaw. Joseph Nolan’s work as an international musician has been awarded innumerable five-star reviews, Editor’s Choice, Critic’s Choice and Recordings of the Month and Year in Gramophone, Limelight, BBC Music Magazine, Classicalsource, MusicWeb International, and Choir Joseph Nolan and Organ magazine (UK). Nominated Conductor twice for Artist of the Year in Limelight magazine, Joseph holds the distinction of Multiple award-winning British-Australian winning Editor's Choice three times for organist and choral conductor Dr Joseph disks of his much-feted Widor recordings Nolan has been hailed by ABC Classic from France and is the only organist to as ‘an extraordinary musician’, by BBC have been awarded Limelight’s coveted Radio 3 Record Review as ‘magnificent’ Recording of the Month award (St Etienne and by Limelight magazine as ‘a colossus’. du Mont, Paris). As a scholarship holder at the Royal College of Music, London, Joseph then Joseph has performed as a soloist on won scholarships from the Countess of numerous occasions with ensembles Munster Trust, Hattori Foundation and the such as the Sydney Symphony Orchestra Royal Philharmonic Society to study for at Sydney Opera House, the Malaysian two years with the legendary Marie-Claire Philharmonic Orchestra at Petronas Alain in Paris. Concert Hall and the West Australian Symphony Orchestra at Perth Concert Appointed to Her Majesty’s Chapel’s Hall. Next month, Joseph will make his Royal, St James’ Palace, in 2004, Joseph concerto debut in two performances with performed on numerous occasions at the Queensland Symphony Orchestra at Buckingham Palace, and subsequently the Queensland Performing Arts Centre. accepted the position of Master of Music Joseph was made a Chevalier des Arts at St George’s Cathedral in 2009. It is des Lettres by the French government widely acknowledged that the Cathedral for services to French music in 2016 Consort and St George’s Concert Series, and became an Honorary Fellow of of which Joseph is Artistic Director, the University of Western Australia in are a jewel in the cultural scene of 2013. The University awarded Joseph its Australia. Joseph has led the Cathedral prestigious higher doctorate, the Doctor Consort in concerts and broadcasts for of Letters, in 2018.

8 Photo: Rhydian Lewis Rhydian Photo: Godbee Photography Steven Photo: Sara Macliver Fiona Campbell Soprano Mezzo Soprano Sara Macliver is one of Australia’s most Fiona Campbell is one of Australia’s most popular and versatile artists, and is regarded versatile and beloved classical singers - as one of the leading exponents of Baroque a producer and guest ABC presenter, repertoire. accomplished international performer, recitalist and recording artist. She won Sara is a regular performer with all the the national Limelight Award for Best Solo Australian symphony orchestras as well as Performance 2011 and was vocal winner the Perth, Melbourne and Sydney Festivals, of the ABC Young Performer of the Year Pinchgut Opera, the Australian Chamber Award and the ASC Opera Awards. Orchestra and Australian Brandenburg Orchestra, Musica Viva, and a number of Career highlights include several concerts international companies. with the legendary tenor José Carreras in Japan, Korea and Australia; she made Sara records for ABC Classics with more her debut at Suntory Hall in Tokyo and than 35 CDs and many awards to her credit. Cadogan Hall in London with soprano Most recently Sara has sung with West Barbara Bonney. Australian Opera, Sydney, Melbourne, Critical acclaim has been received for her West Australian, Tasmanian, Queensland portrayals of favourite operatic roles, such and Adelaide Symphony Orchestras, as Angelina (Cenerentola), Olga Eugene Sydney Philharmonia Choirs, Ten Days on (Onegin), Hansel (Hansel and Gretel), the Island, the Australian String Quartet, Dorabella (Cosi fan Tutte), Rosina (Il St George’s Cathedral and Auckland barbiere di Siviglia), Venus (Tannhäuser) Philharmonic Orchestra. She also sang and many others. with the Perth Festival, Peninsula Summer Festival, Brisbane Camerata, ANAM and In 2021, she sings Hippolyta in A Collegium Musicum amongst many other Midsummer Night’s Dream for the Adelaide projects. Sara’s next project is a tour with Festival and is soloist with the Australian the Australian Brandenburg Orchestra. String Quartet and the Queensland and West Australian Symphony Orchestras. Sara has been awarded an honorary Fiona has also been appointed the West doctorate from the University of Western Australian State Manager for Musica Viva, Australia in recognition of her services to and Artistic Director for the Government singing. House Foundation, Perth. © Patrick Togher Artists’ Management 2021 9 About The Artists

