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Home , Chorale, Sacred concerto

FEB 09

ZACHOW PLAYERS AND CONSORT PRESENTING

CANTATE DOMINO: OF ZACHOW, BACH, AND HANDEL

Hyeok Lee, Founding Director

St. Thomas Episcopal Church 4900 Jackwood at Endicott, Houston, TX 77096 7:30pm

Friedrich Wilhelm Zachow (1663-1712) Venite ad me omnes, TV 30 [North American Premiere] Two Chorale Preludes on Christ lag in Todesbanden, LV 47 Missa super chorale: Christ lag in Todesbanden, TV 33 [North American Premiere]

Johann Sebastian Bach (1685-1750) Der Friede sei mit dir, BWV 158

George Frederic Handel (1685-1759) The Lord is my light, HWV 255

CONTACT INFORMATION: (713)-666-3111 FREE ADMISSION (SUGGESTED DONATIONS: ADULT $10, SENIOR/STUDENT) $5 PROGRAM NOTES AND TEXTS

Tonight's concert features some of the finest concerted church music by three German masters in the eighteenth century, Friedrich Wilhelm Zachow (1663-1712), (1685-1750), and George Frederic Handel (1685-1779). Our musical journey begins with three compositions by Zachow (a church , an for organ, and a Lutheran Mass) followed by one cantata by Bach. The second half of the concert is devoted to an anthem by Handel. Zachow (frequently spelled Zachau) composed 113 both in German and in Latin, four Lutheran Masses, and three Kyrie movements during the twenty-eight years of his tenure (1684-1712) as city music director and organist of the Marienkirche in Halle. Unfortunately, three quarters of Zachow’s church music has been lost. Only thirty-three cantatas and one Lutheran Mass (which will be performed tonight) have survived. Until the early twentieth century, Zachow was primarily known as Handel's teacher. However, Zachow is now acquiring a reputation as an important central German composer of concerted church music and organ music. Interestingly, not only Handel but also Bach was connected with Zachow. In 1713, just one year after Zachow's death, Bach almost succeeded to the organist/music director position vacated by Zachow. The Marienkirche council, after Bach's audition in December, unanimously decided to offer him the position. However, Bach turned it down in March 1714 after a lengthy delay. And about thirty years later, one of his sons, Wilhelm Friedemann Bach served there from 1746 to 1764.

I

Composed before 1699, Venite ad me omnes, TV 30, shows several characteristics of the earliest type which prevailed at the end of seventeenth century. Following the tradition of the gospel motet and sacred , Zachow used only a pure Biblical text (Matthew 11:28) without any insertion of madrigalian texts. He also used moderate musical forces, a solo vocal quartet and an ensemble of three obligato instruments (two violins and one fagotto) with continuo. During Zachow's lifetime and posthumously, this cantata was performed several times on various Sundays (First and Third Sunday after Trinity and Estomihi Sunday, which is the Sunday before Lent) which are closely related to Christ's Passion, Death, and Resurrection, the central focus of the Christian church year.

Venite ad me omnes, TV 30 (North American Premiere) Friedrich Wilhelm Zachow Katie Richardson, Sean Stulz, Peter Tran, and Saleel Menon, solo vocal quartet

1.

2. Quartet Venite ad me omnes qui laboratis et onerati estis. Come unto me, all ye that labour and are heavy laden.

3. Quartet et ego reficiam vos. and I will give you rest.

4. Quartet Et ego reficiam vos. Venite ad me omnes.

II

The next two compositions by Zachow and the Bach cantata which follows them share the most famous Easter chorale, Christ lag in Todesbanden, written by . The seven verses of the chorale celebrate the death and resurrection of Christ and his conquest of death for his believers. The two organ preludes on Christ lag in Todesbanden show Zachow's simple yet effective treatment of the cantus firmus (the former prelude in the highest voice and the latter in the lowest voice) as one might encounter in Bach's Orgelbüchlein. The Mass (consisting only of Kyrie and Gloria, which were normally used in a Lutheran Latin mass) shows Zachow's mastery of stile antico, an imitation of the of Palestrina, as one might encounter in Buxtehude's similar composition, Missa brevis. Throughout the Mass, Zachow divides the chorale tunes into several segments and used them in all four voices in polyphonic texture.

