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BACH COLLEGIUM JAPAN BACH • HANDEL • VIVALDI Philippe Sly Bass-Baritone | Michael Mcmahon Fortepiano Masaaki Suzuki Music Director | Joanne Lunn Soprano

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BACH COLLEGIUM JAPAN BACH • HANDEL • VIVALDI Philippe Sly Bass-Baritone | Michael Mcmahon Fortepiano Masaaki Suzuki Music Director | Joanne Lunn Soprano BACH COLLEGIUM JAPAN BACH • HANDEL • VIVALDI Philippe Sly bass-baritone | Michael McMahon fortepiano Masaaki Suzuki music director | Joanne Lunn soprano AT THE CHAN CENTRE DEC09 This concert is generously supported by Zelie & Vincent Tan and Adèle Lafleur and Maurice & Tama Copithorne 2 | EMV Masterworks Series 2018/19 Bach Collegium Japan [email protected] E M V PARTNERSpartners Early Music Vancouver gratefully acknowledges the assistance and support of: board of directorsChris Guzy GOVERNMENT SUPPORT Chris Guzy president Fran Watters Fran Watters vice presidentSpencer Corrigal , We acknowledge the support of the Province of British Columbia Spencer Corrigal cpa,ca treasurer Tony Knox Tony Knox past president Ilia Korkh Ilia Korkh FOUNDATIONS secretary Sherrill Grace THE BRENNAN SPANO Kathleen BourchierMelody Mason FAMILY FOUNDATION Sherrill Grace Jesse Read Tim Rendell , THE DRANCE FAMILY Melody Mason EARLY MUSIC VANCOUVER FUND Tim Rendell cpa,caIngrid Söchting Johanna ShapiraVincent Tan 2018-19 PRODUCTION PARTNERS Ingrid Söchting Vincent TanJosé Verstappen EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia. ÷ José Verstappen cm pacific baroque artistic director emeritus orchestra alexander weimann ÷ MUSIC director Matthew White staff Nathan Lorch Matthew White executive & artistic director Jocelyn Peirce Nathan Lorch business manager Laina Tanahara Jocelyn Peirce ¡¢£ ¡£¤¥ ¢£ ¦¢¡¢ §: development coordinator Jonathan Evans Laina Tanahara marketing & volunteer coordinator Jan Gates Jonathan Evans CORPORATE SUPPORT production coordinator Murray Patterson Jan Gates Marketing Group Rosedale on Robson Suite Hotel event photographer VANCOUVER, BC Tony Knox Barrister & Solicitor, Arbitrator Tel: 604 263 5766 Cell: 604 374 7916 Fax: 604 261 1868 Email: [email protected] Murray PatersonTrevor Mangion 1291 West 40th Avenue, Vancouver, B.C. V6M 1V3 Canada We also gratefully acknowledgewww.knoxlex.com the generosity of our many donors and volunteers. Marketing Group and Knox & Co. denotes D.A.Knox Law Corporation marketing & mediaThe Chan relations Centre Box Of fice Staf f : ­. ­ THANK YOU! Trevor Mangion You can be in good company too! and The corporate sponsors of Early Music Vancouver give back to their community through The Chan Centre Box Office Staff the support of our performances and education & outreach programmes. Their efforts emv ticket office: 604.822.2697 make a meaningful difference for concertgoers and musicians alike. Our wide range of activities offers unique sponsorship opportunities for both large and 1254 West 7th Avenue, small companies to support us while also reaching their corporate goals. A range of Vancouver BC, V6H 1B6 sponsorship advantages is available, including logo recognition, complimentary tickets for tel: 604.732.1610 your clients, employee discounts, and many other benefits tailored to your specific needs. fax: 604.732.1602 Call Jocelyn Peirce to discuss how our audience [email protected] profile may fit with your company’s objectives: earlymusic.bc.ca 604 732 1610. earlymusic.bc.ca Bach Collegium Japan EMV Masterworks Series 2018/19 | 3 the artists programme Bach Collegium Japan Johann Sebastian Bach (1685-1750): Orchestral Suite No. 2 in B Minor bwv 1067 (1738-39) directed by 1. Ouverture Masaaki Suzuki 2. Rondeau 3. Sarabande soloists: 4. Bourrées I & II Joanne Lunn 5. Polonaise & Double soprano 6. Menuett 7. Badinerie Masamitsu San’nomiya oboe Antonio Vivaldi (1678-1741): Liliko Maeda Concerto in D Minor for Two Violins, Cello, Strings and Continuo traverso from L’estro armonico Op. 3, No. 11 (1711) Ryo Terakado 1. Allegro violin 2. Adagio e spiccato Emmanuel Balssa 3. Allegro cello 4. Largo e spiccato Masaaki Suzuki 5. Allegro harpsichord Francesco Corti (1681-1732): Languet anima mea (1716) in association with 1. Recitativo: Languet anima mea amore tuo 2. Aria: O vulnera, vita coelestis Chan Endowment Fund 3. Rectativo: Amoris tui jaculo at the University of British Columbia 4. Aria: Tu lumen mentis es 5. Aria: Alleluia with the support of Joanne Lunn soprano INTERVAL generously supported by Zelie & Vincent Tan, Maurice & Tama Copithorne and Bach Collegium Japan records for BIS Adèle Lafleur Bach Collegium Japan tours in North America are arranged by Pre-concert introduction at 2:15 International Arts Foundation with host Matthew White: 16 West 36th Street, Suite 1205, New York, NY 10018 T: 212-581-5197 | F: 212-581-4029 | www.internationalartsfoundation.org Masaaki Suzuki 4 | EMV Masterworks