Paul McMahon James Clayton Tenor Baritone

Performing regularly as a soloist with In 2021, James Clayton takes the title symphony orchestras, chamber music roles in Il barbiere di Siviglia, Elijah and Le groups and choirs throughout Australia, nozze di Figaro for West Australian Opera New Zealand and Asia, tenor Paul and Macbeth for State Opera of South McMahon is one of Australia’s finest Australia. For WAO, he also sings Alfio in exponents of baroque and classical Cavalleria rusticana and Tonio in Pagliacci; repertoire, particularly the Evangelist role in for the Adelaide Festival, he sings the Passions of J.S. Bach. Demetrius in A Midsummer Night’s Dream. Career highlights include Bach’s Johannes- James’ scheduled concert appearances Passion with the Australian Chamber included Brahms’ Ein deutsches Requiem Orchestra under Richard Tognetti; Bach’s for West Australian Symphony and Matthäus-Passion under Roy Goodman; Mozart’s Requiem for Sydney Symphony. Haydn’s Die Schöpfung under the late Richard Hickox, Mozart’s Mass in C In 2019, he sang Germont (La traviata), Minor under Masaaki Suzuki and Mozart’s Judge Turpin (Sweeney Todd) and the title Requiem with the Hong Kong Philharmonic role in Macbeth in Perth, The Forrester Orchestra under Manfred Honeck. (The Cunning Little Vixen) in Adelaide and Paul’s discography includes the solo album Peter (Hansel and Gretel) in Melbourne. of English, French and Italian lute songs James made his Opera Australia debut as entitled A Painted Tale; a CD and DVD Baron Douphol in La traviata – in Handa recording of Handel’s Messiah and Opera on Sydney Harbour – and his Fauré’s La Naissance de Venus. Japanese debut as Don Alfonso in His most recent appearances include Cosi fan tutte for Biwako Hall. Handel's Messiah and Mozart's Mass in C Minor with the Queensland Symphony Concert appearances include Messiah Orchestra, Zadok in Handel's Solomon in and Le Damnation du Faust (New Zealand the Perth Concert Hall, the Evangelist in Symphony Orchestra), Haydn’s Mass in Bach's Johannes-Passion and Matthäus- Time of War and Puccini’s Messa di Gloria Passion in Melbourne and Brisbane, Haydn's (Tasmanian Symphony Orchestra) and Creation with the Newcastle University Mozart’s Mass in C Minor, Beethoven's Choir, as well as a CD recording of art songs Symphony No. 9 and Verdi’s Requiem by Australian composer Calvin Bowman. (West Australian Symphony Orchestra). © Patrick Togher Artists’ Management 2021 © Patrick Togher Artists’ Management 2021 10 St George’s Cathedral Consort St George’s Cathedral Consort is the premier mixed voice choir in Western Australia and is frequently hailed as the leading choral ensemble of its type in Australia. The Consort has been described as “elite”, “world class” and producing a sound akin to "the evanescence of snow" by The Australian and The West Australian newspapers. Formed by Dr Joseph Nolan in 2009, the Consort complements the Cathedral Stewart Smith Choir and performs during the highly Organ acclaimed St George's Concert Series. Stewart Smith studied at the Royal The Consort has sung with the West Academy of Music and London Australian Symphony Orchestra, and University and today is recognized as with highly regarded UK ensembles: The one of Australia’s preeminent organists Academy of Ancient Music and vocal and harpsichordists. In recent years groups The Hilliard Ensemble and The he has performed with the Hilliard King's Singers. The Cathedral Consort Ensemble, I Fagiolini, The Orchestra has recently performed for Musica Viva of the Antipodies, Pinchgut Opera, and at the 2021 Perth Festival to rave Ensemble Arcangelo, Ensemble Batistin, reviews. Seesaw magazine reviewer, West Australian Symphony Orchestra, Rosalind Appleby, stated “The Cathedral Tasmanian Symphony Orchestra, Consort shone in this repertoire… you Sydney Symphony Orchestra, Festival would be hard pressed to find better Baroque, Australian Haydn Ensemble performances anywhere in the world”. and Brisbane Baroque. His research has been supported through the Australian Research Council and his many recordings (CD and DVD) have been distributed internationally (ABC Classics, Universal Music). For many years Stewart has been employed at the Western Australian Academy of Performing Arts, in a variety of academic and leadership positions. He has been involved with music at St. George’s Cathedral, in various capacities, since arriving in Perth in 1994.

