VANCOUVER BACH FESTIVAL 2019

the artists friday august 9 at 7:30 pm | chan centre

Pacific Baroque Orchestra purcell: Alexander Weimann hail, bright cecilia music director

soloists: Matthew Locke (1621-1677) Suzie LeBlanc Excerpts from “The Tempest” & Dorothee Mields Introduction sopranos Galliard, Gavot, Sarabande, Lilk Alex Potter Curtain Tune alto

Samuel Boden tenor John Blow (1649-1708) Sumner Thompson Welcome, Every Guest baritone

Matthew Brook bass-baritone Matthew Locke ripienists: Excerpts from “The Tempest” Nicholas Burns alto Rustick Air, A Martial Jigge Jonathan Quick Conclusion tenor

PACIFIC BAROQUE ORCHESTRA INTERVAL IS SUPPORTED BY THE

Henry Purcell (1659-1695) Hail, Bright Cecilia Generously supported by Symphony The Drance Family, Hail! Bright Cecilia Bryan & Gail Atkins, Hark, each Tree its silence breaks and ‘Tis Nature’s Voice Adèle Lafleur Soul of the World Pre-concert chat with Thou tun’st this World below host Matthew White at 6:45: With that sublime Celestial Lay Alexander Weimann Wondrous machine! The Airy Violin in association with In vain the Am’rous flute

THE UNAUTHORISED USE OF The Fife and all the Harmony of War

ANY VIDEO OR AUDIO RECORDING Let these amongst themselves contest Chan Endowment Fund DEVICE IS STRICTLY PROHIBITED at the University of Hall! Bright Cecilia British Columbia earlymusic.bc.ca Purcell: Hail, Bright Cecilia Vancouver Bach Festival 2019  1 PARTNERS

board of directors Early Music Vancouver gratefully acknowledges the assistance and support of: Chris Guzy president government support Fran Watters vice president Ron Kruschen We acknowledge the support of treasurer the Province of British Columbia Tony Knox past president Ilia Korkh secretary foundations Kathleen Bourchier THE BRENNAN SPANO Spencer Corrigal cpa,ca FAMILY FOUNDATION Sherrill Grace THE DRANCE FAMILY Melody Mason EARLY MUSIC VANCOUVER FUND Tim Rendell cpa,ca Johanna Shapira 2019-20 production partners Ingrid Söchting EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Per- Vincent Tan forming Arts, with the support of the Chan Endowment Fund at the University of British Columbia. ÷ pacific José Verstappen cm baroque orchestra artistic director emeritus alexander weimann ÷ MUSIC director staff Matthew White executive & artistic director Nathan Lorch business manager Michelle Herrewynen development manager Jonathan Evans production manager production partners in victoria bc Laina Tanahara marketing & volunteer coordinator Mei Chi Chin corporate support summer production assistant Jan Gates Rosedale on Robson Suite Hotel event photographer VANCOUVER, BC Tony Knox Barrister & Solicitor, Arbitrator

Tel: 604 263 5766 Cell: 604 374 7916 Fax: 604 261 1868 Email: [email protected]

Murray Paterson 1291 West 40th Avenue, Vancouver, B.C. V6M 1V3 Canada We also gratefully acknowledgewww.knoxlex.com the generosity of our many donors and volunteers. Marketing Group Knox & Co. denotes D.A.Knox Law Corporation marketing & media relations thank you! Trevor Mangion and The Chan Centre Box Office Staff You can be in good company too! emv ticket office: 604.822.2697 The corporate sponsors of Early Music Vancouver give back to their community through the support of our performances and education & outreach programmes. Their efforts 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 Nathan Lorch to discuss how our audience profile [email protected] may fit with your company’s objectives: 604 732 1610. earlymusic.bc.ca Early Music Vancouver acknowledges that we are gathered on the traditional, ancestral and unceded territory of the Coast Salish peoples – Sḵwx̱ wú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) and xʷməθkʷəy̓ əm (Musqueam) Nations.

