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For More Information Contact Viva La Musica [email protected] 650-346-5084 Singers Are Invited to Perform at Carnegie Hall!

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For More Information Contact Viva La Musica Music@Vivalamusica.Org 650-346-5084 Singers Are Invited to Perform at Carnegie Hall! Viva la Musica! Choir • Orchestra Shulamit Hoffmann, Conductor • Anna Khaydarova, Pianist Lauren Haber, Soprano, Jacqueline Goldgorin, Alto Corey Head, Tenor, José Mendiola, Bass CPE Bach Magnificat Sunday, December 16, 2018, 4:00 p.m. Pre-concert talk 3:30 p.m. 225 Tilton Avenue, San Mateo, California 94401 O ComeProgram All Ye Faithful Magnificat H 722 Wq 215 Carl Philipp Emanuel Bach (1714 –1788) Choir Orchestra strings 2 flutes, 2 oboes, 2 French horns 3 trumpets, timpani continuo (organ and bassoon) Soloists Lauren Haber, soprano Jacqueline Goldgorin, alto Corey Head, tenor José Mendiola, bass 1. Choir Magnificat anima mea Dominum 2. Soprano Aria Quia respexit humilitatem 3. Tenor Aria Quia fecit mihi magna 4. Choir Et misericordia eius 5. Bass Aria Fecit potentiam in bracchio suo 6. Alto & Tenor Duet Deposuit potentes de sede 7. Alto Aria Suscepit Israel puerum suum 8. Choir Gloria Patri et Filio 9. Choir Sicut erat in principio approximately 40 minutes Intermission 1 Joy to the World A Child is Born in Bethlehem Anon (14th century) Arranged Orjan Matre (b. 1979) Blessed Be that Maid Marie Anon (15th century) Arranged Susan LaBarr (b. 1981) His Light In Us Kim André Arnesen (b. 1980) Lauren Haber, soprano Anna Khaydarova, piano A Christmas Gift Anna Maria Mendieta, harp Iesous Ahatonnia (Huron carol) Jean de Brébeuf (14th century) Arranged Manuel Antonio (b. 1979) The World for Christmas Anders Edenroth (b. 1963) Lauren Haber, soprano Jacqueline Goldgorin, alto Chris Nichols, tenor José Mendiola, bass Anna Khaydarova, piano The Annunciation Carol South African Arranged Sue Cock (b. 1958) Lauren Haber, soprano Akekho Ofana No Jesu South African Arranged Daniel Jackson Matthew Reeve, baritone Danni Carter, descant 2 Notes, Texts, ProgramTranslations notes © Shulamit Hoffmann 2018 O Come All Ye Faithful O come all ye faithful Joyful and triumphant, O come ye, O come ye to Bethlehem. Come and behold Him, Born the King of Angels; O come, let us adore Him, O come, let us adore Him, O come, let us adore Him, Christ the Lord. Sing, choirs of angels, Sing in exultation, Sing all ye citizens of heaven above. Glory to God, Glory in the Highest; O come, let us adore Him,O come, let us adore Him, O come, let us adore Him, Christ the Lord. Magnificat C. P. E. Bach Carl Philipp Emmanuel Bach’s Magnificat features vocal soloists, choir, and orchestra—strings, continuo, double flutes, oboes, and French horns, and three trumpets and timpani. In this 40 minute work, the writing alternates between the old polyphonic style of C.P.E.’s father, J.S. Bach, and the new homophonic style that Haydn and Mozart would adopt. The composer wears his heart on his sleeve, and the character of the music ranges from grand, festive, and triumphant, to intimate, tender, and poignant. C.P.E. was overshadowed by the rise of the late eighteenth century Classical geniuses, Haydn, Mozart, and Beethoven, and by the nineteenth century rediscovery, thanks to Mendelssohn, of his father, Johann Sebastian. But C.P.E. is one of the most rewarding of all composers whose work fell posthumously into obscurity. It was, astonishingly, C.P.E., not J.S., who, in his lifetime, was considered 3 “the great Bach.” A musician of daring, originality, and genius, with a prodigious compositional output—more than 50 keyboard concertos, 18 symphonies, hundreds of keyboard sonatas and character pieces, songs, choral works, and chamber works—C.P.E. was the most gifted, progressive, and musically expressive of all J.S. Bach’s 20 children; more original than his well-renowned composer brothers, Wilhelm Friedemann and Johann Christian. C.P.E. out-composed them all, with his new, daring, and dazzling so-called empfindsamer Stil (Sensitive Style). In 1749, C.P.E. wrote his Magnificat as a job application for his father’s former position as Cantor of the Thomas Church in Leipzig. He held back nothing, giving it his expressive and virtuosic all. Nevertheless he was twice turned down for the position. History has something to say to those search committees! C.P.E. found success in Hamburg, and it was there that his Magnificat was frequently performed, in whole or in part. Of the nine movements, four are for choir and orchestra, four are arias for vocal soloists, and there is one duet for alto and tenor. The 4-part choral writing includes both homophony and polyphony, while the vocal solos contain fioritura (“flowering”), melodic lines with florid embellishments. In C.P.E.’s Magnificat there are almost direct quotes from his father’s iconic piece of the same moniker. Both are in the celebratory key of D