11 About The Music

Maurice Duruflé (1902-1986) Requiem, Op.9 1. Introit 2. Kyrie 3. Domine Jesu Christe 4. Sanctus 5. Pie Jesu 6. Agnus Dei 7. Lux aeterna 8. Libera me 9. In Paradisum Perhaps the greatest influence upon Duruflé was a pupil at the Choir School Maurice Duruflé’s compositional of Rouen Cathedral in France from 1912 technique was his own virtuoso organ- to 1918. After moving to Paris in 1919 he playing. While his works have some became an organ pupil of Tournemire and affinity with the early 20th-century Louis Vierne. At the Paris Conservatoire French school of Fauré, Debussy, Ravel in the early 1920s, Duruflé was a and Dukas, it was from plainsong that brilliant student, gaining premiers prix he derived much of his inspiration. His in harmony, accompaniment, fugue and professional career as an organist always composition. He continued to win prizes brought him closely into contact with for composition and organ-playing well liturgical music, and so not surprisingly, after he left the Conservatoire. From the his compositions usually combine age of 17, when he was assistant organist Gregorian-like melody with modal to Tournemire at the Paris church of harmony or polyphonic textures. The Sainte-Clotilde, Duruflé held various modal influence can be felt even in his appointments as an organist. He became secular works. Duruflé’s compositional organist at the church of Saint-Étienne- temperament was ideally suited to the du-Mont in 1930, and relieved Vierne massed forces of chorus, organ and at Notre Dame from 1929 to 1931. After orchestra and it is largely for these deputising for Dupré in the organ class at instrumental forces, either solo or in the Paris Conservatoire, Duruflé became any combination, that he wrote. Yet he Professor of Harmony at that institution, was is in no way a prolific composer: by a position he was to hold until 1969. As the age of 50 he had written only nine an internationally acclaimed organist he acknowledged works and his output performed throughout Europe, Russia overall remained limited in number. and America.

