Saturday Evening, May 4, 2019, at 7:30

The Juilliard School presents Juilliard415 Yale Schola Cantorum Yale Voxtet David Hill, Conductor

JOHANN CHRISTIAN BACH (1735–82) Grand Overture (Symphony) in D major, Op. 18, No. 4 Allegro con spirito Andante Rondo. Presto

PAWEŁ ŁUKASZEWSKI (b. 1968) Ascensio Domini Sinfonia Viri Galilei Baptismus Salutis Humanae Sator Alleluia ADRIENNE LOTTO, Soprano KAROLINA WOJTECZKO, Mezzo-Soprano COREY SHOTWELL, Tenor HARRISON HINTZSCHE, Baritone New York premiere, commissioned by the Yale Institute of Sacred Music

Intermission

The taking of photographs and the use of recording equipment are not permitted in this auditorium.

Juilliard’s full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. JOSEPH HAYDN (1732–1809) Missa in angustiis (Lord Nelson Mass), Hob. XXII/11 Kyrie Gloria Credo Sanctus Benedictus Agnus Dei EMILY DONATO, Soprano ASHLEY MULCAHY, Mezzo-Soprano HAITHAM HAIDAR, Tenor EDWARD VOGEL, Baritone

Performance time: approximately 2 hours, with an intermission Notes on the Program Overtures, Op. 18, which mark the sum- mit of his contributions to orchestral liter- by James M. Keller ature. Some of the pieces were original Grand Overture (Symphony) in D major, to this venture, while others were drawn Op. 18, No. 4 from music J.C. had previously used in op- JOHANN CHRISTIAN BACH eras and serenatas. The middle movement Born September 5, 1735 in Leipzig, of the Symphony No. 4, the work heard Saxony (Germany) here, is adapted from the Overture to his Died January 1, 1782, in London, England opera Temistocle, which he had written on commission for the court of Mannheim in Four of ’s sons—the 1772; but this particular music goes back two oldest (Wilhelm Friedemann and Carl even further, since he adapted that bit of Philipp Emanuel, or “C.P.E.”) and the two Temistocle from his 1767 opera Carattaco. youngest (Johann Christoph Friedrich and In Temistocle this breezy Andante included Johann Christian)—staked notable places three clarinetti d’amore (probably ances- as composers. The youngest of these, tors of the basset horn), clarinets being a Johann Christian (“J.C.”), most thoroughly glory of the famous Mannheim orchestra. embraced the emerging Classical style of In the Symphony version, this movement the mid-18th century. After his father died employs a wind section of just two flutes when he was 15 years old, J.C. was taken and bassoon, along with strings and (one in by C.P.E., who continued tending to his assumes) a keyboard continuo. For good upbringing. Five years later J.C. left for Italy, reason were the terms “Overture” and viewed as the hub of new music, and he “Symphony” essentially interchangeable all but “turned Italian,” even to the extent in England at that time. Both an opera of leaving his family’s traditional Lutheran overture and a concert symphony typically faith to become a confirmed Roman Cath- adhered to the same three-movement, olic. After building a reputation in Italy as fast–slow–fast layout, and in many cases an opera composer, he moved in 1762 to the same piece might serve double duty, London, where Italianate taste was on the employed in both contexts. ascendant. He scored more successes in the opera house, was appointed music The Grand Overture’s extroverted first master to Queen Charlotte, and co-founded and third movements employ larger, more a prestigious concert series that kept En- bright-hued forces: pairs of oboes, trum- glish audiences current to the latest sym- pets, and timpani, in addition to bassoon, phonies, concertos, chamber music, and strings, and continuo. (The same players vocal works. In 1764, Leopold Mozart and probably would have doubled on flutes his two prodigy children, Wolfgang and and oboes.) The opening Allegro con Nannerl, befriended J.C. while visiting Lon- spirito follows a textbook sonata-allegro don. J.C. left a lasting impact on Wolfgang, form, though with no repeat of the ex- whose earliest piano concertos include position. The Rondo finale adds no depth arrangements of movements from J.C.’s to this symphony, but it does prolong its keyboard sonatas. delight, making it easy to understand why Mozart held J.C. in such high regard and It was in 1781 or early 1782 (which is to crafted so many of his own early sympho- say shortly before or just after J.C. died) nies in a similar mode. that the publisher William