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MEMBRA JESU NOSTRI Masterworks of 17Th-Century Germany for Choir, Soloists, and Instruments

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MEMBRA JESU NOSTRI Masterworks of 17Th-Century Germany for Choir, Soloists, and Instruments Albrecht Dürer: Two angels with the Sudarium DIETERICH BUXTEHUDE MEMBRA JESU NOSTRI Masterworks of 17th-century Germany for choir, soloists, and instruments. FRIDAY MARCH 8, 2019 | CHRIST CHURCH CATHEDRAL E M V PARTNERSpartners Early Music Vancouver gratefully acknowledges the assistance and support of: board of directors Chris Guzy Chris Guzy GOVERNMENT SUPPORT president Fran Watters Fran Watters vice president Spencer Corrigal , We acknowledge the support of Ron Kruschen the Province of British Columbia treasurer Tony Knox Tony Knox past president Ilia Korkh Ilia Korkh FOUNDATIONS secretary Sherrill Grace Kathleen Bourchier THE BRENNAN SPANO Melody Mason FAMILY FOUNDATION Spencer Corrigal cpa,caJesse Read Sherrill Grace THE DRANCE FAMILY Tim Rendell , Melody Mason EARLY MUSIC VANCOUVER FUND Ingrid Söchting Tim Rendell cpa,ca Vincent Tan Johanna Shapira 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. ÷ pacific José Verstappen cm baroque artistic director emeritus orchestra alexander weimann ÷ MUSIC director Matthew White staff Matthew WhiteNathan Lorch 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 VANCOUVER, BC Tony Knox event photographer Barrister & Solicitor, Arbitrator Tel: 604 263 5766 Cell: 604 374 7916 Fax: 604 261 1868 Email: [email protected] Trevor Mangion 1291 West 40th Avenue, Murray Paterson 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 Chanrelations Centre Box Of fice Staf f : ­. ­ THANK YOU! Trevor Mangion You can be in good company too! and The Chan Centre Box Office Staff The corporate sponsors of Early Music Vancouver give back to their community through Season Calendar panels 2018-19.indd 36 the support of our performances and education & outreach programmes.16/06/2018 Their 12:13:31 efforts PM emv ticket office: 604.822.2697 make a meaningful difference for concertgoers and musicians alike. 1254 West 7th Avenue, Our wide range of activities offers unique sponsorship opportunities for both large and Vancouver BC, V6H 1B6 small companies to support us while also reaching their corporate goals. A range of 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. 2 | EMV Cathedral Series 2018/19 Buxtehude: Membra Jssu Nostri [email protected] the artists programme Alexander Weimann BUXTEHUDE: MEMBRA JESU NOSTRI music director Nozomi Sato Andreas Hammerschmidt (1611-1675) director of the keio university Verleihe uns Frieden gnädiglich academy vocal ensemble vocal soloists Dieterich Buxtehude (1637-1707) Sinéad White From Membra Jesu nostri Jane Long Ad Pedes Debi Wong Ad Genua Jacob Gramit Ad Manus Thomas Lamont Heinrich Schütz (1585-1672) Keio University O süßer Jesu Christ, swv 405 Collegium Musicum, Academy Vocal Ensemble Dieterich Buxtehude From Membra Jesu nostri Baroque Mentorship Orchestra Ad Latus Cappella Borealis INTERVAL generously supported by Andreas Hammerschmidt Keio University Gib unserm Volke und Obrichkeit Frieden Design the Future Fund Hakuju Institute Dieterich Buxtehude for Health Science Co., Ltd. From Membra Jesu nostri Maurice & Tama Copithorne Ad Pectus media sponsors Heinrich Schütz Ego dormio, swv 63 Vulnerasti, swv 64 in cooperation with Vancouver Mitakai Dieterich Buxtehude (Keio Alumni Society of Vancouver) From Membra Jesu nostri Ad Cor nominal support Heinrich Schütz Veni dilecte, swv 274 Pre-concert introduction at 6:45 with host Matthew White: Dieterich Buxtehude Nozomi Sato, Alex Fisher, From Membra Jesu nostri and Alexander Weimann Ad Facies earlymusic.bc.ca Buxtehude: Membra Jssu Nostri EMV Cathedral Series 2018/19 | 3 buxtehude’s membra jesu nostri by christina hutten Dietrich Buxtehude’s cantatas entitled the devout reading and meditation Membra Jesu nostri patientis sanctissima on the passion and death of Jesus (The Most Holy Limbs of Our Suffering Christ, sorrowful, repentant sinners Jesus) contemplate seven parts of and doubtful, afflicted hearts may be Christ’s crucified body – his pierced feet, comforted and made joyful, and the bent knees, bleeding hands, wounded faithful aroused to further, greater, side, revered breast, loving heart, and and higher devotion in whatever they thorn-crowned