12 Duruflé’s Requiem for solo voices, My Requiem, which I finished in 1947, is chorus, organ and orchestra received entirely composed on Gregorian themes its premiere in 1947, with the celebrated from the Mass for the Dead. At times Frenchman Roger Désormière conducting I have followed the text in full, with the orchestra and chorus of the Paris the orchestral part only coming in to Radio. The work was commissioned by support or comment. At other places I the publishing firm Durand. When the have used it only as a guide, or even left commission was received, Duruflé was it altogether – as for example in certain working on a suite of organ pieces on the developments in the Latin text suggested to me, particularly in the Domine Jesu plainsong theme of the Requiem Mass, Christe, the Sanctus and the Libera. As and some of this music was transferred a general rule, I have above all tried to to the choral work. Duruflé’s choice of feel deeply the particular style of the texts was the same as Fauré’s and, in the Gregorian themes; and I have done my tradition of Fauré, the Requiem omits the best to reconcile as far as possible the Sequence and with it the hell-fire of the Gregorian rhythmic patterns, as fixed Dies irae. Instead a mood of austerity and by the Benedictines of Solesmes, with reserve is established. the demands of the modern four-bar With its plainsong foundation, the structure. Requiem remains Duruflé’s largest As for the musical form of each of these and most important work. It has been pieces, it is generally inspired by the described as ‘one of the most deeply relevant liturgical form. The organ has a moving and profound choral works of merely episodic role: it intervenes, not to the 20th century’, a fact driven home by support the choirs, but only to underline the unforgettable, surging opening of the certain accents, or momentarily to work. The Requiem can be performed disguise any orchestral tone that sounds either with or without orchestral too human. It represents the notion of accompaniment. Tonight’s performance tranquillity, faith and hope. will be the organ version. – Maurice Duruflé Adapted from a note © Martin Buzacott First performance (with organ and orchestra): 2 November 1947, radio broadcast, Paris. Roger Désormière conducting. First WASO performance: This is the first performance by the West Australian Symphony Orchestra.

Glossary

Polyphonic – a musical texture in which the parts move independently, with their own melodic shapes and rhythms, and ‘vertical’ harmonies are created almost incidentally through the coming together of the different ‘horizontal’ lines. The rounds we sing as children are a form of simple polyphony. Modal – as well as major and minor, there are several other, older, types of tonality, which have a medieval or folk-music feel. Imagine a piano keyboard: playing just the white notes from C to C will give you a major scale, but playing the white notes from D to D will give you the Dorian mode, or Tone 1. Start your white-note scale on other pitches, and you will hear other modes.

13 Text & Translation

REQUIEM, OP.9 1. Introit Requiem aeternam dona eis Domine Grant them eternal rest, Lord et lux perpetua luceat eis. And may perpetual light shine on them. Te decet hymnus, Deus, in Sion To you, God, hymns of praise are sung in Sion et tibi reddetur votum in Jerusalem. and unto you shall vows be performed in Exaudi orationem meam Jerusalem. ad te omnis caro veniet. Hear my prayer; To you shall come all flesh. 2. Kyrie Kyrie elesion. Lord have mercy. Christe elesion. Christ have mercy. Kyrie elesion. Lord have mercy. 3. Domine Jesu Christe (Choir and Baritone solo) Domine Jesu Christe, rex gloriae, O Lord Jesus Christ, king of glory, libera animas omnium fidelium defunctorum Free the departed souls de poenis inferni et de profundo lacu; from the pains of hell and from the deep pit; libera eas de ore leonis ne absorbeat eas from the jaws of the lion; tartarus; let them not be swallowed up by the dark lake ne cadant in obscurum. nor vanish into darkness. Sed signifer sanctus Michael But may the holy standard-bearer Michael repraesentet eas in lucem sanctam. bring them into the holy light; Quam olim Abrahae promisisti, which you promised of old to Abraham et semini ejus. and his seed. Hostias et preces tibi, Domine Our sacrifice and prayers, Lord, Laudis offerimus. we offer to you with praise. Tu suscipe pro animabus illis Receive them on behalf of the souls Quarum hodie memoriam facimus; who we remember today; fac eas Domine de morte transire ad vitam; make them, Lord, pass from death to life, quam olim Abrahae promisisti et semini ejus. as you promised Abraham and his seed. 4. Sanctus Sanctus, sanctus, sanctus, Dominus Holy, holy, holy Lord God of hosts. Deus Sabaoth. Heaven and earth are full of your glory. Pleni sunt coeli et terra gloria tua. Hosanna in the highest. Hosanna in excelsis. Blessed is he that comes in the name of the Benedictus qui venit in nomine Domini. Lord. Hosanna in excelsis. Hosanna in the highest. 5. Pie Jesu (Mezzo-Soprano solo) Pie Jesu Domine Merciful Lord Jesus dona eis requiem, Grant them rest, Requiem sempiternam. eternal rest.

