Music in the Castle of Heaven

Daniel Taylor, conductor with , tenor Rebecca Genge, soprano , baritone Ryan McDonald, and the University of Toronto Schola Cantorum

Friday, January 24, 2020 7:30 pm Trinity College Chapel, 6 Hoskin Avenue

The Historical Performance area concerts are made possible in part by a generous gift from Ethel Harris.

We wish to acknowledge this land on which the University of Toronto operates. For thousands of years it has been the traditional land of the Huron-Wendat, the Seneca, and most recently, the Mississaugas of the Credit First Nation. Today, this meeting place is still the home to many Indigenous people from across Turtle Island and we are grateful to have the opportunity to work on this land. PROGRAM

BWV 140 “Wachet auf, ruft uns die Stimme” J. S. Bach (1685-1750)

Intermission

Concerto for Recorder and Flute “TWV52:e1” G.F. Telemann Largo-Allegro (1681-1787)

Concerto “Op. 9 No. 2” Charles Avison Largo-Allegro Spiritoso-Leutement-Aria Cantabile (1709-1770)

BWV 7 “Christ unser Herr zum Jordan kam” J. S. Bach

ARTISTS Daniel Taylor, conductor

SCHOLA Altos: MEMBERS OF CANTORUM James Dyck THE OF Yelena Gavrilova THE THEATRE OF Sopranos: Peter Koniers EARLY MUSIC Frances Beg Nikki Puchkov Saige Carlson Ryan McDonald Soprano: Anna-Julia David Danielle Nicholson Teresa Mahon Alexandra Delle Donne Elisabeth Ritthaler Maria Deng Karis Tees Altos: Jane Fingler Shane Hanson Rebecca Genge Tenors: Jessica Wright Loren Graziano Nathan Gritter Salena Harriman Arieh Sacke Tenor: Roanna Kitchen Jacob Thomas Valdis Jevtetevs Clara Krause Nick Veltmeyer Camille Labonte David Walsh Baritones: Grace Liang Adam Kuiack Michaela O’Connor Basses: David Roth Kayla Ruiz Wesley Hui Erica Simone Matthew Tissi Amanda Singh Emily Zixin Wang Sierra Ward-Bond Jennifer Wilson PROGRAM NOTES

BWV 140 Wachet auf, ruft uns telescoped: an ageless appeal for die Stimme watchfulness as ‘the Bridegroom comes’, an evocation of the For Whittaker it represents the historic Jerusalem, with the night- ‘glorious ripeness of Bach’s watchmen doing their rounds, and maturity’…it is a cantata without the contemporary framework of weakness, without a dull bar, Bach’s Leipzig. technically, emotionally and spiritually of the highest order’. The mood returns in the other Once again the autograph score two chorale settings ‘Zion hört is missing, though thankfully a die Wächter singen’ (No. 4), with full set of Bach’s manuscript it’s beguiling violin/viola obbligato performing parts has survived. and the plain but gorgeously Judging by the number of satisfying finale chorale, ‘Gloria sei manuscript copies of the score dir gesungen’. Flanked by these made in the half century after public, pilar-like outbursts are Bach’s death, this cantata bucked two fine recitatives, one secco for the trend and held its place in the tenor, the other accompagnato repertoire, as well as being among for bass, and two intimate duets the first to appear in print, in 1847. for soprano and baritone drawing The festive, expectant mood that heavily on references to The Song he creates in his opening chorus of Solomon. The first of these is a is based on exploiting the inherent slow siciliano in which the flickering textural antiphony between his lamps ‘lit with burning oil’ find two ‘’ of strings and double perfect illustration in the arabesques reeds and on extrapolating of the violin solo. The second duet the full majesty of the French (No. 6), with its oboe obliggato, has overture style, double-dotted in a jauntier air. triple rhythm. From this a rising syncopated figure emerges, taken At this crucial turning point in the up later on by the altos as they Church year, there seems to be lead off with their ‘alleluia’ figure pagan mythology lying behind and adopted by all the other these mid-winter celebrations, of singers. With its Gregorian origins, which Bach shows that he was Philipp Nicolai’s popular tune and aware. This is the darkest time of poem (1599) form the bedrock of the year when the autumn-sown Bach’s invention. As in a number cereals lie dormant in appropriate of other cantatas, you sense that state of what plan pathologists call several time-frames are here being ‘vernalization’. BWV 7 Christ unser Herr zum and baptism of the heathen. Jordan kam This leads to an unusual, terse aria (No. 6) for alto (with the two It is a monumental piece, oboes d’amore doubling the especially its opening choral violins) exhorting mankind to be fantasia, a stirring setting of cleansed by faith and baptism and Luther’s baptismal hymn with the not to ‘perish in the pit of hell’. melody in the tenors over a French That seems to be a theological overture for two oboes d’amore, kernel of what is otherwise a rather solo violin and strings, replete with depressing doctrinal dismissal of grandiloquent gestures the benefits of good works and a to suggest both the processional blameless life. Johann Walther’s entrance of Jesus and the powerful tune, heard in the opening chorale flooding of the River Jordan. fantasia, then returns with Luther’s Getting the tempo right is just one baptismal words about faith alone of the interpretive challenges - one being capable of understanding that can accommodate the natural ‘the power of the blood of Christ.’ momentum for the violin barriolage representing the surging of the © 2004 river, yet remain spacious enough for the rhetorical gestures to make From a journal written in the course maximum impact. of the Bach Cantata Pilgrimage