Two Chorale Preludes on Christ lag in Todesbanden, LV 47 Zachow Jeong-Suk Bae, organ solo

Missa super chorale: Christ lag in Todesbanden, TV 33 (North American Premiere) Zachow Mary Kim, Alex Bruce, Matthew Lydick, and Matt Richardson, solo quartet Sean Stulz, conductor

1. Kyrie Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy.

2. Gloria Gloria in excelsis Deo. Glory be to God on high, Et in terra pax hominibus bonae voluntatis. and on earth peace, good will towards men. Laudamus te. Benedicimus te. We praise thee, we bless thee, Adoramus te. Glorificamus te. we worship thee, we glorify thee, Gratias agimus tibi propter magnam gloriam tuam. we give thanks to thee for thy great glory, Domine Deus, Rex caelestis, O Lord God, heavenly King, Deus Pater omnipotens. God the Father Almighty. Domine Fili unigenite, Jesu Christe. O Lord, the only-begotten Son, Jesus Christ; Domine Deus, Agnus Dei, Filius Patris. O Lord God, Lamb of God, Son of the Father, Qui tollis peccata mundi, Thou that takest away the sins of the world, miserere nostri. have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of God the Father, miserere nobis. have mercy upon us. Quoniam tu solus Sanctus. Tu solus Dominus. For thou only art holy; thou only art the Lord; Tu solus Altissimus, Jesu Christe. thou only, O Christ, with the Holy Ghost, Cum Sancto Spiritu, in gloria Dei Patris. Amen. art most high in the glory of God the Father. Amen.

III

Der Friede sei mit dir, BWV 158, is a great addition to Bach’s two renowned cantatas for solo bass (BWV 56 and 82) even though the circumstances surrounding the composition of this cantata is not clear. It is not certain whether the present four-movement form handed down to us is complete or not. While the middle two movements point to the Purification feast in their emphasis on departure from the world and longing for heavenly peace, the outer movements (especially the closing chorale) reflect upon the main Easter motif, the Lamb of God sacrificed. The heart of the cantata is the masterfully constructed for bass and violin to which soprano comments on the aria with the chorale, Welt ade, ich bin dir müde. The cantata is probably intended for Easter Tuesday.

Der Friede sei mit dir, BWV 158 Johann Sebastian Bach Katie Johnson and Eric Lindsey, soloists; Jackson Guillen, violin solo

1. Der Friede sei mit dir, Peace be with you; Du ängstliches Gewissen! you anxious conscience! Dein Mittler stehet hier, Your mediator stands here, Der hat dein Schuldenbuch by him the book of your guilt Und des Gesetzes Fluch and the law's curse Verglichen und zerrissen. have been settled and torn up. Der Friede sei mit dir, Peace be with you; Der Fürste dieser Welt, the prince of this world Der deiner Seele nachgestellt, who hunted after your soul, Ist durch des Lammes Blut bezwungen und gefällt. is conquered and felled through the Lamb's blood. Mein Herz, was bist du so betrübt, My soul, why are you so distressed, Da dich doch Gott durch Christum liebt! since God loves you through Christ! Er selber spricht zu mir: He himself says to me: Der Friede sei mit dir! peace be with you!

2. Aria and Chorale Welt, ade, ich bin dein müde, World, farewell, I am weary of you; Salems Hütten stehn mir an, the tents of Salem suit me better, Wo ich Gott in Ruh und Friede where in peace and calm Ewig selig schauen kann. I can gaze on God in bliss for-ever. Da bleib ich, There I shall stay, da hab ich Vergnügen zu wohnen, there I shall be pleased to dwell, Da prang ich gezieret there I shall be splendidly adorned mit himmlischen Kronen. with heavenly crowns.