Forster issued a collection of the composer’s Six Grand Ascensio Domini Britten Sinfonia, Cracow Philharmonic, PAWEŁ ŁUKASZEWSKI and Wrocław Philharmonic. Born September 19, 1968, in Cz¸estochowa, Poland His music is sometimes described as re- lating to the neo-medieval harmonic and Born into a family of musicians, Paweł spiritual traditions that have also inspired Łukaszewski received diplomas from War- such composers as Henryk Górecki, Arvo saw’s Chopin Music Academy in cello and Pärt, John Tavener, and Morten Lauridsen. in composition (with distinction, following The Polish Music Center at the University study with composer Marian Borkowski). of Southern California has this to say about He also completed graduate work in cho- his style: “The use of major and minor ral conducting at the Bydgodoszcz Music modes serves the composer only as a point Academy and in 2000 received a doctorate of departure for his highly subjective musi- in composition from the Chopin University cal style which, especially in the realm of in Warsaw, where he now serves as pro- vocal compositions, is inspired by texts he fessor of composition. He is artistic director is setting to music. Łukaszewski’s highly in- of the Musica Sacra choir in Warsaw and in dividual musical language, rhythmic vitality, 2011–12 was composer-in-residence at the and the careful formal layout present in all Warsaw Philharmonic. His work has been of his works, as well as his profound under- recognized with numerous honors in his standing of the liturgical texts in the Cath- native Poland, including most recently the olic rite, combine to produce music that is City of Warsaw Scholarship (2010), Silver strikingly traditional yet fully modern.” Gloria Artis Medal (2011), and Primate of Poland Award (2011). Łukaszewski has provided this comment about Ascensio Domini: Łukaszewski has been recognized as a leading composer of contemporary choral Commissioned by the Yale Institute music whose works have been included of Sacred Music, Ascensio Domini is on more than 110 CDs, including on such the third part of a large cycle of vocal- internationally notable labels as Hyperion instrumental compositions that cover and Signum. Eight releases on Poland’s the liturgical period from Jesus’ passion Dux Records and three on Hyperion have and death on the cross through his res- been devoted entirely to his music. En- urrection and ascension. The full title of sembles that have recorded his music in- the cycle is Via crucis, Resurrectio, et As- clude the Polyphony ensemble, directed censio Domini. A setting of a Latin text, by Stephen Layton; Trinity College it was written between 2000 and 2018. Choir Cambridge, also with Layton; and Via crucis was composed for my doctoral Tenebrae, directed by Nigel Short. A degree. Resurrectio was commissioned prolific composer, Łukaszewski has pro- by the Archbishop of Cologne. duced not only the choral works for which he is best known, but also major orches- Ascensio Domini lasts about 25 minutes tral pieces (including three choral sym- and is scored for four soloists, choir, and phonies and several concertos) and nu- orchestra. It was commissioned to be per- merous works of chamber music. Among formed by an ensemble of period instru- organizations that have commissioned ments, but a modern orchestra may also pieces from him are the King’s Singers, be used. The composition falls into five Polish Radio, Polish Composers’ Union, movements: the opening instrumental Sinfonia is followed by two settings of bib- 1798, is headed merely Missa (Mass) on lical texts (“Viri Galilei” and “Baptismus”), the composer’s manuscript, but when the hymn “Salutis humanae Sator,” and a he entered it into his catalog of composi- final “Alleluia.” tions, he identified it as Missa in angustiis (actually Missa in angustijs, reflecting the Missa in angustiis (Lord Nelson Mass), period’s common orthography that renders Hob. XXII/11 a “double-i” as “ij”). Translations along JOSEPH HAYDN the lines of “Mass for Troubled Times” or Probably born on March 31, 1732 (he was “Mass in Adversity” have exerted appeal baptized on April 1), in Rohrau, Lower Austria through the years, casting the work as a Died May 31, 1809, in Vienna reflection of the warfare that plagued Eu- rope and that had been overtly reflected Six of Franz Joseph Haydn’s 14 masses in Haydn’s preceding mass, the