14 6. Agnus Dei Lamb of God, Angus Dei, qui tollis peccata mundi, who takes away the sins of the world, dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, dona eis requiem sempiternam. who takes away the sins of the world, grant them eternal rest. 7. Lux aeterna Lux aeterna luceat eis, Domine, May perpetual light shine on them, Lord cum sanctis tuis in aeternum, quia pius es. with your saints throughout eternity, by Requiem aeternam dona eis, Domine, your grace. et lux perpetua luceat eis, quia pius es. Grant them eternal rest, Lord, and may perpetual light shine on them, by your grace. 8. Libera me (Choir and Baritone solo) Libera me, Domine, de morte aeterna, Deliver me, Lord from eternal death in die illa tremenda, on that terrible day, quando coeli movendi sunt et terra. when earth and heaven are shaken; dum veneris judicare saeculum when you come to judge all things per ignem. by fire. Tremens factus sum ego et timeo, I am trembling and afraid, dum discussio venerit atque ventura ira: until the trial comes, and the wrath; quando coeli movendi sunt et terra. when earth and heaven are shaken. Dies illa, dies irae, calamitatis et Day of torment, day of wrath, calamity and miseriae, misery, dies magna et amara valde, greatest and most bitter day, dum veneris iudicare saeculum when you come to judge all things per ignem. by fire. Requiem aeternam dona eis Domine, Grant them eternal rest, Lord, Et lux perpetua luceat eis. and may perpetual light shine on them. Libera me Domine etc. Deliver me, Lord, etc. 9. In Paradisum In Paradisum deducant te angeli May the angels lead you into Paradise; in tuo adventu suscipiant te martyres may you be received by the martyrs et perducant te in civitatem sanctam and brought to the holy city of Jerusalem. Jerusalem. Chorus angelorum te suscipiant, May choirs of angels receive you, et cum Lazaro quondam paupere, and with Lazarus, who was once a beggar, aeternam habeas requiem. may you find eternal rest.

15 About The Music

Johann Sebastian Bach (1685–1750) Easter Oratorio, BWV 249 1. Sinfonia 2. Adagio 3. Chorus and duet (tenor, bass) “Kommt, eilet und laufet” (Come, hasten and run) 4. Recitative (alto, soprano, tenor, bass) “O kalter Männer Sinn!” (O cold hearts of men) 5. Aria (soprano) “Seele, deine Spezereien” (My soul, your spices) himself was very pleased with it. Not only 6. Recitative (tenor, bass, alto) “Hier ist did he use the music for two different die Gruft” (Here is the tomb) secular cantatas, he kept performing – 7. Aria (tenor) “Sanfte soll mein and updating – the Easter Oratorio Todeskummer” (My death throes shall version for the rest of his life. be gentle) 8. Recitativo (soprano) “Alt Indessen Behind the Easter Oratorio lies some seufzen wir” (Meanwhile we sigh) ingenious recycling. The music began 9. Aria (alto) “Saget, saget mir life in 1725 as a secular birthday cantata geschwinde” (Tell me, tell me quickly) for Duke Christian of Saxe-Weissenfels 10. Recitativo (bass) "Wir sind erfreut" with a pastoral text by the poet (We are full of joy) Picander. The soloists were shepherds 11. Chorus “Preis und Dank” (Praise and and shepherdesses. Five weeks later, thanks) on Easter Sunday, Bach’s Leipzig congregation heard essentially the same Bach’s Easter Oratorio begins with music but with new words (probably also trumpets and drums – brilliant, majestic by Picander). The soloists were now Mary and loud. The opening Sinfonia is mother of James, Mary Magdalene, Peter perfectly calculated for the celebration and John in what had become a sacred of Christ’s Resurrection on Easter musical drama. This cantata received Sunday. Now imagine how this must at least three Easter Sunday outings. have sounded to 18th-century Lutherans, Meanwhile, the music was heard again having been deprived of “elaborate” in 1726, with a new secular text, for the church music for the season of Lent. birthday of Count Joachim Friedrich von Perhaps the experience was something Flemming. By 1738, when Bach wrote out like finally hearing live orchestral music a fair copy, the cantata had emerged as after months of lockdowns and cancelled the Easter Oratorio. performances: joy, relief, and a renewed appreciation for something familiar. This might sound like self-plagiarism or at best workmanlike resourcefulness. But The Easter Oratorio, however, is not as this kind of adaptation was an accepted familiar to audiences as Bach’s other technique – known as “parodying” – and major choral works. This is perplexing, it’s likely Bach composed his occasional since the music is magnificent and Bach cantatas (by definition limited to one