In No 2, an aria for bass and Charles Daniels, Peter Harvey continuo (‘Mark and hear, ye and Daniel Taylor were soloists on children of men’), Bach does recording for DG Archiv and SDG the preacher’s job for him to capturing live performances of the perfection, with varied inflection, Bach Cantata Pilgrimage lengths and stresses - and a dash of humour (was there a particular Leipzig cleric whose mannerisms and delivery were being parodied here?). A tenor recitative (No. 3) prepares us for Christ’s teaching, in an aria (No. 4) which describes, through its pair of soaring violins, the circling flight of the Holy Spirit as a dove. The bass returns with an accompagnato (No. 5) to remind the listener that Christ’s passion and resurrection were the inspiration behind the conversion BIOGRAPHIES , Lambert airs with Fred Jacobs.

Recent concert appearances include Lawes songs with Les Voix Humaines in Utrecht, St Matthew Passion semi-staged in the York Early Music Festival, Handel Chandos Anthems in their original setting of the Canons Estate church, domestic music of Bach for the Nederlandse Bach Vereniging, previously

Photo credit: Annelies van der Vegt unheard Vivaldi in Venice with La Serenissima and the Academy Charles Daniels of Ancient Music’s radical look at The tenor Charles Daniels is Purcell King Arthur. best known as an interpreter of , but his narrative He is delighted to collaborate gifts have been praised for music frequently with Canadian musicians as diverse as Machaut Virelais from and besides these concerts, the 1360s and Graham Treacher’s future projects include the St Divine Madness (2016). He was Matthew Passion in Halifax N.S. born in Salisbury and studied at and a tour of an ornithologically King’s College Cambridge and themed programme with Les Voix under Edward Brooks at the Royal Humaines. College of Music. Charles’ completion of Purcell’s His extensive discography includes Ode Arise my Muse was Bach’s Matthäus-Passion with the performed in Montreal in 2009 and Bach-Stiftung, Monteverdi L’Orfeo his reconstructions of Gesualdo’s with , Handel Sacrae Cantiones à6 have been and Schütz’ Christmas performed in Amsterdam’s Story with the Gabrieli Consort, Muziekgebouw. He is married ’s Missa Pro Pace with two daughters and is an avid with the Warsaw Philharmonic, cyclist. much Purcell and Bach, and more intimate discs such as Senfl Tenorlied with , Heracleitus with the Bridge Photo credit: Kim Hardy Rebecca Genge Peter Harvey Rebecca Genge is a Toronto-based Peter Harvey arrived at Magdalen soprano, originally from Victoria, College, Oxford to study French BC. She performs frequently in and German, and though he both cities, with ensembles such as soon afterwards changed course Theatre of Early Music, the Trinity to music, his love of languages Choir, University of Toronto’s