Missa in document the final chapter of his involve- tempore belli (Mass in Time of War). Austria ment with the illustrious Esterházy princes. was fighting the French on two fronts: in the He worked for four of them: Prince Paul west to control territories in southern Ger- II Anton Esterházy, who hired him in 1761; many and in the south to defend its holdings Nikolaus I “the Magnificent,” an enthusias- in Italy, which were under assault from the tic arts lover who ruled from 1762 to 1790; young Napoleon Bonaparte. Anton, who, succeeding Nikolaus from 1790 through 1794, gutted the arts programs It is often recounted that the Missa in and put Haydn out to pasture with a pen- angustiis was specifically inspired by sion (which enabled Haydn to undertake Napoleon’s defeat by the British fleet com- two extended residencies in London); and manded by Rear Admiral Horatio Nelson at Nikolaus II, whose reign ran from 1794 to the Battle of Abukir, a decisive if tempo- 1833. Although Nikolaus II did not restore rary setback for the French. By extension, all the past glories of the court orchestra, the work became known very early on as opera troupe, and chapel musicians, he put the Nelson Mass or Lord Nelson Mass. into place an ensemble for sacred music and The possibility that this work was actu- provided funds to hire freelancers to eke out ally inspired by Nelson’s victory is under- those forces as needed. He asked Haydn to mined by the fact that news of the battle reactivate his involvement at court. Ever the did not reach Austria until after Haydn had loyal employee, Haydn consented to return completed the piece. Indeed, the report following his London commitments in the may have arrived on the very day of the 1795 season. work’s premiere—September 23, 1798— in which case there would have been a Nikolaus II’s principal expectation was legitimate reason for people to associate that Haydn compose a new mass annu- the piece with the battle and, by exten- ally for the name day of Nikolaus’ wife, sion, with Nelson. As it happens Nelson Marie Hermenegild, which fell in September. did pay a brief visit to Eisenstadt in Sep- Haydn did provide one every year from 1796 tember 1800, and later accounts instilled through 1802 (except for 1800), although in the idea that this mass was performed in some cases the name-day association may his presence then. Historical documents have been loose and the masses were actu- do not provide any support for this pre- ally unveiled on different dates. sumed overlap; instead, they suggest that the annual celebratory mass was given The third of them, composed in the brief five days after his departure. In French, space of seven weeks in the summer of by the way, the piece is known as the Messe impériale (Imperial Mass), implying part choral canon (sopranos and tenors vs. some connection to Napoleon, who would mezzo-sopranos and basses) at the opening crown himself emperor in 1804. In these of the Credo and in the fugues that conclude competing titles—Nelson Mass vs. Messe the Gloria and occupy the final Dona nobis impériale—we may imagine the British pacem section. The sheer gorgeousness of and French forces still locked in linguistic the soprano solo “Et incarnatus est,” with battle long after the conflict of Abukir was its enveloping choral responses, lingers in over and otherwise forgotten. the memory, as does the composer’s har- nessing of the chorus’ expressive dynamics Military overtones lend a sense of agitation at the opening of the Sanctus. But one high- and anxiety to parts of this mass. They are lights such passages almost arbitrarily, since unmistakable in the martial complement nothing but greatness inhabits every page of of three trumpets and timpani in the Kyrie, the Missa in angustiis. with its ornate, hyper-dramatic part for the soprano soloist; at the point of the Credo James M. Keller is the longtime program that mentions Pontius Pilate; and in the stark annotator of the phrases of the Benedictus, where Haydn and the San Francisco Symphony. His note provides just the opposite of the kindly fla- on Haydn’s Missa in angustiis is derived vor that normally infuses this expanse. The from an essay that originally appeared in counterpoint is breathtakingly effective, the program books of the San Francisco most obviously in the very extensive two- Symphony. Texts and Translations