major, and they are structurally similar. Pulling out all the stops, literally and figuratively, in the final movement, a massive 265 measures, C.P.E. writes not one fugue, but a double fugue: two subjects, both presented polyphonically. One subject runs in agile eighth notes (what we in the choir refer to as the sewing machine theme); the other unfolds majestically in half notes (what we call the trombone theme). As the apogee, both subjects are presented simultaneously. The text for the work is based on the biblical Canticle (Song) of the Blessed Virgin Mary (Luke 1:46-55). It is entirely fitting to have the Magnificat text set to music because, as biblical scholars impute, these are the words the Blessed Virgin herself probably sang, while she was visiting at the home of her cousin, Elizabeth, during what is known as the Visitation. The text conveys both Mary’s personal expression of joy and also all Israel’s hope and thanksgiving, that the coming Incarnation will fulfill God’s promise of redemption for His 4 people. We hear Mary’s words of astonishment and wonder at being told of the holy child she is carrying in her womb. And we hear her praises to God, her recollection of God’s mercies shown to Israel, and the hope of the fulfillment of His ancient promise to Abraham. C.P.E. uses the Gloria Patria, the traditional doxology (from Greek: doxologia: doxa = “glory” and logia = “saying”), a short hymn of praise, appended at the end of the Canticle, as his eighth movement. Having reprised the music of the first movement in the eighth,he word paints in the opening of the ninth and final movement:Sicut erat in principio (“As it was in the beginning”), as if to ask us, ‘Did you get it?” And what a lot we have gotten: the pomp and pageantry of the trumpets and timpani in the opening and closing choral movements and in the grand bass aria with its, processional dotted rhythms; the heart-melting lyricism of the soprano solo; the virtuosic tenor aria; plangent chromaticisms in the choral movement Et Misericordia (“A nd His mercy”), for which we have chosen to sing the revised version of 1779; the liquid elegance of the intertwining alto and tenor soloists in their duet; and the graceful warmth as the alto soloist, supported by flutes, delivers the messagein saecula (“for all posterity”). Post scriptum: C.P. E. was, for a time, court musician to Frederick the Great of Prussia. The king, a flute aficionado and composer, required his employee to provide keyboard accompaniments for his flute performances, during which he apparently “took liberties” with tempi. After one such royal performance, a sycophant exclaimed, “Your Majesty, what rhythm!” To which C.P.E. was heard to mutter, “What rhythms!” Magnificat 1. Choir Magnificat anima mea Dominum My soul magnifies the Lord, Et exultavit spiritus meus in Deo salutari meo. And my spirit rejoices in God my Savior. 2. Soprano Aria Quia respexit humilitatem. For He has regarded the low estate ancillae suae of His handmaiden. Ecce enim ex hoc beatam me dicent omnes For behold, henceforth all generationes. generations shall call me blessed. 5 3. Tenor Aria Quia fecit mihi magna, For He has done great things for me, qui potens est who is mighty et sanctum nomen eius. and holy is His name. Sicut locutus est, In accordance with what He said ad Patres nostros. to our Fathers. 4. Choir Et misericordia eius a progenie in progenies And His mercy is on those who fear timentibus eum. Him from generation to generation. 5. Bass Aria Fecit potentiam in brachio suo; He has shown strength with His arm; Dispersit superbos He has scattered the proud mente cordis sui. in the imagination of their hearts. 6. Alto & Tenor Duet Deposuit potentes, He has put down the mighty from de sede, their thrones, et exaltavit humiles. and exalted those of low degree. Esurientes implevit bonis, He has filled the hungry with good things, et divites dimisit inanes. and the rich He has sent empty away. 7. Alto Aria Suscepit Israel, puerum suum, He has helped His servant Israel, recordatus misericordiae suae, in remembrance of His mercy, Sicut locutus est ad patres nostros, As He spoke to our fathers, Abraham et semeni eius in saecula. To Abraham and to his posterity forever. 8. Choir Gloria Patri, et Filio, Glory be to the Father and to the Son et Spiritui Sancto. and to the Holy Spirit. 9. Choir Sicut erat in principio, As it was in the beginning, et nunc, et semper, is now and ever shall be, et in saecula saeculorum. world without end. Amen. Amen. 6 Joy to the World Joy to the World, the Lord is come! Let earth receive her King; Let every heart prepare Him room, And Heaven and nature sing, And Heaven and nature sing, And Heaven, and Heaven, and nature sing. He rules the world with truth and grace, And makes the nations prove The glories of His righteousness, And wonders of His love, And wonders of His love, And wonders, wonders, of His love.
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