2  Vancouver Bach Festival 2019 Purcell: Hail, Bright Cecilia [email protected] PACIFIC BAROQUE ORCHESTRA

Pacific Baroque Orchestra The Pacific Baroque Orchestra (PBO) is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears”. PBO brings the music of the Alexander Weimann past up to date by performing with cutting-edge style and enthusiasm. Formed in 1990, the music director orchestra quickly established itself as a force in Vancouver’s burgeoning music scene with the ongoing support of Early Music Vancouver. violins In 2009, PBO welcomed Alexander Weimann as Artistic Director. His imaginative Chloe Meyers programming and expert leadership have drawn in many new concertgoers, and his creativity concertmaster and engaging musicianship have carved out a unique and vital place in the cultural landscape Christi Meyers of Vancouver. Olivier Brault PBO regularly joins forces with internationally celebrated Canadian guest artists, providing Christine Wilkinson Beckman performance opportunities for Canadian musicians while exposing West Coast audiences to Linda Melsted a spectacular variety of talent. The Orchestra has also toured BC, the northern United States principal 2nd violin and across Canada as far as the East Coast. The musicians of the Pacific Baroque Orchestra Elyssa Lefurgey-Smith have been at the core of many large-scale productions by Early Music Vancouver in recent Tanya LaPerriere years, including many summer festival performances led by Alexander Weimann.

violas Mieka Michaux Alexander Weimann music director Joanna Hood Alexander Weimann is one of the most

violoncello sought-after ensemble directors, soloists, and Nathan Whittaker chamber music partners of his generation. After traveling the world with ensembles like violone Tragicomedia, and as frequent guest with Natalie Mackie Cantus Cölln, the Freiburger Barockorchester, Gesualdo Consort and Tafelmusik, he now double bass focuses on his activities as conductor of the Curtis Daily Pacific Baroque Orchestra in Vancouver, music

organ & harpsichord director of the Seattle Baroque Orchestra Christina Hutten and regular guest conductor of ensembles including the Victoria Symphony, Symphony lute Nova Scotia, Arion Baroque Orchestra in John Lenti Montreal and the Portland Baroque Orchestra.

oboe Weimann was born in 1965 in Munich, where he studied the organ, church music, musicology Curtis Foster (with a summa con laude thesis on Bach’s secco recitatives), theatre, mediæval Latin, and MaryAnn Shore jazz piano, supported by a variety of federal scholarships. From 1990 to 1995, Weimann taught music theory, improvisation, and Jazz at the Munich Musikhochschule. Since 1998, bassoon he has been giving master classes in harpsichord and historical performance practice at Nate Helgeson institutions such as Lunds University in Malmö and the Bremen Musikhochschule, and at North American universities such as The University of California in Berkeley, Dartmouth trumpets College in New Hampshire, McGill University, Université de Montréal, and Mount Allison Alexis Basque in New Brunswick. Since 2007, he has conducted several acclaimed opera productions at Christopher Price the Amherst Early Music Festival. He now teaches at the University of British Columbia and

timpani directs the Baroque Orchestra Mentorship Programme there. Bill Linwood A multiple Juno and Grammy nominee, Weimann can be heard on some 100 CDs. Recent highlights include an Opus and Juno award winning CD of Handel oratorio arias with soprano Karina Gauvin, a recording of Bach’s St. John’s Passion with Les Voix Baroques/Arion Baroque Orchestra, and a Juno nominated recording of Handel’s Orlando with the Pacific Baroque Orchestra that was also awarded a Gramophone Editor’s Choice award. . n earlymusic.bc.ca Purcell: Hail, Bright Cecilia Vancouver Bach Festival 2019  3 SEP 28 Rosanne Cash OCT 5 Mari Boine OCT 19 DakhaBrakha NOV 2 Flamenco Legends: The Paco de Lucía Project NOV 16 Orquesta Akokán FEB 29 We Shall Overcome: A Celebration of Dr. Martin Luther King, Jr. MAR 8 Dianne Reeves: Beleza Brazil APR 4 La Santa Cecilia APR 18 Kalabanté: Afrique en Cirque ROSANNE CASH