Łukaszewski, Ascensio Domini Viri Galilei Viri Galilei, quid statis aspicientes in Ye men of Galilee, why do you wonder, coelum? looking up to heaven?

Hic Iesus, qui assumptus est a vobis in This Jesus who is taken up from you into coelum, sic veniet, quemadmodum vidistis heaven, shall so come as you have seen eum euntemin caelum. Alleluia. him going into heaven. Alleluia.

Ascendit Deus in iubilatione, et Dominus God is ascended with jubilation, and the in voce tubae. Alleluia. Lord with the sound of the trumpet. Alleluia.

Dominus in caelo paravit sedem suam. The Lord hath prepared his throne Alleluia. in heaven. Alleluia.

Baptismus Qui crediderit, et baptizatus fuerit, He that believes and is baptized shall be salvus erit, qui vero non crediderit, condem- saved, but he that does not believe shall nabitur. Signa autem eos qui crediderint, be condemned. And these signs shall haec sequentur: follow them that believe:

In nomine meo demonia eicient. In my name they shall cast out devils. Linguis loquentur novis. They shall speak with new tongues. Serpes tollent, They shall take up serpents, et si mortiferum quid biberint, and if they shall drink any deadly thing, non eos nocebit. it shall not hurt them.

Super aegrotos manus imponent, et bene They shall lay their hand up on the sick: habebunt. and they shall recover.

Et Dominus quidem Iesus postquam And the Lord Jesus, after he had spoken locutus est eis, assumptus est in caelum, to them, was taken up into heaven and sat et sedit a dextris Dei. on the right hand of God.

Illi autem profecti praedicaverunt ubique, But they going forth preached everywhere, Domino cooperante, et sermonem confir- the Lord working with them, and confirming mante, sequentibus signis. the word with signs that followed.

Salutis humanae Sator Salutis humanae Sator, Hail, thou who man’s redeemer art, Iesu, voluptas cordium, Jesu, the joy of every heart; Orbis redempti Conditor, Great maker of the world’s wide frame, Et casta lux amantium: And purest love’s delight and flame:

Que victus es clementia, What nameless mercy thee overcame, Ut nostra ferres crimina? To bear our load of sin and shame? Mortem subires innocens, For guiltless, thou thy life didst give, A morte nos ut tolleres? That sinful erring man might live.

Perrum pis infernum chaos; The realms of woe are forced by thee, Vinctis catenas detrahis; Its captives from their chains set free; Victor triumpho nobili And thou, amid thy ransomed train, Ad dexteram Patris sedes. At God’s right hand dost victor reign.

Te cogat indulgentia, Let mercy sweet with thee prevail, Ut damna nostra sarcias To cure the wounds we now bewail; Tuique vultus compotes Oh, bless us with thy holy sight, Dites beato lumine. And fill us with eternal light.

Tu dux ad astra, et semita, Our guide, our way to heavenly rest, Sis meta nostris cordibus, Be thou the aim of every breast; Sis lacrymarum gaudium, Be thou the soother of our tears, Sis dulce vitae praemium. Amen. Our sweet reward above the spheres. Amen.

Alleluia Surrexit Dominus vere, alleluia. The Lord is truly risen, alleluia. Ipsi gloria et imperium, alleluia, To him be glory and dominion, alleluia, per universa aeternitatis saecula, alleluia. for all the ages of eternity, alleluia. Haydn, Missa in angustiis (Lord Nelson Mass) Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy.

Gloria in excelsis Deo, Glory to God in the highest, Et in terra pax hominibus bonae voluntatis. And peace on earth to men of good will. Laudamus te, benedicimus te, We praise you, we bless you, adoramus te, glorificamus te. we worship you, we glorify you. Gratias agimus tibi We give you thanks propter magnam gloriam tuam. for your great glory. Domine Deus, Rex coelestis, Lord God, king of heaven, Deus Pater omnipotens. God the Father almighty. Domine Fili unigenite, Jesu Christe. The only-begotten son, Lord Jesus Christ. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father.

Qui tollis peccata mundi, You who take away the sin of the world, miserere nobis. have mercy on us. Qui tollis peccata mundi, You who take away the sin of the world, suscipe deprecationem nostram. hear our prayer. Qui sedes ad dexteram Patris, You who sit at the right hand of the Father, miserere nobis. have mercy on us.

Quoniam tu solus sanctus, For you alone are holy, tu solus Dominus, you alone are Lord, tu solus altissimus, Jesu Christe. you alone are the most high, Jesus Christ. Cum Sancto Spiritu With the Holy Spirit in gloria Dei Patris, Amen. in the glory of God the Father, Amen.