Schola has always remained at the heart Cantorum, the Elora Singers, the of his singing. He went on to Pacific Baroque Orchestra and study at the Guildhall School of the Victoria Baroque Players. In Music, where he won prizes in a 2017 she made her operatic debut number of international singing as Papagena in The Magic Flute competitions. He has made with Pacific Opera Victoria and well over a hundred recordings returned to the company as Jano in in repertoire spanning eight Janacek’s Jenufa in October. As an centuries, with an emphasis on avid choral singer, she has been a music from the High Baroque. He part of several recordings including works regularly with the English Trinity Choir’s Four Thousand Baroque Soloists and Monteverdi Winter for SONY, on which she Choir, directed by John Eliot is a featured soloist. Upcoming Gardiner, Gabrieli Consort and engagements include her debut Paul McCreesh, King’s Consort, with the Grand Philharmonic , Purcell Choir. Rebecca studies with Mary Quartet and Baroque, as Morrison and Daniel Taylor and well as appearing with is currently pursuing a Doctorate and , Orchestra in Historical Performance at the of the Age of Enlightenment, University of Toronto. BBC National Orchestra of Wales and BBC Symphony. A fluent tenor Ryan McDonald has been French speaker, he works and seen on stage as Athamas in records with / Handel’s Semele, First Witch Collegium Vocale Ghent and in Purcell’s , , Les Talens Cobweb in Britten’s A Midsummer Lyriques and Night’s Dream, the Spirit in and Le Concert Spirituel and Purcell’s Dido and Aeneas, Hervé Niquet. His long association L’enfant in Ravel’s L’enfant et les with Michel Corboz, has taken him sortileges, Cupid in ’s throughout France, Switzerland Venus and Adonis and Jack in and Japan. Other conductors Sondheim’s Into the Woods. In he has worked with include Ivan concert Ryan has been a featured Fischer, Gustav Leonhardt, Colin soloist in Orff’s Carmina Burana, Davis, Kent Nagano, Herbert Mozart’s , Bach’s B Minor Blomstedt, Masaaki Suzuki, Ton Mass with the London Handel Koopman and Orchestra and Handel’s Messiah (with the Boston Symphony with the Schola Cantorum. He Orchestra). He founded and can be heard on Sony’s Juno- directs the Magdalena Consort, nominated series with the Trinity which focuses on the vocal music Choir: Four Thousand Winter, of J.S. Bach and they have given The Tree of Life and The Path to performances in Spain, Germany Paradise as well multiple discs for and the UK. the ATMA label. Ryan studies with Daniel Taylor and Mary Morrison. Ryan, along with other queer artists, recently launched their own opera company focusing specifically on presenting queer theatre, by queer artists for queer audiences. Ryan led the reimagined production of Purcell’s Dido and Belinda as the titular character, Dido.