WE SHALL DAKHABRAKHA MARI BOINE OVERCOME

chancentre.com

4  Vancouver Bach Festival 2019 Purcell: Hail, Bright Cecilia [email protected] VOCAL SOLOISTS She is a devoted chamber musician and offers a range of highly interesting projects such as “Lord Nelson at the river Nile” (music by Haydn and contemporaries dealing with the battles of Lord Suzie LeBlanc soprano Nelson), “White as Lillies was her Face” with songs by John Born in Acadia, Suzie LeBlanc fell in love with the Baroque early in life. Dowland combined with texts by Heinrich Heine, “Mort exquise, Now an international star, the charismatic soprano is well-known for mort parfumée” with French impressionistic compositions, “Duft her passionate performances of Early Music, art song, contemporary und Wahnsinn” (fragrance and lunacy) together with Hille Perl, viola music and Acadian traditional repertoire. da gamba, and Lee Santana, lute, as well as “Birds” with flutist Stefan Temmingh. She has sung with many of the world’s leading early music ensembles in concert and opera performances as well as on film and on disc. A steadily growing discography with several award-winning Concerts have taken her to festivals all over the world and on the recordings documents her artistic achievements. “Inspired by opera stage, she has performed for De Nederlandse Opera, Festival Song” and “Birds” with Stefan Temmingh, “Handel” with Hille Perl, de Beaune, Opéra de Montréal, the Boston Early Music Festival, Monteverdi “La dolce vita” with the Lautten Compagney Berlin and Tanglewood, Festival Vancouver and Early Music Vancouver. Wolfgang Katschner (all DHM), Bach “Kantaten für Solo-Sopran” with L’Orfeo Barockorchester and Michi Gaigg and Boccherini Stabat Recently appointed to the Order of Canada for her contribution to mater with the Salagon Quartett (both Carus) have been especially Acadian culture and to the performance of Early Music, she has also well received. earned four honorary doctorates and a career grant from the Conseil des Arts du Québec. In 2018/19, Dorothee Mields is artist in residence at the Heinrich- Schütz-Musikfest. Upcoming highlights include appearances in Suzie’s recordings have received several prestigious awards, Japan with the RIAS Kammerchor, at the Wigmore Hall with The including a Grammy award for a recording of Lully’s Thésée with the English Concert, with Seattle Symphony, and at the Internationale Boston Early Music Festival, an Opus award for best world music Orgelwoche Nürnberg, as well as tours with Collegium Vocale Gent, recording – “Tempi con Variazioni” – and best contemporary album, Freiburger Barockorchester, Gli Angeli Genève and Holland Baroque. for a disc of early songs by Olivier Messiaen. In 2014, she was awarded ECMA’s Best Classical Album (2014) for “I am in need of music”, which was also a finalist for the Lieutenant Governor of Nova Alex Potter alto & leader Scotia Masterworks Award. My mother always sang to me when I was a small child, which is why In 2019, she premiered MOUVANCE, a multidisciplinary work by I began to sing. Her voice for me was intensely bound together with Jerôme Blais supported by the Canada Council and made her debut emotion, which will always remain with me. As a cathedral chorister, as a conductor with the Studio de Musique Ancienne in a programme this emotional basis became intertwined with a fascination for text of music from 17th century Italian convents. She performed with and symbolism in music, expanded upon and deepened during Vancouver’s Elektra, Constantinople and toured Fiorè with Elinor studies in Oxford and Basel. Remaining faithful to these origins over Frey. She frequently performs with Ensemble Constantinople and nearly twenty years in the profession, I continue to develop as a Elinor Frey, celllist. singer, musician and human, changed and enriched by the joy and sadness which life brings. Suzie is vocal coach and director of Cappella Antica at McGill University and the founder and co-artistic director of Le Nouvel Nowadays you are most likely to hear me somewhere with Bach, Opéra, an organisation presenting early and contemporary chamber although I also love to sing other music. When not performing, you will