Credo in unum Deum, I believe in one God, Patrem omnipotentem, the Father, the Almighty, factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. of all that is, seen and unseen. Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum, the only Son of God, et ex patre natum ante omnia saecula, eternally begotten of the Father, Deum de Deo, lumen de lumine, God from God, light from light, Deum verum de Deo vero, true God from true God, genitum non factum, begotten, not made, consubstantialem Patri; of one being with the Father; per quem omnia facta sunt. through him all things were made. Qui propter nos homines et propter nostram For us and for our salvation salutem he came down from heaven. descendit de coelis.

Et incarnatus est de Spiritu Sancto, He became incarnate from the Virgin Mary ex Maria virgine; by the power of the Holy Spirit, et homo factus est. and was made man. Crucifixus etiam pro nobis For our sake he was crucified sub Pontio Pilato, under Pontius Pilate; passus et sepultus est. he suffered death and was buried. Et resurrexit tertia die He rose again on the third day secundum Scripturas, in accordance with the scriptures; et ascendit in coelum, he ascended into heaven, sedet ad dexteram Patris, and is seated at the right hand of the Father; et iterum venturus est cum gloria, he will come again in glory judicare vivos et mortuos, to judge the living and the dead, cuius regni non erit finis. and his kingdom will have no end. Et in Spiritum Sanctum And I believe in the Holy Spirit, Dominum, et vivificantem, the Lord, the giver of life, qui ex Patre Filioque procedit, who proceeds from the Father and the Son; qui cum Patre et Filio with the Father and the Son simul adoratur, et conglorificatur, he is worshipped and glorified. qui locutus est per Prophetas. He has spoken through the prophets. Et unam sanctam catholicam I believe in one holy catholic et apostolicam Ecclesiam. and apostolic church; Confiteor unum baptisma I acknowledge one baptism in remissionem peccatorum, for the forgiveness of sins; et expecto resurrectionem mortuorum, I look for the resurrection of the dead, et vitam venturi saeculi. Amen. and the life of the world to come. Amen.

Sanctus, Sanctus, Sanctus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Osanna in excelsis. Hosanna in the highest.

Benedictus qui venit Blessed is he who comes in nomine Domini. in the name of the Lord. Osanna in excelsis. Hosanna in the highest.

Agnus Dei qui tollis peccata mundi, Lamb of God, who takes away the sin of miserere nobis. the world, have mercy on us. … dona nobis pacem. … grant us peace. Meet the Artists Wilby, and Jonathan Dove. At , Hill serves as principal conductor of Yale Schola Cantorum, and participates in the training of choral conducting majors with Marguerite L. Brooks and Jeffrey Douma.

David Hill David Hill has had a long and distinguished career as one of the leading conductors in Europe. He has been chief conductor of the BBC Singers, musical director of the Emily Donato Bach Choir, chief conductor of the South- Emily Donato, a soprano from Brooklyn, is ern Sinfonia, music director of Leeds Phil- pursuing her M.M. as a member of the Yale harmonic Society, and associate guest Voxtet. She received her B.A. from Bard Col- conductor of the Bournemouth Symphony lege, where she performed as a soloist with Orchestra. In the 2019 New Year’s Hon- the American Symphony Orchestra and was ours for services to music, Hill was ap- a winner of the Bard College Concerto Com- pointed Member of the Order of the petition. She has sung Pamina in The Magic British Empire (MBE). He has also been Flute, Miss Wordsworth in Albert Herring, awarded an honorary doctorate by the Eurydice in Orfeo ed Eurydice, a Nun in University of Southampton, an honorary Dialogues of the Carmelites, and Gretel in fellowship of the Royal School of Church Hansel and Gretel. Donato toured Italy as Music, and an honorary membership to the a soloist with Musica Viva NY, performing Royal Academy of Music. He has been Monteverdi’s Lamento Della Ninfa, and has master of the music at Winchester and performed solos in Orff’s Carmina Burana, Westminster Cathedrals, music director of Handel’s Messiah, and Bach’s Magnificat the Waynflete Singers, artistic director of and St. John Passion. the Philharmonia Chorus, and director of music at St. John’s College, Cambridge. Guest conducting credits include some of the leading musical ensembles of Europe: the London Philharmonic, English Cham- ber Orchestra, Royal Philharmonic Orches- tra, Netherlands Radio Choir, and RIAS Haitham Haidar Kammerchor, Berlin. Hill also maintains Haitham Haidar is a Lebanese-Canadian an active career as organist and pianist in tenor pursuing an M.M.A., studying with recitals worldwide. With more than 100 at the Yale Institute of Sa- recordings to his credit, he has performed cred Music and the . virtually every style and period in the choral He recently completed a master’s degree repertoire from Gregorian chant to Renais- in voice and opera performance at McGill sance polyphony, from Baroque oratorios University under the tutelage of Domi- to modern masterpieces for chorus and or- nique Labelle, Michael McMahon, and chestra. He has commissioned dozens of Stephen Hargreaves. Haidar’s most recent works from leading composers of today, engagements include the title role in the including Judith Bingham, Francis Pott, children’s opera, Sid the Serpent Who Patrick Gowers, Sir John Tavener, Philip Wanted to Sing, Alfred in Die Fledermaus, and Oronte in Alcina at Opera McGill, and Leo Frank in Parade at Opera NUOVA.