16 performance) already planning their With operatic instinct, Bach conveys conversion for liturgical use and an conflicting emotion by setting the alto extended life. aria (No.9) to music that is surprisingly cheerful: Mary Magdalene is elated at The oratorio is based on the Easter the news of the Resurrection, yet she Sunday reading from the Gospel of John. longs for the presence of Jesus. When, Mary Magdalene wakes early and goes a few minutes in, the dance-like music to the tomb, only to find the stone rolled slows and her grieving sighs are matched away and Jesus’ body gone. She fetches by the oboe d’amore, the effect is all the the other disciples, and they come more intense. Dance rhythms are not running. Peter goes in and sees the burial unique to this aria but infuse the whole shroud, neatly folded. Then John goes in oratorio. Uniquely for Bach, the first three and the Bible reports that he believes, but movements are all triple-time dances – it is to the weeping Mary Magdalene that two exuberant gigues framing a mournful the risen Lord first appears. sarabande – and the remaining arias Although Bach eventually removed the and final chorus a baroque dance suite: biblical characters, emphasising the minuet, bourrée, gavotte and gigue. meditation on faith over religious theatre, One of Bach’s revisions in the 1740s was the expressive elements of the narrative the conversion of the opening duet to a remain in the fabric of the music: chorus. Joseph Nolan gives us the best breathless excitement (No.3), confusion of both worlds: the drama of Peter and (No.4), grief (No.5). Even the instrumental John racing for the tomb embedded in movements convey the story’s essence: the urgency of the chorus in full voice. festive joy in the Sinfonia, poignant Similarly, Nolan reprises the beginning of uncertainty in the Adagio. the final chorus, creating a more splendid This is sacred music, but it’s not cerebral, and satisfying conclusion and rectifying and Bach uses every musical device at his one of the factors that has perhaps disposal to bring the drama to life. For a prevented the Easter Oratorio being more composer who believed the purpose of widely performed. all music was the refreshment of spirit Yvonne Frindle © 2021 and the glory of God, there was nothing incongruous or “unspiritual” about the First performance: 1 April 1725, original cantata secular origins of the Easter Oratorio. version, Leipzig. In the tenor aria (No.7), for example, Peter First WASO performance: This is the first performance of Bach’s Easter Oratorio has seen the shroud that wrapped his by the West Australian Symphony Lord and now his own fear of death can Orchestra. “sleep”. At this point we’re reminded this was originally a cantata about shepherds Instrumentation: two flutes, two oboes, oboe d’amore, bassoon, three trumpets, and shepherdesses. The text speaks of timpani, strings and organ continuo with spiritual comfort but the lulling music four vocal soloists and four-part chorus. with a pair of recorders (or flutes) as code for “pastoral” could easily accompany a peaceful rustic scene – with safely grazing sheep perhaps. Elsewhere, in the soprano aria (No.5), a flattering solo flute becomes a symbol for the consoling Holy Spirit.