opera in Montreal. find me at home with my family, reading something geeky, wasting time on the internet, or cooking. Sharing and exchanging with other people, be it music, food, or conversation, is one of the great pleasures of life. Dorothee Mields soprano Dorothee Mields is one of the leading interpreters of 17th- and 18th- Samuel Boden tenor century music and is beloved by audiences and critics alike for her unique timbre and moving interpretations. British tenor Samuel Boden began his career as a chef and then went on to study singing with John Wakefield at Trinity Laban She appears regularly with the Collegium Vocale Gent, Netherlands Conservatoire. Bach Society, L’Orfeo Barockorchester, Freiburger Barockorchester, RIAS Kammerchor, Bach Collegium Japan, Orchestra of the 18th Samuel has sung roles in the operas of Monteverdi, Cavalli, Century, Lautten Compagney Berlin, Tafelmusik Baroque Orchestra Charpentier, Rameau, Purcell, Handel, Glück, Britten, George Toronto, The English Concert and Klangforum Wien under conductors Benjamin and Thomas Larcher. He has appeared in productions such as Stefan Asbury, Beat Furrer, Michi Gaigg, Paul Goodwin, at the Royal Opera House, Covent Garden, Glyndebourne, Dutch Philippe Herreweghe, Emilio Pomàrico, Hans-Christoph Rademann, National Opera, Hamburg State Opera, Opéra de Lyon, Badisches Andreas Spering, Masaaki Suzuki and Jos van Veldhoven. Staatstheater, Karlsruhe; Nederlandse Reisopera, Musica Viva, Moscow; Theater St Gallen, Pinchgut Opera, Sydney; Opéra de Dorothee Mields is a welcome guest at international festivals, Dijon, Opéra de Lille and the Aldeburgh Festival. In addition he has including the Leipzig Bach Festival, Suntory Music Foundation performed operas in concert at the Aix-en-Provence Festival and Summer Festival in Japan, Boston Early Music Festival, Flanders Salzburg Mozart Week. Festival, Wiener Festwochen, the Handel Festival in Halle, Musikfestspiele Potsdam, Styriarte Graz, Niedersächsische On the concert platform Samuel has appeared with many highly- Musiktage, Musikfest Bremen, Mainzer Musiksommer and Mosel regarded period ensembles as well as symphony and chamber Musikfest. orchestras: Bavarian Radio Symphony Orchestra / Giovanni Antonini; earlymusic.bc.ca Purcell: Hail, Bright Cecilia Vancouver Bach Festival 2019  5 Gabrieli Consort / Paul McCreesh; Ex Cathedra / Jeffrey Skidmore; Passion with the St Paul Chamber Orchestra, Haydn’s Creation with the Royal Northern Sinfonia / Thomas Zehetmair; Scottish Chamber the City of Birmingham Symphony Orchestra, Bach’s Magnificat Orchestra / Harry Bicket; Kristiansand Symphony Orchestra / and Brahms’ Triumphlied with the Cincinnati Symphony Orchestra, Nicholas Kraemer; Les Arts Florissants / William Christie and Il Rè di Scozia in Ariodante with the Staatstheater Stuttgart and on Jonathan Cohen; BBC Symphony Orchestra / Sir Andrew Davis, John tour with the English Concert, Bach’s B minor Mass at the Al Bustan Storgårds, Sakari Festival in Beirut and with Les Violons du Roy in Québec, Fauré’s Requiem with the Royal Philharmonic Orchestra, Mozart’s Requiem Oramo, Giancarlo Guerrero and John Butt; Frankfurt Radio Orchestra with the Fryderyk Chopin Institute in Warsaw, a tour of Bach / Emmanuelle Haïm; Collegium Vocale Gent / Philippe Herreweghe; cantatas with the Monteverdi Choir and Sir John Eliot Gardiner, and Wiener Akademie / Martin Haselböck; Salzburg Camerata / Teodor with the Nederlandse Bachvereniging and Early Music Vancouver, Currentzis and the Rotterdam Philharmonic / Nathalie Stutzmann. a tour of Bach’s St Matthew Passion with the Orchestra of the Age His growing discography includes discs of Monteverdi, Charpentier, of Enlightenment, and with Gli Angeli Genève, Elgar’s The Dream of Daniel Purcell, Rameau, Bach, and Blow alongside Berlioz, George Gerontius with the Indianapolis Symphony Orchestra, Tippett’s A Benjamin, Davies, Alec Roth on Hyperion, Erato, Archiv, Chandos, Child of Our Time at Festival Saint-Denis, and the roles of Herod and OAE Released, Nimbus, Resonus Classics, NMC and Signum. Father in Berlioz’s L’Enfance du Christ with the Melbourne Symphony Orchestra and Sir Andrew Davis. Sumner Thompson baritone

