Viva Vivaldi!
“Summer” from The Seasons Lauda Jerusalem Domine ad adiuvandum me Dixit Dominus
Members of THE NEW JERSEY SYMPHONY ORCHESTRA Charles M. Banks, conductor Sunday, May 7th, 2017 Seven o’clock in the evening
SAINT PAUL’S EPISCOPAL CHURCH Westfield, New Jersey Welcome to SAINT PAUL’S CHURCH, to our Thirty-first Anniversary Concert, and to the twenty-fourth concert presented by Friends of Music at Saint Paul’s.
We hope that you enjoy your evening.
Please help others enjoy the concert by silencing all noise-making electronic devices. Summer from “The Seasons” RV 315 Antonio Lucio Vivaldi 1678 - 1741 Please hold applause until the conclusion of each work. I. ALLEGRO MÀ NON MOLTO II. ADAGIO III. PRESTO Brennan Sweet, violin
Lauda Jerusalem RV 609 Mary Lynne Nielsen & Lyssandra Stephenson, sopranos
Lauda Jerusalem Dominum. Lauda Deum tuum Sion. Praise the Lord, O Jerusalem. Praise thy God, O Sion. Quoniam confortavit seras portarum tuarum et benedixit filiis tuis in te. Because he hath strengthened the bolts of thy gates, he hath blessed thy children within thee. Qui posuit fines tuos pacem et adipe frumenti satiat te. Who hath placed peace in thy borders, and filleth thee with the fat of corn. Qui emittit eloquiam suum terrae, velociter currit sermo eius. Who sendeth forth his speech to the earth, his word runneth swiftly. Qui datnivem sicut lanam, nebulam sicut cinerem spargit. Who giveth snow like wool, scattereth mists like ashes. Mittit cristal suam sicut buccellas, ante faciem frigoris eius quis sustinebit? He sendeth his crystal like morsels: who shall stand before the face of his cold? Emittet verbum suum, et liquefaciet ea, flabit spiritus eius, et fluent aquae. He shall send out his word, and shall melt them; his wind shall blow, and the waters shall run. Qui annuntiat verbum suum Jacob, iustitias et iudicia sua Israel. Who declareth his word to Jacob, his justices and his judgments to Israel. Non fecit taliter omni nationi, et iudicia sua non manifestavit eis. He hath not done in like manner to every nation, and his judgments he hath not made manifest to them. Gloria Patri et Filio et Spiritui Sancto. Glory be to the Father, and to the Son, and to the Holy Spirit. Sicut erat in principio, et nunc et semper, et in saecula saeculorum. Amen. As it was in the beginning, is now and ever shall be, world without end. Amen. PSALM 147, VERSES 13 - 20
Domine ad adiuvandum me festina RV 593 Rachel Fountain, soprano Please hold applause until the conclusion of the work. I Domine ad adiuvandum me festina. Lord, make haste to help me. II Gloria Patri et Filio et Spiritui Sancto. Glory be to the Father, and to the Son, and to the Holy Spirit. III Sicut erat in principio, et nunc et semper, et in saecula saeculorum. Amen. As it was in the beginning, is now and ever shall be, world without end. Amen. PSALM 70, VERSE 1
- FIFTEEN MINUTE PAUSE - Dixit Dominus RV 594 Samantha Dango & Carey Hackett, sopranos; Jeremy Blossey, tenor; David Murray, baritone
Please hold applause until the conclusion of the work.