17 Text & Translation

EASTER ORATORIO, BWV 249 1. Sinfonia 2. Adagio Kyrie elesion. Lord have mercy. Christe elesion. Christ have mercy. Kyrie elesion. Lord have mercy. 3. Chorus and duet Kommt, eilet und laufet, ihr flüchtigen Füße, Come, hasten and run on light feet, Erreichet die Höhle, die Jesum bedeckt! come to the cave that shelters Jesus. Lachen und Scherzen Let laughter and joy Begleitet die Herzen, fill our hearts, Denn unser Heil ist auferweckt. for our Saviour is risen. 4. Recitative Alto O kalter Männer Sinn! O cold hearts of men! Wo ist die Liebe hin, Where is the love Die ihr dem Heiland schuldig seid? that you owe our Saviour? Soprano Ein schwaches Weib muss euch beschämen! A weak woman must put you to shame. Tenor Ach, ein betrübtes Grämen Alas, grievous sorrow… Bass Und banges Herzeleid …and anxious heartache… Tenor, Bass Hat mit gesalznen Tränen …mixed with salt tears Und wehmutsvollem Sehnen and mournful longing Ihm eine Salbung zugedacht, were to be His anointment. Soprano, Alto Die ihr, wie wir, umsonst gemacht. Which you, like us, have prepared in vain. 5. Aria (Soprano) Seele, deine Spezereien My soul, the spice that embalms you Sollen nicht mehr Myrrhen sein. shall no longer be myrrh. Denn allein For only Mit dem Lorbeerkranze prangen, a crown of laurels Stillt dein ängstliches Verlangen. can soothe your anxious longing. 6. Recitative Tenor Hier ist die Gruft Here is the tomb. Bass Und hier der Stein, And here the stone Der solche zugedeckt. that covered it. Wo aber wird mein Heiland sein? But where, then, is my Saviour? Alto Er ist vom Tode auferweckt! He has risen from the dead! Wir trafen einen Engel an, We encountered an angel Der hat uns solches kundgetan. who proclaimed this to us. Soprano Hier seh ich mit Vergnügen With joy I see the shroud Das Schweißtuch abgewickelt liegen. lying here cast aside.

18 7. Aria (Tenor) Sanfte soll mein Todeskummer, My death throes shall be gentle, Nur ein Schlummer, a mere sleep, Jesu, durch dein Schweißtuch sein. because of Your shroud, Jesus. Ja, das wird mich dort erfrischen Yes, it will refresh me Und die Zähren meiner Pein and wipe the tears of sorrow Von den Wangen tröstlich wischen. comfortingly from my cheeks. 8. Recitative and Arioso (Soprano, Alto) Indessen seufzen wir Meanwhile we sigh Mit brennender Begier: with a burning desire.

Ach, könnt es doch nur bald geschehen, Ah, may it soon come to pass Den Heiland selbst zu sehen! that we shall see our Saviour Himself! 9. Aria (Alto) Saget, saget mir geschwinde, Tell me, tell me quickly Saget, wo ich Jesum finde, where I can find Jesus, Welchen meine Seele liebt! whom my soul adores. Komm doch, komm, umfasse mich; Come now, come embrace me, Denn mein Herz ist ohne dich for without You my heart Ganz verwaiset und betrübt. is utterly bereft and afflicted. 10. Recitative (Bass) Wir sind erfreut, We are full of joy Dass unser Jesus wieder lebt, that our Jesus is again alive Und unser Herz, and our hearts, So erst in Traurigkeit zerflossen und geschwebt once drowned and dispersed in grief, Vergisst den Schmerz now forget their sorrow Und sinnt auf Freudenlieder; and turn to songs of joy, Denn unser Heiland lebet wieder. for our Saviour lives again. 11. Chorus Preis und Dank Praise and thanks shall forever Bleibe, Herr, dein Lobgesang. be Your hymn of glory, Lord. Höll und Teufel sind bezwungen, Hell and the Devil are vanquished, Ihre Pforten sind zerstört. their gates are thrown down. Jauchzet, ihr erlösten Zungen, Rejoice, redeemed voices, Dass man es im Himmel hört. make yourselves heard in heaven. Eröffnet, ihr Himmel, die prächtigen Bogen, Open up, you glorious vaults of heaven, Der Löwe von Juda kommt siegend gezogen! the Lion of Judah comes forth in victory.