Described as possessing “power and passion,” and “stylish RIPIENISTS elegance,” Sumner Thompson is in high demand on the concert and opera stage across North America and Europe. He has appeared as a soloist with many leading ensembles and orchestras including the Nicholas Burns alto Britten-Pears Orchestra, the National Symphony, the Boston Early Vancouver-born countertenor Nicholas Burns has been described Music Festival Orchestra, Apollo’s Fire, Pacific Baroque Orchestra, as possessing a “thrilling voice”, and past performances have been Portland Baroque Orchestra, Les Voix Baroques, The Handel and called a “revelation” (Opera Canada). Recent appearances include Haydn Society, Tafelmusik, Arion Baroque Orchestra, Gli Angeli performances of Monteverdi’s 1610 Vespers with the American Genève, and the orchestras of Phoenix, Memphis, Indianapolis, Bach Soloists, music by Henry Purcell at le Festival international de Buffalo, and Charlotte. musique baroque de Lamèque, Handel’s Messiah with the Thunder Recent engagements include a repeat performance of Bay Symphony Orchestra and Bach’s St. John Passion, St. Matthew Handel’s Messiah with Boston’s Handel and Haydn Society, Passion, and B Minor Mass with Ensemble Caprice. On the opera Monteverdi’s 1610 Vespers with the critically acclaimed Green stage Nicholas has performed roles such as Bertarido in Handel’s Mountain Project, Britten’s War Requiem with the Boston Rodelinda, Polinesso in Handel’s Ariodante, and Lichas in Handel’s Philharmonic, Bach’s St. John Passion at the National Cathedral, Hercules. No stranger to singing major choral works one per part, and the title role in Britten’s Saint Nicolas with Philadelphia Choral Nicholas has performed numerous Bach cantatas one per part with Arts. On the operatic stage he performed the role of El Dancaïro both Les idées heureuses and le Bande Baroque Montréal including in Carmen with the Cincinnati Opera, and the role of Siegmund in a the solo cantata Gott soll allein mein Herze haben (BWV 169) and concert version of Act I of Wagner’s Die Walküre in Boston. Bach’s fugal masterpiece Ein feste Burg (BWV 80). Later this season Mr. Thompson can be heard on the Boston Early Music Festival’s Nicholas will perform Bach’s St. Matthew Passion one voice per part Grammy-nominated recording of Lully’s Psyché on the CPO with the American Bach Soloists in San Francisco as well as the label, with the Handel and Haydn Society on their recording of music of Henry Purcell with Arion Baroque Orchestra. Nicholas Handel’s Messiah on the Coro label, and also with Les Voix Baroques appears regularly with le Studio de musique ancienne, with whom on “Canticum Canticorum”, “Carissimi Oratorios”, and “Humori”, all on he has recorded an album of music by Lassus on ATMA Classique. the ATMA label. Aside from singing, Nicholas is an accomplished bagpiper winning the World Pipe Band Championships in Glasgow in 2012. In addition to his musical pursuits, Mr. Thompson spends his time restoring his 1885 Stick-style Victorian home, building various types of bass guitars, and entertaining his 4 year old daughter. Jonathan Quick tenor Jonathan Quick has been a prominent part of the Vancouver choral music scene for many years. He received his B.Mus and B.Ed degrees Matthew Brook bass-baritone from UBC, studying voice with David Meek. His wide range of Matthew Brook has appeared widely as a soloist, and has worked musical interests has allowed him to work as a conductor, composer extensively with conductors such as Sir John Eliot Gardiner, Richard and arranger, sound engineer, music typesetter, and singer. He has Hickox, Sir Charles Mackerras, Harry Christophers, Christophe directed vocal workshops with ensembles of all ages and experience Rousset, Paul McCreesh and Sir Mark Elder, and many ensembles levels, and currently directs the Vancouver Welsh Men’s Choir and including the Philharmonia, London Symphony Orchestra, the St the Gallery Singers. Petersburg Philharmonic, the Royal Philharmonic Orchestra, Freiburg Jonathan has been featured on numerous recordings with local Baroque Orchestra, Orchestra of the Age of Enlightenment, the ensembles, and has appeared as a soloist with the Vancouver English Baroque Soloists, the Gabrieli Consort & Players, the Sixteen, Chamber Choir, the Vancouver Cantata Singers, the West Coast the Royal Northern Sinfonia and Orchestre National de Lille. Mennonite Chamber Choir, the Pacific Baroque Orchestra, Kawasha’s Recent and future highlights include Purcell’s The Fairy Queen and Crew, the Burney Ensemble, Early Music Vancouver, and New Music Dido and Aeneas with the Handel and Haydn Society, Bach’s St John Vancouver. n