Ryan McDonald A recent Encouragement Award winner from Metropolitan Opera National Council Audition, counter sang at the investiture ceremony of Her Excellency Governor General of Canada Julie Payette at the Senate’s Red Chamber for an estimated audience of 5 million. His devotion to sacred music has been recognized by the award of the Queen’s Jubilee Medal. Daniel has appeared with the Dahlai Lama, Salman Rushdie, Ryuiichi Sakamoto, Dame , Jonathan Miller, , Joyce Didonato and Gerald Finley, as well as actors Ralph Fiennes, Jeremy Irons, Malcolm Daniel Taylor McDowell and Chris Noth. Daniel “Beauty of his voice will stop you Taylor was recently named Head in your tracks” (Gramophone Vocal Consultant and Chorus Magazine, UK) Master at the Opera Atelier, and is Head of Historical Performance and A Sony Classical artist, conductor/ Associate Professor, Early Music, countertenor Daniel Taylor is sought- Opera and Voice Studies, at the after for his portrayals on the opera University of Toronto. and concert stage, on CD/DVD and in film. Appearing on more than 120 recordings, his projects have been recognized by a Grammy as well as with the Juno, Opus and ADISQ prizes. Daniel has appeared at Glyndebourne, Rome Opera, Welsh National, Canadian Opera, Opera North, in Munich and at the Metropolitan Opera. He has joined leading orchestras including the San Francisco, Los Angeles, St. Louis, London, Lisbon, Cleveland, the New York Philharmonic, Gothenburg, Scottish The University of Toronto National. Daniel has performed for Schola Cantorum Canadian Prime Ministers, for the The University of Toronto Schola Queen of England, for the King and Cantorum aims to present Queen of Sweden and for the King the brilliant early choral and and Queen of Spain; he recently instrumental repertoire from across made their debut at the Stratford the centuries to a new audience. Summer Music Festival. The group The group’s interpretations presented Heinrich Schütz’s three- strive to recreate the original movement Musikalische Exequien performances of musical works — in concert, accompanied by the interpretations led by the energy Theatre of Early Music orchestra. and insights of the gifted students themselves — in the belief that The Toronto Star wrote: “St. historical performance ideals and Paul’s Basilica at Queen & knowledge of the old world are Power was packed with eager essential for creating music anew. listeners, attracted no doubt The Schola Cantorum includes by Tallis Scholars’ wonderful students from all levels of study discography, but also perhaps (bachelor in music, master in aware of the new kids in town, music and doctoral candidates), Taylor’s two ensembles that with students representing many shared the program and are now voice studios in the Faculty. also recording for Sony... Tonight Canada has many university felt like a kind of affirmation of choral ensembles, however the permanence in the face of change Schola Cantorum is the only and disorder in the world.” large-scale group using period instruments and historically informed performance practices to reveal the beauty of Baroque and early repertoire. In 2012, the Schola Cantorum made its inaugural performance with the famed Tallis Scholars. The ensemble also performed and toured central Canada presenting Handel’s Coronation Anthems and recorded early German works including Buxtehude’s Jesu meines Lebens Leben. The ensemble also appeared in concert touring with the Gabrieli Consort, presented Purcell’s Dido and Aeneas on four evenings to capacity audiences, offered a reenactment of the coronation ceremony of King George II and

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For information on Early Music giving opportunities please contact Tyler Greenleaf, Alumni Development Officer, at 416-946-3580 or [email protected].

Up next for Historical Performance:

The Rachmaninoff Vespers – Slavic Chants Fri Feb 28, 2020 at 7:30 pm St. Anne’s Anglican Church, 270 Gladstone Avenue