Ashley Mulcahy Mezzo-soprano Ashley Mulcahy has been a featured soloist with conductors David Hill, Harrison Hintzsche , and Simon Carrington in Baritone Harrison Hintzsche made his in- concerts in New Haven, Spain, and Germany. ternational debut in January 2018 at Wig- She recently co-founded Lyracle, a voice more Hall (London) with pianist and scholar and viol ensemble whose inaugural season Graham Johnson and won first prize in the included concerts with Pegasus Rising and 2018 Edvard Grieg Society of Minnesota GEMS Midtown concerts. Before studying at Voice Competition. Hintzsche has appeared Yale, she resided in Chicago, where she stud- as a soloist with a variety of ensembles in- ied with Ellen Hargis and sang with the New- cluding the VocalEssence Ensemble Singers berry Consort and Music of the Baroque. She and Minnesota Chorale. A native of DeKalb, was a young artist at the 2017 Boston Early Illinois, he holds a B.M. in vocal performance Music Festival and earned a B.A. in Italian from St. Olaf College. and a B.M. in vocal performance from the University of Michigan, where she studied with Carmen Pelton.

Adrienne Lotto Adrienne Lotto is a soprano with equal passions for solo and ensemble singing as Corey Shotwell well as for early and contemporary music. Tenor Corey Shotwell performs music She comes to the Yale Voxtet from Wil- from the 17th and 18th centuries, in- liamsburg, Virginia, where she worked for cluding the in Bach’s St. John two years as the singer for the Governor’s Passion. Shotwell has been a Young Art- Musick, Colonial Williamsburg’s resident ist Apprentice with Apollo’s Fire and the Baroque ensemble. She earned a B.F.A. Boston Early Music Festival. He has ap- from Carnegie Mellon University, where peared with the Thirteen, Santa Fe Desert she sang with the Pittsburgh Camerata Chorale, Newberry Consort, and Bach Col- and Chatham Baroque, and was a found- legium of Fort Wayne. A native of Mich- ing member of the vocal quintet Ping. On igan, he is pursuing an M.M.A. from the the operatic stage, Lotto most recently ap- Yale Institute of Sacred Music and the Yale peared in Cadmus et Hermione at the Am- School of Music. herst Early Music Festival. Regional prize, and the James Furman Com- petition, and was a finalist in the Mirabell Competition in Salzburg, Austria.