Text: Anonymous, probably Christian Friedrich Henrici (Picander) English translation by: Andrew Huth

19 About The Speaker

Margaret Seares AO Pre-concert Speaker

Margaret Seares has been a member Government as Chief Executive Officer of a wide range of boards in the arts, of the Department for the Arts (now education, and research sectors at the Culture & the Arts). She was appointed national and state levels, including many Chair of the Australia Council, the Federal years as a director, and then Deputy Government’s arts funding and advisory Chair, of WASO. She was also chair of body, from 1997-2001. In 2003 she was Perth Festival from 2012-15. She retired in awarded an Officer of the Order of 2008 from the position of Senior Deputy Australia (AO) for her contributions to Vice Chancellor at UWA. She had held arts and education in Australia. She is prior appointments at UWA, as Head of currently on the national board of the School of Music, and in the State Musica Viva.

Timeline of Composers & Works

20 Your Concert Experience

FOR THE ENJOYMENT OF ALL When to applaud? Musicians love applause. Audience members normally applaud: • When the conductor walks onto the stage • After the completion of each piece and at the end of the performance When you need to cough, try to do it discreetly. Cough lozenges are available from the WASO Ticket Collection Desk before each performance and at the interval. FIRST AID Hearing aids that are incorrectly adjusted may disturb other patrons, please be There are St John Ambulance officers mindful of those around you. present at every concert so please speak to them if you require any first aid assistance. Mobile phones and other electronic devices need to be switched off or ACCESSIBILITY silenced throughout the performance. • A universal accessible toilet is available on the ground floor (Level 1). Photography, sound and video • The Sennheiser MobileConnect recordings are permitted prior to the start Personal Hearing Assistance system of the performance. is available for every seat in the Latecomers and patrons who leave the auditorium. Visit perthconcerthall.com. auditorium will be seated only after the au/your-visit/accessibility/ for further completion of a work. information. Moving to empty seats. Please do not WASO BOX OFFICE move to empty seats prior to the Buy your WASO tickets and subscriptions, performance as this may affect seating for exchange tickets, or make a donation latecomers when they are admitted at the Box Office on the ground floor during a suitable break. (Level 1) prior to each performance and at interval. Tickets for other performances FOOD & BEVERAGES at Perth Concert Hall will be available for You are now able to take your drinks to purchase only at interval. Please note that your seat. 30 minutes prior to performance, the Box Office will only be available for sales to Foyer bars are open for drinks and coffee that night's performance. two hours before, during interval and after the concert. To save time we recommend The Box Office is open Monday to you pre-order your interval drinks. Friday, 9am to 5pm, and contactable on 9326 0000.

21 2021 Corporate Partners

PLATINUM PARTNERS ACCESS PARTNER SYMPHONY PARTNER

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The West Australian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

To share in our vision and discuss the many opportunities extended through corporate partnerships please contact Corporate Development on 08 9326 0020.

CorporatePartnersTable_2021_A5_v1.indd 1 4/2/21 12:46 pm MACA HAS BEEN PARTNERING WITH WEST AUSTRALIAN SYMPHONY ORCHESTRA SINCE 2014 We are excited to continue our support towards their mission to touch souls and enrich lives through music.

Over the last 10 years MACA has raised more than $12 million for various charity and community groups in support of the performing arts, cancer research, medical care, mental health and Aboriginal youth in remote communities across Western Australia. We pride ourselves on being a leader in the community supporting a wide range of initiatives.

MACA is an integrated services contractor specialising in: • Mining • Crushing • Civil Construction • Infrastructure • Mineral Processing Equipment