with the Clarion Choir Steven Fox, conductor

Tickets: $30, $20 senior, $10 student 416-408-0208 | music.utoronto.ca Thank you for your support! The Faculty of Music gratefully Ethel Harris James E. K. Parker# acknowledges the generosity of The William and Nona Heaslip Annalee Patipatanakoon# the individuals, foundations, and Foundation Steven Philcox# corporations who gave annual Paul T. Hellyer Richard D. Phillips gifts of $1,000 or more between Dianne W. Henderson Adrianne Pieczonka* and Laura May 1, 2018 and October 31, 2019, Marlon Hershkop Tucker# in support of our students and Richard and Donna Holbrook Brett A. Polegato* programs. Thank you for the part you Jo-Anne Hunt Terry Promane# are playing in advancing the cause of The K. M. Hunter Charitable Stephen Ralls and Bruce Ubukata music education in Canada. Foundation Paul E. Read* Michael and Linda Hutcheon Diana H. Reitberger Mark Abbott Jackman Foundation Jeffrey Reynolds# William Acton and Susan Loube Heather Jackson Brent Rinaldi Clive and Barbara Allen JAZZ.FM91 Rodney and Evette Roberts Dominick Amato and Joan Hodges The Norman and Margaret Jewison E. A. Robinson Raymond C. K. Ang Charitable Foundation Shauna Rolston# and Andrew Shaw Anonymous (4) Prabhat Jha O.C. and Varsha J. Barbara Rose Hilary J. Apfelstadt* Malhotra Maureen E. Rudzik Ann H. Atkinson Ann Kadrnka Mark Sallmen# Neville H. Austin* Marcia and Paul Kavanagh Chase Sanborn# Pamela Austin Kearns Mancini Architects Inc Annette Sanger and James Kippen Gregory James Aziz Keith Foundation Longinia Sauro John and Claudine Bailey Ken Page Memorial Trust June Shaw Sonia A. Baxendale Arthur Kennedy Nora Shulman David Beach Carol D. Kirsh Stephen and Jane Smith John Beckwith* and Kathleen Hans Kluge Peter N. Smith* McMorrow Ingeborg Koch David Smukler Lynn Bevan Midori Koga# Elizabeth Smyth Bruce Blandford# and Ron Atkinson Vic Kurdyak Joseph K. So The estate of Harald and Jean Bohne Carolyn and Robert Lake The Sound Post Harvey Botting Leslie and Jo Lander Darrell Steele* The Late Walter M. Bowen and Lisa Sheila Larmer The Stratton Trust Balfour Bowen Sherry Lee# Janet Stubbs* Eliot Britton# Jim Lewis# Barbara Sutherland Ruth Budd Janet and Charles Lin Ann D. B. Sutton Melissa Campbell Roy and Marjorie Linden Françoise Sutton Alexandrina and Jeffrey Canto-Thaler V. Lobodowsky Almos Tassonyi and Maureen CHIN Radio-TV International Jerry and Joan Lozinski Simpson Caryl Clark# Gillian MacKay# Judith Tenenbaum Terence Clarkson and Cornelis Gordon MacNeill Richard Iorweth Thorman van de Graaff Chris and Tracy Makris Peter Timbrell Earlaine Collins Manulife Financial Riki Turofsky* and Charles Petersen Marilyn E. Cook Ryan McClelland# U of T Women’s Association Denny Creighton and Kris Vikmanis Robert McGavin Catherine Ukas Simone Desilets Donald R. McLean*# and Sandra K. Upjohn Neil and Susan Dobbs Diane M. Martello Ruth Watts-Gransden Vreni and Marc Ducommun Douglas H. McNabney* Mary-Margaret Webb Foundation Sheila Margaret Dutton McNeil Melanie Whitehead Jean Patterson Edwards Ulrich Menzefricke Jack Whiteside Robin Elliott*# Merriam School of Music Larry Williamson Brigid Elson Irene R. Miller Nora R. Wilson David Fallis*# Modica Music Ltd Thomas A. Wilson Michael F. Filosa Delia M. Moog Women’s Art Association of Canada Gladys and Lloyd Fogler Kit Moore Women’s Musical Club of Toronto Gordon Foote# Sue Mortimer Lydia Wong*# Anne Geddes Mike Murley# Marina Yoshida George Gibbons Paul and Nancy Nickle Micki Zafer Rachel Gottesman Gordon Nimeck Paul Zafer* The estate of Morton Greenberg Reg Nimeck Dawn Haberman Phillip Nimmons# *Faculty of Music alumnus A Wallace Halladay*# Cristina Oke #Faculty of Music faculty or staff Nancy E. Hardy* Naomi Oliphant* member For information on giving opportunities at the Faculty of Music please contact Tyler Greenleaf at 416-946-3580 or make a gift online at https://donate.utoronto.ca/music. Want to stay informed of our upcoming events?

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