I Dixit Dominus Domino meo: sede a dextris meis. The Lord said to my Lord: sit thou at my right hand. II Donec ponam inimicos tuos scabellum pedum tuorum. Until I make thy enemies thy footstool. III Virgam virtutis tuae emittet Dominus ex Sion: The Lord will send forth the sceptre of thy power out of Sion: Dominare in medio inimicorum tuorum. Rule thou in the midst of thy enemies. IV Tecum principium in die virtutis tuae, With thee is the principality in the day of thy strength, In splendoribus sanctorum: ex utero ante luciferum genui te. In the brightness of the saints: from the womb before the daystar I begot thee. V Juravit Dominus et non paenitebit eum. The Lord hath sworn, and he will not repent. Tu es sacerdos in aeternum secundum ordinem Melchisedech. Thou art a priest forever according to the order of Melchisedech. VI Dominus a dextris tuis, confregit in die irae suae reges. The Lord at thy right hand hath broken kings in the day of his wrath. VII Judicabit in nationibus, implebit ruinas: conquassabit capita in terra multorum. He shall judge among nations, he shall fill ruins: he shall crush the heads in the land of the many. VIII De torrente in via bibet: propterea exaltabit caput. He shall drink of the torrent in the way: therefore shall he lift up the head. IX Gloria Patri et Filio et Spiritui Sancto. Glory be to the Father, and to the Son, and to the Holy Spirit. X Sicut erat in principio, et nunc et semper, et in saecula saeculorum. Amen. As it was in the beginning, is now and ever shall be, world without end. Amen. PSALM 110 Music at Saint Paul’s The music program at Saint Paul’s currently includes five choirs with choristers of all ages. The Saint Paul’s Choir is open to adults and high school students of the parish and community who love to sing. The Saint Paul’s Choirs provide musical leadership at Saint Paul’s 10:00 A.M. Sunday service. Choirs for children sing at services throughout the year.
New members are always welcome. If you would like to become active in Saint Paul’s music program, please contact Charles Banks at 908-451-5082.
Friends of Music
Friends of Music at Saint Paul’s was established in 1993 to enhance the exceptional music experience at Saint Paul’s Episcopal Church, above and beyond the parish program.
Their financial and volunteer support allows us to maintain and expand our musical offerings and allows us to continue our Annual Spring Concert series featuring major sacred choral works performed by our Parish Choir and members of The New Jersey Symphony Orchestra. Friends of Music at Saint Paul’s also provides funding for the brass and percussion at our Christmas and Easter Eucharists and recitals throughout the year.
Superb music has always been one of the hallmarks of Saint Paul’s, essential to our beautiful Anglican worship and a point of pride for our parish. This evening’s concert is only possible because of the generous support of people who are committed to Saint Paul’s witness and ministry.
A very special “thank you” to all our Friends of Music. Patronage has always been essential to the success of artistic efforts; thanks to each of you for your valued and continued support!
It’s not too late!
If you would like to become a member of Friends of Music at Saint Paul’s, information is available in the narthex or from the Director of Music. If you would like to be placed on our mailing list to receive information about future concerts, please fill out an address sheet, which can also be found in the narthex.
A gala reception will follow in Hamersley Hall honoring all Friends of Music at Saint Paul’s. Please join us! The Saint Paul’s Choir
Charles M. Banks, director
Sandra Antonelli Isaiah Bridges-Green Nancy Murray Pamela Aslin Carey Hackett Mary Lynne Nielsen Jeremy Blossey William Havlena Ignacio Angulo-Pizarro Susan Covert Betts Helander Lynn Silber Samantha Dango Robert Helander Carolyn Smith Elizabeth Doles Judy Jessup Meg Smith Drew Fernandez TJ Karns Lyssandra Stephenson Rachel Fountain Gloria Kierniesky Jacquelyn Stotler Carol Fricke Mukund Marathe Perry Sutton Philip R. Frowery Kevin Moore Brian Vandenberge Pamela Gabel David Murray
Orchestra
ORCHESTRA I ORCHESTRA II Oboe Violin I Violin I Robert Ingliss Brennan Sweet, concertmaster Ming Yang Lillian Copeland Youngsun Kim Fatima Aaziza Trumpet Naomi Youngstein Sophia Park Carl Albach Carolyn Schoch Violin II Violin II Timpani Alexandra Gorokhovsky John Connelly James Neglia Minji Kwon Arthur Moeller Wende Namkung Saerom Yoo Continuo I Viola Viola David Enlow Continuo II Brett Deubner Izia Weyma Robert Wolinsky Michael Davis Kimberly Foster Personnel Julie Goodale JJ Johnson James Neglia Violoncello Violoncello Fran Rowell Arash Amini String players are listed alphabetically, Ani Kalayjian Julia Kang within each section, after the principal. Double bass Double bass Philip Helm Anthony Morris Friends of Music 2017 - 2018