Yale Institute of Sacred Music The Yale Institute of Sacred Music is an Edward Vogel interdisciplinary graduate center dedicated Baritone Edward Vogel possesses a diverse to the study and practice of sacred music, repertoire spanning nine centuries. A native worship, and the arts. Institute students of New Haven he has made numerous ap- receive rigorous training for careers in pearances with ensembles in the northeast performance, church music, pastoral min- U.S. and Europe, including the New Haven istry, the academy, and much more. The Symphony Orchestra, Bach Collegium institute sponsors several choruses, in- Japan, and Tanglewood Music Center Or- cluding the Yale Camerata and Yale Schola chestra. He has worked with conductors in- Cantorum, and as a major arts presenter cluding Masaaki Suzuki, Simon Carrington, in New Haven, it offers a full schedule of and Nicholas McGegan. Vogel received his concerts, art exhibitions, literary readings, undergraduate degree from the University lectures, conferences, and multimedia of Notre Dame, where he appeared in events during the year. operatic and concert productions including Monteverdi’s L’incoronazione di Poppea Yale Schola Cantorum and Fauré’s Requiem. While at Notre Yale Schola Cantorum is a chamber Dame he founded Our Lady’s Consort, a choir that performs sacred music from chamber choir which provides undergrad- the 16th century to the present day in uate singers with professional-level perfor- concert settings and choral services mance opportunities. around the world. The Yale Schola Cantorum is sponsored by Yale Insti- tute of Sacred Music and conducted by David Hill. Masaaki Suzuki is principal guest conductor. Open by audition to stu- dents from all departments and profes- sional schools across Yale University, the Karolina Wojteczko choir has a special interest in historically Karolina Wojteczko has been singing in informed performance practice, often in New Haven area churches since shortly af- collaboration with instrumentalists from ter immigrating to the U.S. at age 12 from Juilliard415. Schola was founded in 2003 Dabrowa Bialostocka, Poland. She is a can- by Simon Carrington. In recent years the tor at Saint Thomas More Chapel at Yale choir has also sung under the direction and at Saint Theresa’s and Saint Catherine’s of internationally renowned conductors churches in Trumbull. She holds a B.A. in Matthew Halls, Simon Halsey, Paul Hillier, vocal performance from Western Connecti- Stephen Layton, Neville Marriner, cut State University and has taught music Nicholas McGegan, James O’Donnell, at Saint Mary–Saint Michael Elementary Stefan Parkman, Krzysztof Penderecki, School in Derby. Wojteczko has recently , and Dale Warland. In addi- sung solo roles in Duruflé’sRequiem , Men- tion to performing regularly in New Haven delssohn’s Elijah, and Handel’s Messiah. and New York, the ensemble records and She has won the James Somer Opera Schol- tours nationally and internationally. On tour, arship, a Metropolitan Opera National Council Schola Cantorum has given performances in England, Hungary, France, China, South Yale Voxtet Korea, Italy, Greece, Turkey, Japan, Sin- Members of the Yale Voxtet are students of gapore, Russia, Estonia, and Latvia. High- James Taylor at the Yale Institute of Sacred lights of Schola’s 2018–19 season include Music and Yale School of Music, where a new commission by Paweł Łukaszewski they are candidates for graduate degrees and performances of Judith Weir’s In the in voice. The select group of eight singers Land of Uz, Pizzetti’s Requiem, Parry’s specializes in oratorio, early music, and art Songs of Farewell, and Vaughan Williams’ song. In addition to performing a variety of Mass in G Minor. The ensemble will tour chamber music programs each year, the Scandinavia this spring. group sings, tours, and records as part of Yale Schola Cantorum.