Welt, ade, ich bin dein müde, World, farewell, I am weary of you, Ich will nach dem Himmel zu, I want to go to heaven, Da wird sein der rechte Friede there will be true peace Und die ewig stolze Ruh. and eternal glorious rest. Welt, bei dir ist Krieg und Streit, World, in you there is war and strife, Nichts denn lauter Eitelkeit; nothing but pure vanity; In dem Himmel allezeit In heaven at all times are Friede, Freud und Seligkeit. peace, joy and bliss.

3. Recitativo and Arioso Nun, Herr, regiere meinen Sinn, Now, Lord, govern my thoughts Damit ich auf der Welt, so that in the world, So lang es dir, mich hier zu lassen, noch gefällt, so long as it pleases you to leave me here, Ein Kind des Friedens bin, I may be a child of peace, Und lass mich zu dir aus meinen Leiden and let me from my sufferings Wie Simeon in Frieden scheiden! like Simeon depart to you in peace! Da bleib ich, da hab ich Vergnügen zu wohnen, There I shall stay, there I shall have delight to live, Da prang ich gezieret mit himmlischen Kronen. there I shall be resplendent adorned with heavenly crowns. 4. Chorale Hier ist das rechte Osterlamm, Here is the true Easter Lamb Davon Gott hat geboten; decreed by God; Das ist hoch an des Kreuzes Stamm that high on the beam of the cross In heißer Lieb gebraten. was burnt in ardent love. Des Blut zeichnet unsre Tür, His blood marks our doors, Das hält der Glaub dem Tode für; this is used by faith to ward off death; Der Würger kann uns nicht rühren. the strangler cannot touch us. Halleluja! Hallelujah! IV

Handel composed eleven anthems in 1717-18, together with the Cannons Te Deum, for the modest musical forces employed by James Bridges, first Duke of Chandos, who maintained a kind of princely court common in Italy and Germany but almost unknown in England. The eleven Cannons Anthems (formerly called Chandos Anthems) are all extended, multi-movement works, generally opening with a brief two-part (slow-fast). These English “cantata” anthems combine elements of the Purcellian anthem, the Italian trio-sonata, and large-scale Italian Psalm settings of which Handel's own Dixit Dominus is the best example. The Lord is my light, HWV 255, one of the finest works of Handel's first English decade, draws on a wider selection of Psalms, setting verse from the Book of Common Prayer versions of Psalms 27, 18, 20, 34, 28, 29, 30, and 45, respectively, many of which are slightly modified. Interestingly, one would rightly hear in the sixth movement a version of the bass recitative, Thus saith the Lord, from the Messiah (1741) which would be composed about twenty years later. Moreover, one would also notice some influences of the Dixit Dominus throughout the choral movements, especially in the last section of the final chorus, world without end, Amen.

The Lord is my light, HWV 255 George Frederic Handel Siobhán Thompson, Ryan Frenk, Peter Tran, and Alex Bruce, soloists 1. Sinfonia

2. Air The Lord is my light and my salvation, whom then shall I fear? The Lord is the strength of my life, of whom then shall I be afraid?

3. Chorus Though an host of men were laid against me, yet shall my heart not be afraid. Though there rose up war against me, yet will I put my trust in him.

4. Air One thing have I desired of the Lord, which I will require: that I may dwell in the house of the Lord all the days of my life. To behold the fair beauty of the Lord and to visit this temple.

5.Chorus I will offer in his dwelling an oblation with great gladness. I will sing and speak praises unto the Lord.

6. Chorus For who is God but the Lord: or who hath any strength except the Lord? The earth trembled and quaked: the very foundations also of the hills shook and were removed. He cast forth lightnings and gave his thunder and destroyed them.