Archangel
Annual Book Sale Mr. & Mrs. Albert W. Driver Sandra & Alex Antonelli THE DRIVER FAMILY FOUNDATION ANTONELLI ARCHITECT The Lois M. Hey Fund Antonelli Architect
Benefactor
Charles M. Banks PRINT TECH The Honorable Charles N. Brower Doreen & John Rivell Lynn & Russell Evans Anne & Bill Shepherd Doris La Mar Margaret L. Smith Mariangela & Kevin Moore TEWKSBURY CONSTRUCTION COMPANY
Patron
Anonymous (1) Philip R. Frowery Annette Hughes & In Memory of Betts & Bob Helander Richard Sharpless Carolyn Doles Froats Mr. & Mrs. Kenneth Horner Diane & Robert Stites Virginia & John Dughi Mary Lynne & Chris Nielsen Edward S. Tyjewski & The Dughi Family Foundation Mark W. Russell Elliot H. Glassman Carol Y. Fricke Betty & Austin Sayre Patricia & Donald Webber
Sponsor
Anonymous (1) In Memory of Fred H. Gray Sr. T.J. & Harold Karns Karl & Judith Duchek In Memory of Betty & Al Morasso The O’Halloran-Eilbacher Family R. Vic Hollingsworth Barbara Peek Pamela & Melanie Gabel The Howard Family Janice Innis-Thompson The Gallagher Family The Jessup Family Donor
Anonymous (1) Diane & Bob Haag In Memory of Michael Molowa Barbara & Mark Bach Dr. Timothy J. Hamway & Mr. & Mrs. Gary L. Olson The Bagger Family Roxanne Kalis The Pollock Family The Caruana Family Mrs. Richard J. Hardman In Memory of Lynne Pomerantz Stephen Clarke In Memory of The Rev’d Canon Bobby & Bud Pulis In Memory of Richard Connelly Richard J. Hardman Mr. & Mrs. Harlan M. Smith II The Devaney Family Martha & Jerry Harrigan The Wargo Family The Finn Family In Memory of V. Rowene Miller Betty Webster
Supporter
Anonymous (1) Julie & Dan Murphy Mary Olive & Charlene & Derl Derr Mary Lou & Dan Pastore Samuel M. Stone II Lois Littlefield Horner Jean Rodie & Michael Klitsch The Thayer Family Jean & John Kocher Dr. Diane S. Schaupp In Memory of Joan I. Wheeler Karen & Simon Lack Stacey & Thomas Shepherd Evelyn & Ron Moss Joan Peiffer-Stanley
Friend
Anonymous (1) The Gyure Family Kathryn McElroy & In Honor of Charles Banks The Kaiser Family Thomas Oldakowski Mr. & Mrs. Robert Bartholomay The Kossor Family Aunt Anne Pennock In Memory of Rita W. Beech Marie H. Laessig In Honor of Lynn Silber Lucille & Bing Bills Jeanne & Charles Lamb Jill & Gary Sitcer The Elwell Family Amy Lewis Nicholas Spiezio Judy Gallagher F. Kevin Lynch
“Listening to melody, every man becomes his own poet and measures the depths of his own nature.”
ABRAHAM LINCOLN Program Notes
Antonio Vivaldi, the Red Priest
Antonio Vivaldi was one of the most famous and prolific composers of his era (the Italian Baroque). He was born in 1678 in Venice, a city already famous both as a commercial trading center and as a center of musical activity. One of eight siblings, Antonio was taught to play the violin by his father, a professional violinist. He was ordained to the priesthood in 1703, one of the few career paths to offer access to education for poorer families. It was at this time that Vivaldi became known as “il Prete Rosso” or “the Red Priest,” having inherited his head of red hair from his father. Vivaldi had been troubled by tightness of the chest, perhaps a form of asthma or a heart condition, from childhood. Although trained as a priest, Vivaldi was given a dispensation from celebrating Mass due to his poor health and only said Mass a few times before withdrawing from priestly duties. He was almost immediately appointed as a violin teacher at the Ospedale della Pietà, an orphanage for abandoned or illegitimate children. The Ospedale was one of four such institutions in Venice and was renowned for its musical program. The girls at the school were taught to play string, woodwind, or keyboard instruments, and the institution maintained an orchestra made up of about forty girls. Vivaldi retained his position at the Ospedale through much of his career, even composing concerti for its musicians as Maestro di Concerti during his stays in Rome and other cities. Vivaldi also wrote cantatas and sacred vocal music for the Ospedale. These sacred works include solo motets and large-scale choral works for soloists, double chorus, and orchestra. As part of his duties, he had to compose an oratorio or concerto at every feast and teach the orphans both music theory and how to play certain instruments. Although many of his compositions were written as teaching exercises for his students, he also began publishing his work. His first collection was published in 1705 as his Opus 1. A collection of 12 sonatas for two violins and basso continuo (viol and harpsichord) in a conventional