face. Combining vivid do, and inflamed by the Holy Spirit of texts with intensely expressive music, God.” Besides poetry and music, the they were, according to their title page pious might employ images, including in Buxtehude’s own hand, a personal act altar paintings, images in stained of piety and a gift to a “most honoured glass, and emblems (images, often friend” Gustav Düben, cantor at the bound together in books, combining a German Church in Stockholm and recognizable scene or symbolic collage capellmeister of the Swedish court. At with text that oriented the reader’s the heart of each of the seven cantatas understanding of the scene or taught is an aria setting three strophes of a moral lesson). Recent research has Hieronymus Wierix, Sudarium a Medieval mystical rhymed prayer (Amsterdam, Rijksmuseum) shown that some of the biblical texts known as Oratio rhythmica, famous chosen by Buxtehude were common in part because of its mistaken attribution to Bernard of epigrams on passion emblems. Perhaps Buxtehude and Clairvaux, a hero of pious devotion. Buxtehude frames Düben’s audiences listened to these cantatas while each central aria with a sacred concerto for voices and contemplating the images in a book of emblems, or the instruments setting a biblical text chosen to compliment Ecce homo painting in the German Church in Stockholm. the poetry and sets the tone for each cantata with an We are fortunate that this poignant window into the opening instrumental sonata. The result is an hourglass-like emotional life of the seventeenth century still survives. cantata form that moves from collective scripture reading Gustav Düben bequeathed it and the rest of his by the concerto’s large ensemble, to personal reflection in exceptionally rich music library to his sons, who eventually the solo aria, and concludes with communal affirmation by donated it to the Uppsala University Library in two large repeating the concerto. At the heart of the cycle of cantatas wooden trunks. Apparently, these trunks were also home is the most tender and intimate “Ad cor”. Here Buxtehude to a family of rats, and the university librarians promptly requests a dramatic instrumentation change to the delicate, deposited the trunks and their contents in the cellar. There shimmering timbre of an ensemble of five viols. they remained until their rediscovery at the end of the Devotional meditation served to evoke empathy and nineteenth century by a music director from Buxtehude’s compassion for the suffering Christ, but also to bring own city of Lübeck. Now, thanks to the wonders of modern comfort. The preface to a seventeenth century edition technology, most of the so called Düben Collection has of Oratio rhythmica explains its purpose that “through been scanned and is freely available online. 4 | EMV Cathedral Series 2018/19 Buxtehude: Membra Jssu Nostri [email protected] religious piety and music in the german baroque by nozomi sato Seventeenth-century Germany experienced drastic social sought to interweave a traditional, sacred musical style change. Although the Peace of Augsburg (1555) was with the subjective, emotional expression of the madrigal. an agreement ensuring religious freedom, this freedom The pair of motets, Ego dormio / Vulnerasti (swv 63-64), applied to rulers only; it had nothing to do with ordinary were included in his collection Cantionæ Sacræ, published people. For them, religious doctrine was still dictated in 1625 shortly after he returned to Germany from Italy. from above. However, over the course of the seventeenth The text was taken from the Old Testament’s “Song of century, religion changed gradually, becoming a more Songs”, also known as “Song of Solomon”, which holds personal domain based on individual belief. The disastrous a unique position in the Bible in terms of its literary outcome of The Thirty Years War (1618-48) left Central form and expression; it is an erotic dialogue between Europe deeply wounded, as well as conscious of the motto two lovers, often interpreted as an allegory for the love “memento mori” (remember your death). Individuals were between Christ and the believer. Schütz’s work employs looking for a personal relationship with God and were dissonance and rhythmic contrast freely here in order to struggling to find the strength to maintain inner piety. At replicate the strikingly emotional tone of the
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