6  Vancouver Bach Festival 2019 Purcell: Hail, Bright Cecilia [email protected] PROGRAMME NOTES

by christina hutten

“The Lovers of Music, where of many are Persons of the first Rank, meet at Stationers-Hall in London, not thro’ a Principle of Superstition, but to propagate the advancement of that divine science. A splendid Entertainment is provided and before it is always a performance of Music by the best Voices and Hands in town; the Words, which are always in the Patronesses praise, are set by some of the greatest Masters in Town.” A Gentleman’s Journal

The person of Saint Cecilia and her association with music Nicholas Brady’s text Hail! Bright Cecilia (1692) reworks John is shrouded in mystery. She had been venerated among the Dryden’s famous poem A Song for St. Cecilia’s Day (1687), and saints since the fifth century, but only began to be regularly Henry Purcell’s setting of Brady’s text dialogues with the Ode identified as patroness of music in the sixteenth century. The for St. Cecilia’s Day (1691) composed by his teacher John Blow. first documented music festival held in her honour occurred Hail! Bright Cecilia (1692) is a kaleidoscopic exploration of in Normandy in 1570. In 1585, Pope Sixtus V established one the power of music to move the emotions. Purcell uses an of the oldest musical institutions in the world, the Accademia exceptionally large orchestra and all sorts of combinations of Nazionale di Santa Cecilia, issuing a papal bull invoking vocal solos, duets, trios, and choruses to paint the purported Gregory the Great and Saint Cecilia as the two saints most universal power and cosmic significance of music and the prominent in the history of western music. Yet, it was in characters associated with different instruments and musical Protestant Restoration England that the celebration of Saint genres. The piece concludes with a bass duet and chorus Cecilia flourished especially colourfully. Between the years encouraging the unity of disparate instruments and human 1683 and 1703, the Musical Society of London hosted annual voices with the music of Saint Cecilia and her heavenly festivities including a service at St. Bride’s Church featuring ensemble. an anthem for choir and orchestra and a sermon in defence of music, followed by a performance at Stationer’s Hall of a Matthew Locke’s incidental music for The Tempest formed newly composed ode in praise of music. part of a similarly exemplary collaborative project. During the 1650s, the Commonwealth government forbade spoken The celebratory ode, a genre of formal lyric poetry borrowed theatre, though musical performances remained permissible. from antiquity, had become extremely popular in the court Lovers of Shakespeare “operatized” his plays as a way of of Charles II. The times were unsettled; the monarchy newly circumventing the restrictions, and the new genre proved a re-established amid persistent conflicts over succession and winning combination of excellent spoken drama with music religion. The ode served to express political power and loyalty, and spectacle. The most successful of these pieces was the linking the security of the developing British nation to the king reimagining of Shakespeare’s The Tempest, premiered in and his divinely ordained authority. Ancient Greece and Rome 1674. Poet John Dryden and playwright William Davenant were often elevated as models for the modern state. Odes revised the play line by line, modernizing the language and written in praise of Saint Cecilia similarly connected English incorporating references to contemporary politics and recent artistic achievement with Cecilia’s patronage and with divine scientific discoveries. Matthew Locke provided instrumental blessing. She became a secular figurehead, conflated with the music, including the Curtain Tune, a realistic depiction of muses of antiquity. the storm so central the play’s plot, while Pelham Humphrey, Further, the texts of the Cecilian odes, always commissioned Pietro Reggio, and John Banister all contributed vocal music. from Britain’s greatest poets, elevated music, particularly Perhaps, amid the fantasy and myth associated with the the collaborative process of music-making, as a model for Cecilia Day celebrations of the seventeenth century, there is the creation of a healthy civil society. Music unified the a timely reminder for us too about music’s potential to model arts and sciences, involving diverse disciplines from poetry unity and to create links across the span of history. The hope to instrument technology. Ensemble music harmonized that Nicholas Brady expressed in his sermon for St. Cecilia’s the varied timbres and abilities of instruments and voices. Day of 1697 remains rather poignant. “Peace then is restored Musical composition knit together a range of influences – to us within our Walls, Peace, that Banisher of Discord, that music theories traced from antiquity, traditions of musical Mother of Harmony, that Band of Union to consenting genre and style, the composer’s own inspiration… Emulating, Minds, that Nurse and Patroness of useful Arts and Sciences. adapting, reworking, or enriching existing music and text And O! That all the several parties in this kingdom, however was, in fact, privileged over conspicuous originality. Artists formerly divided by interest or design, would Resemble the situated themselves and their work within community. So, Trumpeters and Singers in the Text! That they were as one!” n earlymusic.bc.ca Purcell: Hail, Bright Cecilia Vancouver Bach Festival 2019  7 TEXTS