style, it was followed in 1709 by a second collection of 12 sonatas for violin and basso continuo, his Opus 2. His collection of twelve concerti known as L’Estro Armonico, or Harmonic Inspiration, Opus 3, was published in Amsterdam by the music publisher Estienne Roger in 1711 and was his first major success. Shortly thereafter he began composing operas and in 1716 had his only surviving oratorio, Juditha Triumphans, performed at the Ospedale della Pietà. In 1717 Vivaldi moved to Mantua as Chamber Capellmeister to Landgrave Philip van Hessen-Darmstadt. While in Mantua he continued composing operas as well as cantatas and instrumental music. It was also in Mantua that he met Anna Giraud, who remained with Vivaldi until his death. The Italian playwright Carlo Goldoni (echoing the high regard in which Vivaldi’s violin playing was held at the time) wrote, “This priest, an excellent violinist but a mediocre composer, has trained Miss Giraud to be a singer. She was young, born in Venice, but the daughter of a French wigmaker. She was not beautiful, though she was elegant, small in stature, with beautiful eyes and a fascinating mouth. She had a small voice, but many languages in which to harangue.” During the 1720s Vivaldi became active in Rome and also accepted commissions from other foreign patrons, including Louis XV. After a flurry of opera compositions (including three new operas in a three-month period and over 50 during his career), Vivaldi devoted more attention to composing concerti for publication. His collection of concerti entitled Il Cimento dell’Armonia e dell’Invenzione (The trial of harmony and invention), was published in 1725. It consists of 12 concerti, seven of which are descriptive in nature: The Four Seasons (one of which, Summer, is on this program), Storm at Sea, Pleasure, and The Hunt. The concerti were enormously successful, particularly Spring from The Four Seasons, which was adapted or arranged by several other composers. After a trip to and stay in Prague in 1730, Vivaldi concentrated primarily on operas and vocal music, although he did continue to write concerti and other instrumental music for the Ospedale and for private patrons. He resigned from the Ospedale in 1740 to move to Vienna and died shortly thereafter at the age of 62 in 1741. During his lifetime Vivaldi’s published works were widely known and performed throughout Europe. Vivaldi’s compositions inspired composers like Corrette and Rousseau, while Johann Sebastian Bach transcribed six of Vivaldi’s concerti for organ, harpsichord, or four harpsichords and strings. As with many composers of the Baroque era, his popularity dwindled during the Classical and Romantic periods, and his music became almost unknown. Rediscovery in 1926 of a collection of lost works and renewed academic study of Vivaldi’s output helped fuel a revival of his music in the middle of the 20th century. The growth of historically informed performance practices and of ensembles performing on period instruments continued to fuel interest in Vivaldi’s music. The Four Seasons is now one of the most familiar orchestral compositions of the Baroque era but is far from the only available music by this prolific composer, as today’s program demonstrates.
“Summer” from The Four Seasons Vivaldi wrote Le Quattro Stagioni, or The Four Seasons, as part of his Il Cimento dell’Armonia e dell’Invenzione (The trial of harmony and invention), Opus 8. It is by far his best-known and most widely performed composition. The four violin concerti, published in 1725, depict scenes appropriate for each season and are accompanied by sonnets related to the seasons. Three of the concerti are original, while the first, “Spring,” borrows themes from his opera Il Giustino. Vivaldi attempted to represent flowing creeks, singing birds (of different species, each specifically characterized), barking dogs, buzzing mosquitoes, crying shepherds, storms, drunken dancers, silent nights, hunting parties from both the hunters’ and the prey’s point of view, frozen landscapes, ice-skating children, and warming winter fires, with the references to these representations noted or pointed out in the music next to each occurrence.
The Concerto No. 2 in G minor for violin and orchestra, entitled L’estate (or Summer), is in three movements and follows the typical fast-slow-fast pattern of Italian concerti of the period. The accompanying sonnet makes clear some of the imagery in this very early example of “program music,” designed to convey a specific story. 1. Allegro non molto Under the merciless sun of the season Languishes man and flock, the pine tree burns. The cuckoo begins to sing and at once Join in the turtledove and the goldfinch.