About Juilliard415 Since its founding in 2009, Juilliard415, the American debut with concerts in Bolivia, a school’s principal period-instrument en- tour sponsored by the U.S. Department of semble, has made significant contributions State. The 2017–18 season was notable to musical life in New York and beyond, for a side-by-side collaboration with Phil- bringing major figures in the field of early harmonia Baroque in San Francisco, as music to lead performances of both rare well as return visits by Rachel Podger, and canonical works of the 17th and 18th William Christie, and Maestro Suzuki, and centuries. The many distinguished guests the rare opportunity to see a fully staged who have led Juilliard415 include Harry production of Rameau’s Hippolyte et Bicket, William Christie, Monica Huggett, Aricie. In a concert together with the Bach Ton Koopman, Nicholas McGegan, Jordi Collegium Japan, the ensemble played a Savall, and Masaaki Suzuki. Juilliard415 historic period-instrument performance tours extensively in the U.S. and abroad, of Mendelssohn’s Elijah at the Leipzig having performed on five continents with Gewandhaus in Germany. In an innovative notable appearances at the Boston Early departure from past seasons, new works Music Festival, Leipzig Bach Fest, and for period instruments are a focus for Utrecht Early Music Festival (where 2018–19. With the Yale Schola Cantorum, Juilliard was the first-ever conservatory in Juilliard415 tours Scandinavia, where residence), and on a ten-concert tour of it performs a new oratorio by Paweł New Zealand. With its frequent musical col- Łuskaszewski, who was commissioned laborator the Yale Institute of Sacred Music, for the occasion by Yale. The ensemble the ensemble has played throughout Italy, performed alongside new choreography Japan, Southeast Asia, the U.K., and India. for Juilliard dancers in an all-Rameau Juilliard415, which takes its name from the program led by and plays pitch commonly associated with the per- newly commissioned works for period formance of Baroque music (A=415), has string quartet in The Seven Last Words performed major oratorios and Baroque Project, a Holy Week concert at the operas every year since its founding. This Cathedral of St. John the Divine. This season the ensemble presents Dido and season also welcomes return visits of Aeneas at Opera Holland Park in London William Christie, Monica Huggett, and and the Royal Opera House of Versailles. Masaaki Suzuki, and the Juilliard debuts of The ensemble recently made its South Paul Agnew and Alfredo Bernardini. Juilliard Historical Performance Juilliard’s full-scholarship Historical Per- performers and scholars in the field. formance program offers comprehensive Frequent collaborations with Juilliard’s study and performance of music from Ellen and James S. Marcus Institute for the 17th and 18th centuries on period Vocal Arts, the integration of modern- instruments. Established and endowed in instrument majors outside of the Historical 2009 by the generous support of Bruce Performance program, and national and and Suzie Kovner, the program is open to international tours have introduced new candidates for master of music, graduate repertoires and increased awareness of diploma, and doctor of musical arts historical performance practice at Juilliard degrees. A high-profile concert season and beyond. Alumni of Juilliard Historical of opera, orchestral, and chamber music Performance are members of many of is augmented by a performance-oriented the leading period-instrument ensembles, curriculum that fosters an informed including the Portland Baroque Orchestra, understanding of the many issues unique Les Arts Florissants, Mercury, and to period-instrument performance at the Tafelmusik, and they have also launched level of technical excellence and musical such new ensembles as the Sebastians, integrity for which Juilliard is renowned. House of Time, New York Baroque Incor- The faculty comprises many of the leading porated, and New Vintage Baroque.

Administration Robert Mealy, Director Benjamin D. Sosland, Administrative Director Rosemary Metcalf, Assistant Administrative Director Annelise Wiering, Coordinator for Scheduling and Educational Support Yale Schola Cantorum

David Hill, Principal Conductor Masaaki Suzuki, Principal Guest Conductor Noah Horn, Choral Preparation Laura Adam, Manager of Music Programs and Concert Production Margaret Burk and Oscar Osicki, Ensemble Managers

Soprano Alto Tenor Bass Margaret Burk Antonia Chandler Harry Castle Harrison Hintzsche* Emily Donato* Diana Chou Hannah Goodwillie Daniel Kim Elizabeth Hanna Ashley Mulcahy* Haitham Haidar* Charlie Littlewood Adrienne Lotto* Emma Simmons Wonhee Lim Larkin McCann Sarah Noble Karolina Wojteczko* Corey Shotwell* Oscar Osicki Camilla Tassi Madeleine Woodworth Will Watson Sean Rodan Joy Wang Joel Thompson Edward Vogel*

*member of Yale Voxtet

Juilliard415

Violin 1 Cello Bassoon Percussion Naomi Dumas Morgan Little Georgeanne Banker Jacob Borden Rachell Ellen Wong Jin Nakamura Ruiqi Ren Madeleine Bouïssou Trumpet Organ Keats Dieffenbach Sydney ZumMallen (JC Bach) Jacob Dassa Manami Mizumoto Benedetto Salvia Double Bass Clinton McLendon Orchestral preparation Violin 2 Jonathan Luik by Daniel Lee Chloe Kim Markus Lang (Łukaszewski) Chiara Fasani Stauffer Benedetto Salvia Shelby Yamin Flute Clinton McLendon Rebecca Nelson Bethanne Walker Peter Hoyle Gregory Lewis Taya König-Tarasevich (Haydn) Viola Oboe Clinton McLendon Yi Hsuan Ethan Lin Andrew Blanke Benedetto Salvia Abigail Elder Matthew Hudgens Peter Hoyle Jasper Snow Rosemary Nelis