Matthew Locke (1621-1677) Henry Purcell: Excerpts from “The Tempest” Hail, Bright Cecilia Text by Nicholas Brady Introduction Galliard, Gavot, Sarabrand, Lilk Symphony Curtain Tune Hail! Bright Cecilia Hail! Bright Cecilia, Hail! John Blow (1649-1708) Fill ev’ry Heart With Love of thee and thy Celestial Art; Welcome, Every Guest That thine and Musick’s Sacred Love Welcome, every guest, May make the British Forest prove Welcome to the Muses’ feast: As Famous as Dodona’s Vocal Grove. Music is your only cheer, Music entertains the ear: Hark, each Tree its silence breaks Welcome, every guest. Hark, each Tree its silence breaks, Welcome to the Muses’ feast. The Box and Fir to talk begin. The sacred Nine, observe! This is the sprightly Violin, That in the Flute distinctly speaks. Observe the mode, ‘Twas Sympathy their list’ning Brethren drew And bring your dainties from abroad: When to the Thracian Lyre with leafy Wings they flew. The delicious Thracian lute, And Dodona’s mellow flute, ‘Tis Nature’s Voice With Cremona’s racy fruit: ‘Tis Nature’s Voice; thro’ all the moving Wood At home you have the freshest air; Of Creatures understood: Vocal, instrumental fare. The Universal Tongue to none Our English trumpet nothing has surpassed. Of all her num’rous Race unknown. Welcome, every guest!… From her it learnt the mighty Art To court the Ear or strike the Heart: At once the Passions to express and move; Matthew Locke We hear, and straight we grieve or hate, rejoice or love; In unseen Chains it does the Fancy bind; Excerpts from “The Tempest” At once it charms the Sense and captivates the Mind. Rustick Air, A Martial Jigge Conclusion Soul of the World Soul of the World! Inspired by thee, The jarring Seeds of Matter did agree. INTERVAL Thou did’st the scatter’d Atoms bind, Which, by the Laws of true proportion join’d, Made up of various Parts one perfect Harmony.

Thou tun’st this World below Thou tun’st this World below, the Spheres above, Who in the Heavenly Round to their own Music move.

8  Vancouver Bach Festival 2019 Purcell: Hail, Bright Cecilia [email protected] With that sublime Celestial Lay Hall! Bright Cecilia With that sublime Celestial Lay Hail! Bright Cecilia, Hail to thee! Can any Earthly Sounds compare? Great Patroness of Us and Harmony! lf any Earthly Music dare, The noble Organ may. Who, whilst among the Choir above From Heav’n its wondrous Notes were giv’n, Thou dost thy former Skill improve, (Cecilia oft convers’d with Heaven). With Rapture of delight dost see Some Angel of the Sacred Choir Thy Favourite Art Did with his Breath the Pipes inspire; Make up a Part And of their Notes above the just Resemblance gave, Of infinite Felicity. Brisk without Lightness, without dulness Grave. Hail, bright Cecilia, Hail to thee! Great Patroness of Us and Harmony! Wondrous machine! Wond’rous Machine! To thee the Warbling Lute, Tho’ us’d to Conquest, must be forc’d to yield: With thee unable to dispute.