A gentle breeze blows, but Boreas Is roused to combat suddenly with his neighbor, And the shepherd weeps because overhead Hangs the fearsome storm, and his destiny. 2. Adagio His tired limbs are robbed of rest By his fear of the lightning and the frightful thunder And by the flies and hornets in furious swarms. 3. Presto Alas, his fears come true: There is thunder and lightning in the heavens And the hail cuts down the tall ears of grain.
The first movement begins with a slow-feeling, languid melody in the orchestra depicting the “merciless sun of the season.” This is soon interrupted by the bird calls of the solo violin and a more lyrical theme representing the breezes of summer. The music becomes more agitated as the shepherd is roused and worries that the breezes may signal a developing storm. The second, slow movement begins with the shepherd trying to get some sleep, but the lightning and buzzing insects soon interrupt his rest. The final movement, marked Presto, is at a furious pace, with the full force of the storm-torrential rain, lightning, and thunder--depicted in the dramatic leaps and accents of the solo and orchestral lines.
Lauda Jerusalem Like all the other works on this program, Lauda Jerusalem was composed by Vivaldi in the 1720s. It is a single-movement setting for two choruses, each with a solo soprano and strings. The psalm is proper for Sundays, including Easter Sunday. It is based on the ritornello form common from instrumental concerti, where more fully scored sections for the full ensemble alternate with more lightly scored sections and freely conceived episodes are inserted between passages based on recurring material (ritornellos). The subject or theme of the concluding Doxology is based on a setting of the Lauda Jerusalem by another unknown composer in Vivaldi’s music collection.
Domine ad adiuvandum me festina Domine ad adiuvandum me festina was composed by Vivaldi in the 1720s to be used as part of the Latin Vespers liturgy. The text is from a single verse of Psalm 69 from the Vulgate followed by the Gloria Patri or Doxology, taken from the beginning of the Vespers service. Michael Talbot wrote, “If any sacred work by Vivaldi deserves to be described as his ‘most perfect,’ it is Domine ad adiuvandum. The words from the Psalm, occupying the opening movement in G major, are dispatched in choral writing of great panache—nowhere does Vivaldi exploit the antiphonal potential of a double choir and orchestra to greater effect. The urgency conveyed by the word ‘festina’ (‘make haste’) is admirably captured in the phrases tossed from choir to choir. In contrast, the Gloria Patri is an ecstatic solo in E minor for a soprano threading her way between the two continuously dialoguing instrumental ensembles. The final part of the Doxology is an introduction and fugue for united cori. Its two sections are knit together by the presence of continuous quavers in the instrumental bass. Initially at walking speed, these break into a canter for the fugue, which demonstrates almost ostentatiously Vivaldi’s ability to create a number of invertible counter-subjects, each of which can suitably act as a bass to the others.”
Dixit Dominus Dixit Dominus is a setting for double chorus and orchestra of Psalm 109 from the Latin Vulgate. The date and place of composition is unknown, but the style and use of double chorus point to 1720 or later, perhaps for a large church in Rome or another large city. The scope of the work rivals that of his well-known setting of the Gloria. Like the Gloria, Dixit Dominus is set in the bright key of D major and has a celebratory feeling. Dixit Dominus was the first psalm of the standard evening order of service, or Vespers, of Vivaldi’s day. It is part of many settings of the Vespers service, including those by Mozart and Monteverdi. It was customary to include the Gloria Patri (or Doxology) at the end of each psalm, so Vivaldi’s setting is written in 10 parts based on the 8 verses of the psalm and the two of the Gloria Patri. The work begins with two movements for double chorus and orchestra, Dixit Dominus and Donec ponam inimicos, in D major. Vivaldi’s use of word painting can be heard in the opening chorus as the vocal line (alternating between the two choruses) drops by an octave on the two-syllable word “sede,” when God says “sit at my right hand,” mirroring the downward motion of sitting in the music. Similarly, the descending choral lines in the second movement illustrate how the Lord will “make your enemies a footstool.” These choruses are followed by two movements for soloists. The duet for soprano and alto, Virgam virtutis taue, is notable for the use of echo effects between the two voices. The next movement, Tecum principum, is for alto solo. A choral movement, Juravit dominus, precedes a more forceful duet for tenor and bass, Dominus a dextris tuis, with extended florid coloratura passages for both voices. This is followed by another movement for double choir, Judicabit in nationibus; the text of this verse, speaking of God’s judgment, inspired a forceful vision of the apocalypse complete with trumpets and creates the musical climax of the work. After a solo movement for soprano, Vivaldi returns to the themes of the opening chorus for the Gloria Patri. Although not part of the psalm itself, the Gloria Patri was often set to music or musical themes from the psalm to unify the composition. The closing section is set in a fugal or polyphonic style with multiple contrapuntal melodic themes in the eight separate vocal parts of the two choruses. William Havlena, PhD Based on notes from Klaus Hoffmann and Stuart Brown Meet the Artists
Brennan Sweet, violin
Born in New York City, New Jersey Symphony Orchestra Associate Concertmaster Brennan Sweet began violin studies at the age two in Edmonton, Alberta. In 1977 he studied violin at the Franz Liszt Academy of Music in Budapest, Hungary. Beginning his college education as an engineering student at Washington University in St. Louis, Mr. Sweet transferred and earned a Bachelor of Music degree from Indiana University, eventually serving for three years as teaching assistant to Josef Gingold before joining the faculty for another two years as Lecturer.