Series 2018/19 Bach Collegium Japan [email protected] the ensemble programme - continued Ryo Terakado Alessandro Marcello (1673-1747): violin Oboe Concerto in D Minor rv 454 (1725) Mika Akiha 1. Andante e spiccato violin 2. Adagio Alana Youssefian 3. Presto violin Masamitsu San’nomiya oboe Yukie Yamaguchi violin Georg Philipp Telemann (1681-1767): Evan Few Quatuor No. 1 in D Major twv 43 viola from Nouveaux quatuors (Paris 1738) Emmanuel Balssa 1. Prélude: Vivement violoncello 2. Tendrement 3. Vite Seiji Nishizawa double bass 4. Gaiment 5. Modérément Masamitsu San’nomiya 6. Vite oboe / oboe d’amore Liliko Maeda transverse flute,Ryo Terakado violin, Go Arai Emmanuel Balssa cello, Masaaki Suzuki harpsichord oboe Liliko Maeda George Frideric Handel (1685-1759): transverse flute Silete venti hwv 242 (1724) Yukiko Murakami 1. Symphonia & Recitative: Silete venti bassoon 2. Aria: Dulcis amor 3. Recitative: O fortuna anima 4. Aria: Date serta 5. Aria: Alleluja Joanne Lunn soprano Please visit Bach Collegium Japan online for additional information about touring, recordings, and special projects. FB: @bachcollegiumjapan | TW: @bach_collegium and @bach_collegiumE | W: bachcollegiumjapan.org Bach Collegium Japan is managed worldwide (excluding North America) by: Hazard Chase, 25 City Road, Cambridge CB1 1DP, UK hazardchase.co.uk Bach Collegium Japan is managed in North America by: bach collegium japan staff Frank Salomon Associates, 16 West 36th Street, Suite 1205, New York, NY 10018 Moegi Takahashi www.franksalomon.com Masaaki Suzuki is managed worldwide by: Hazard Chase, 25 City Road, Cambridge CB1 1DP, UK hazardchase.co.uk Joanne Lunn is managed worldwide by: THE UNAUTHORISED USE OF Hazard Chase, 25 City Road, Cambridge CB1 1DP, UK ANY VIDEO OR AUDIO RECORDING hazardchase.co.uk DEVICE IS STRICTLY PROHIBITED earlymusic.bc.ca Bach Collegium Japan EMV Masterworks Series 2018/19 | 5 programme notes With one exception, the diverse selection of music on today’s like Vivaldi. Likely, Bach wrote this piece during his time as programme belonged to the library of Johann Sebastian Bach. kapellmeister to the Prince of Anhalt-Köthen as a suite for Because after his death Bach’s library was divided among orchestra and solo violin or oboe. In the late 1730s, he revised family members outside of official inheritance regulations, it, choosing the fashionable traverse flute as solo instrument. no catalogue of his personal collection survives. What we According to C.P.E. Bach, the great French flautist Pierre- know today about the literature and music that interested, Gabriel Buffardin paid Bach a visit in Leipzig sometime after influenced, and inspired him is the result of 150 years of 1735. Buffardin had once taught Bach’s brother Johann Jakob scholarship recovering autograph manuscripts; music copied and was, by the 1730s, employed at the court of the Elector of by his wife his sons, and his nephews while they were a Saxony in Dresden. Perhaps Buffardin’s visit occasioned the part of his household; work of composers whose music Carl revision of this suite and the addition of the Polonaise, one of Philipp Emanuel claims his father studied; and more. The the most beloved dances at the Saxon court. reconstructed catalogue shows that, though Bach himself Bach’s first encounter with Vivaldi’s music around 1713 travelled very little, he collected, studied, and performed dramatically changed his approach to musical structure music from all over Europe, and kept himself well-abreast of and surface figuration in all his music for the rest of his life. musical trends. Vivaldi’s mercurial, flamboyant, and idiomatic instrumental The overture or orchestral suite was tremendously popular writing, and his use of the simple but effective ritornello in early eighteenth-century Germany. Bach’s colleagues form – alternating a refrain played by the full orchestra with Telemann, Fasch, and Graupner each wrote about 100 of fanciful episodic material performed by soloists – deeply these pieces. By comparison, Bach showed less interest in impressed Bach, who immediately set out to internalize the genre, but his four suites that we do have are masterful. Vivaldi’s compositional techniques by transcribing some of His Orchestral Suite in B Minor, BWV 1067 marries French his concertos for organ and harpsichord. Bach’s transcription dances with the concerto-like brilliance of Italian composers of Vivaldi’s Concerto in D Minor, Op. 3, No. 77 is the oldest of Bach’s concerto arrangements, and the only one that survives in his own hand. It seems that Bach was introduced to Vivaldi’s music by Johann Ernst of Saxe-Weimar, the music-loving young son of his employer. Johann Ernst had THANK YOU TO made a study trip to the Netherlands, where he collected the newest printed music. Around the same time, the organ at the castle chapel in Weimar
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