7. Chorus They are brought down and fall’n: but we are risen.

8. Chorus O praise the Lord with me: and let us magnify his name together.

9. Air The Lord is my strength and my shield, my heart has trusted in him, and I am helped: therefore my heart danceth for joy, and in my song will I praise him. 10. Air It is the Lord that ruleth the sea, the Lord sitteth above the water-flood: and the Lord remaineth a king forever.

11. Chorus Sing praises unto the Lord, O ye saints of his: and give thanks unto him for a remembrance of his holiness. I will remember thy name from one generation to another. Therefore shall the people give thanks unto thee, world without end. Amen.

PERSONNEL

Zachow Consort & Players Hyeok Lee, founding director and conductor Sean Stulz, assistant conductor

Zachow Consort Siobhán Thompson*, Katie Richardson, Mary Kim, Jessica Gann, Katie Johnson*, Megan Wilhelm, Sean Stultz, Peter Tran*, Ryan Frenk, Alex Bruce, Matthew Lydick, Saleel Menon*, Eric Lindsey, Matt Richardson *section leader Zachow Players Jeong-Suk Bae, organ Brett D. Linski, oboe Martin Wells, bassoon Jackson Guillen, violin I Hae-Jin Ryu, violin II Mayara Velasquez de Guillen, cello

Zachow Consort & Players was founded in September of 2013 by Hyeok Lee, with Sean Stultz as assistant conductor. This chamber vocal/instrumental ensemble is named after Friedrich Wilhelm Zachow (1663-1712), who was the organist/music director in Marienkiche in Halle and was mainly known as Handel's teacher. They perform the church cantatas of Zachow and lesser-known music by other composers from the same period. They gave the modern-premiere of three church cantatas by Zachow last October.

Hyeok Lee A South Korean conductor, Hyeok Lee received his bachelor of music degree in composition from Chong-Sin University in Seoul, Korea, and two master of music degrees in US: composition from the Southwestern Baptist Theological Seminary in Fort Worth, Texas, and choral conducting from the Moores School of Music at the University of Houston. In 2011, he began doctoral coursework in choral conducting at the MSM. Mr. Lee currently serves as assistant director of the Houston Chorus under the direction of Dr. Charles Hausmann, and of Chorus Angelorum, a semi-professional Anglican Evensong choir (founding director, Ed Franklin). He also recently served as graduate assistant of the award-wining MSM Concert Chorale under the direction of Dr. Betsy Weber. Mr. Lee has transcribed several church cantatas by Friedrich Wilhelm Zachow into modern editions and is writing about the performance practice of Zachow's cantata oeuvre.

Acknowledgements Tonight's concert is generously audio-recorded by John Proffitt. Zachow Consort and Players would like to thank to Dr. Giles Brightwell, the choirmaster of St. Thomas Episcopal Church, for inviting us to give our first concert this Spring at this wonderful church. We also would like to thank the Rev. Evan McClsanahan, the pastor of First Evangelical Lutheran Church; Carroll Shaddock, Director of Worship and Music; Dorry Shaddock, Organist, for providing venues for our rehearsals. Without their generosity, tonight's concert would not have been possible. Upcoming Concerts in the Spring

April 13, 7:30pm PASSIO DOMINI NOSTRI: PASSION MUSIC OF SCHŰTZ, BACH, AND MENDELSSOHN First Evangelical Lutheran Church 1311 Holman Street, Houston, Texas 77004 Contact Information: (713) 529-3589

May 31, 7:30pm MEMENTO MORI: FUNERAL MUSIC OF VICTORIA, MORLEY, AND SCHŰTZ First Evangelical Lutheran Church

Contribute to Zachow Consort and Players Zachow Consort and Players relies on the generous support of private donors and foundations to make its programs accessible to the community. Please consider making a contribution.

Phone Number: 817-915-3793 Email Address: [email protected] Mailing Address: Hyeok Lee (Zachow Consort and Players) 11900 Wickchester Lane, #1119 Houston, Texas 77043