Concertmaster of several orchestras, including the Evansville Philharmonic Orchestra and Owensboro Symphony Orchestra, Mr. Sweet was also a founding member of the Evansville String Quartet. He performed for two seasons as Assistant Concertmaster of the Colorado Music Festival in Boulder. He joined the New Jersey Symphony Orchestra in 1994 as Associate Concertmaster and subsequently led the Orchestra for three seasons as Acting Concertmaster under Maestro Zdenek Macal. Sweet is a founding member of the Mostly Mozart at Monteux Festival in Hancock, Maine, and has served as coach and performer at the Raphael Trio Chamber Music workshop in New Hampshire. In 2007, he joined the faculty of Kean University as a Concert Artist faculty member and in 2013 began teaching at the Mason Gross Extension Division at Rutgers University.
Charles M. Banks, conductor Charles Banks, a native of western North Carolina, attended Westminster Choir College in Princeton, New Jersey, where he was awarded a Bachelor of Music degree in Sacred Music in 1985. In 1992, he was awarded a Master of Music degree in Organ Performance SUMMA CUM LAUDE. At Westminster, Mr. Banks studied conducting with Robert Shaw, Sir David Willcocks, Allen Crowell, and Dr. Joseph Flummerfelt. At Saint Paul’s, Mr. Banks has conducted over eighty works for choir with soloists and instrumentalists, including members of the Metropolitan Opera, the New York City Opera, the New Jersey Symphony Orchestra, the Metropolitan Opera Orchestra, the Orchestra of Saint Luke in the Fields, Orpheus Chamber Orchestra and the American Brass Quintet. Director of Music at Saint Paul’s since 1986, Mr. Banks is also a concert organist. A first-prize winner in the American Guild of Organists Competition (North Carolina), he studied organ with Dr. Marilyn Keiser of Bloomington, Indiana and Dr. Donald McDonald of New York City. For the 1988-89 Cathedral Arts season at the Cathedral of Saint John the Divine in New York City, Mr. Banks was organist for the premier performance and recording of Symphony of the Universe. He has performed in the Princeton University Chapel Concert series and as part of The Cathedral of All Souls’ (Asheville, North Carolina) Annual Arts and Crafts Celebration. Mr. Banks is Artistic Director of the Friends of Music afternoon recital series. This evening is Mr. Banks’ thirty-first concert with the choir and the twenty-fourth concert made possible by Friends of Music at Saint Paul’s. Friends of Music Concert Series Performances with choir, soloists, and orchestra
Albinoni, Tomaso Giovanni Adagio in G minor 2008 Bach, Carl Philipp Emanuel Spiega, Ammonia fortunata 2015 Bach, Johann Christian Domine ad adjuvandum me 2015 Magnificat in C major 2015 Viola Concerto in C minor 2015 Bach, Johann Sebastian Air from Orchestral Suite III 2009 Cantata: Gloria in excelsis Deo BWV 174 2015 Harpsichord Concerto in D minor BWV 1052 1992 Harpsichord Concerto in F minor BWV 1056 1997 Magnificat in D major BWV 243 1993 Magnificat in D major BWV 243 2014 Motet: O Jesu Christ, meins Lebens Licht BWV 118 1996 Motet: O Jesu Christ, meins Lebens Licht BWV 118 2014 Motet: Lobet den Herrn, alle Heiden BWV 230 1992 Motet: Lobet den Herrn, alle Heiden BWV 230 2014 Motet: Der Gerechte kommt um BWV DEEST 1997 Motet: Der Gerechte kommt um BWV DEEST 2014 Oboe Concerto in D minor BWV 1059r 1996 Sinfonia in D major 2015 Sinfonia from Cantata 29 2009 Sinfonia From Cantata 35 2014 Violin Concerto in A minor BWV 1041 2014 Barber, Samuel Agnus Dei 2012 Beethoven, Ludwig van Mass in C major 1999 Bernstein, Leonard Chichester Psalms 2012 Bossi, Marco Enrico Concert Piece for Organ & Orchestra 2012 Duruflé, Maurice Messe “Cum Jubilo” 2005 Requiem 2005 Requiem 2011 Fauré, Gabriel Requiem 2006 Guilmant, Alexandre First Symphony for Organ & Orchestra 2007 Handel, George Frideric Water Music Suite in D major HWV 349 1994 Coronation Anthem “Let thy hand be strengthened” HMV 259 2008 Coronation Anthem “My heart is inditing” HWV 261 1994 Coronation Anthem “My heart is inditing” HWV 261 2008 Coronation Anthem “The King shall rejoice” HWV 260 1994 Coronation Anthem “The King shall rejoice” HWV 260 2008 Coronation Anthem “Zadok, the Priest” HMV 258 2008 Laudate pueri Dominum HWV 237 1997 Haydn, Franz Joseph Harmoniemesse Hob. xxii:14 2000 Missa brevis “Saint Joannis de Deo” Hob. xxiii:7 1987 Missa in Angustiis “Nelson Mass” Hob. xviii:11 1993 Te Deum Hob. xxiii c:2 1995 Ave Regina Hob. xxiii b:3 1990 Organ Concerto in C major Hob. xviii:8 1987 Hummel, Johann Nepomuk Trumpet Concerto in E major 1995 Mendelssohn, Felix Chorale Cantata: Vom Himmel hoch 1999 Mozart, Wolfgang Amadeus Ave verum corpus KV618 1987 Epistle Sonata in C major KV263 1987 Epistle Sonata in C major KV317a 1988 Epistle Sonata in C major KV328 1987 Exultate, Jubilate KV165 1988 Mass in C major “CORONATION MASS” KV317 1988 Mass in C major “CORONATION MASS” KV317 1994 Mass in C major “GREAT MASS” KV417a 2003 Regina Coeli KV108 1989 Regina Coeli KV276 1996 Requiem KV626 (Maunder edition) 1996 Requiem KV626 (Levin edition) 2002 Sub tuum praesidium KV198 1993 Vesperae solennes de Confessore KV339 1995 Veni Sancte Spiritus KV47 1993 Veni Sancte Spiritus KV47 2003 Paulus, Stephen Concerto for Organ and Orchestra 2016 Poulenc, Francis Gloria 1998 Gloria 2007 Organ Concerto 2006 Stabat Mater 2013 Respighi, Ottorino Suite for Strings & Organ 2011 Rheinberger, Joseph Gabriel Concerto for Organ & Orchestra in G minor OPUS 177 2008 Concerto for Organ & Orchestra in F major OPUS 137 2010 Rutter, John Gloria 2009 Jubilate Deo 2009 Te Deum 2009 Magnificat 2016 Requiem 2010 Schubert, Franz Peter Mass in G major D167 1989 Mass in B-flat major D324 1997 Mass in E-flat major D950 2001 Offertorium in C major D136 2001 Tantum ergo D950 2001 Stanford, Charles Villiers OPUS 10 Te Deum in B-flat major 1998 Vivaldi, Antonio Concerto in D RV 403 2002 Gloria in D major RV 589 1992 Widor, Charles-Marie Symphonie pour orgue et orchestre 2013 “Music is an endowment and a gift of God … it also drives away the devil and makes people cheerful … I place music next to theology and give it the highest praise.” MARTIN LUTHER
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