The Airy Violin The Airy Violin And lofty Viol quit the Field; In vain they tune their speaking Strings Host an EMV Guest Musician To court the cruel Fair, or praise Victorious Kings. Do you have a guest room that often sits empty? Whilst all thy consecrated Lays Are to more noble Uses bent; Do you enjoy well-educated, articulate houseguests And every grateful Note to Heav’n repays from across the country and the world? The melody it lent. Do you like Classical music? Would you like to get the ‘inside scoop’ In vain the Am’rous flute about performing from a professional musician? In vain the Am’rous flute and soft Guitar, If your answer to any of these questions is ‘yes’, Jointly labour to inspire then I invite you to consider joining the growing number of Wanton Heat and loose Desire; EMV supporters who house visiting guest musicians. Whilst thy chaste Airs do gently move Get to know some of the wonderful musicians Seraphic Flames and Heav’nly Love. that come to Vancouver to bring you great music. The Fife and all the Harmony of War Host only when it is convenient for you; all you need to provide is a private room. The Fife and all the Harmony of War, In vain attempt the Passions to alarm, For more information Which thy commanding Sounds compose and charm. please contact Jonathan Evans, Production Manager, Early Music Vancouver: Let these amongst themselves contest [email protected] Let these amongst themselves contest, or 604.732.1610, extension 2004 Which can discharge its single Duty best. Thou summ’st their diff’ring Graces up in One, Special thanks to the following for hosting our guest musicians: And art a Consort of them All within thy Self alone. Honey & Tony Dawson, Martha Hazevoet, Delma Hemming, Margie & Tony Knox, Janice & J. Evan Kreider, Marlene & Al LeGates, Patricia Lim, Chloe Meyers & Alexander Weimann, Marc White & Joey Schibild, Judy & Bern Storr, Kimberly & Stuart Smith, Olivia & Nicholas Swindale, Rosemary & Alex Waterhouse-Hayward, Valerie Weeks & Barry Honda, and Penny Williams.

earlymusic.bc.ca Purcell: Hail, Bright Cecilia Vancouver Bach Festival 2019  9 White Rock Concerts White Rock Concerts congratulates Early Music Vancouver congratulates Early Music Vancouver on its 50th Anniversary and vital on its 50th Anniversary and vital contribution to the revival of early music contribution to the revival of early music and historically informed performance. and historically informed performance.

Now in our 63rd season, White Rock Now in our 63rd season, White Rock Concerts Society offers a member-only Concerts Society offers a member-only series of seven concerts series of seven concerts More information can be found at: www.whiterockconcerts.comMore information can be found at: www.whiterockconcerts.com

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earlymusic.bc.ca Purcell: Hail, Bright Cecilia Vancouver Bach Festival 2019  11 early music vancouver | donors and supporters

Early Music Vancouver gratefully acknowledges our many contributors & donors, who play a vital role in supporting the well-being of our organisation, and ensuring our continuing success. Thank you!

 Benefactors ($50,000+): The Drance Family * | The Estate of Barbara Kozier.  Presenters ($10,000-$49,999): A donation in memory of Vic Baker | Vic & Joan Baker * | The Mary & Gordon Christopher Foundation * | Helen & Frank Elfert * | Birgit Westergaard & Norman Gladstone * | Agnes Hohn * | Sharon Kahn * | Janette McMillan & Douglas Graves * | Dr. Katherine E Paton * | José Verstappen *.  Sponsors ($5,000-$9,999): Elaine Adair * | Mark De Silva | Marianne Gibson * | Dorothy Jantzen * | David McMurtry * | The Nemetz Foundation * | RPC Family Foundation * | Zelie & Vincent Tan * | Jo & Bob Tharalson * | A donation in memory of Peter Wood * | Bruce Munro Wright * | Eric Wyness *.  Co-Sponsors ($2,500-$4,999): The Brennan Spano Family Foundation | The Estate of Gunnar Brosamler * | Meredith & Pat Cashion * | Tama Copithorne * | Chris Guzy & Mari Csemi * | Heather Franklyn * | Delma Hemming * | Tony & Margie Knox * | J. Evan & Janice Kreider * | The McLean Foundation * | Marlene Rausch & Tom Phinney | Fran Watters * | Matthew White & Catherine Webster.  Supporters ($1,000-$2,499): Colleen & Martin Barlow * | Marti Barregar * | Spencer Corrigal * | Paul Devine | David Gordon Duke | Virginia Evans * | Dr Val Geddes * | Sherrill & John Grace * | Ursula Graf * | Jane Flick & Robert Heidbreder * | The John & Leni Honsaker Fund * | Brian Jones | Donations in honour of Sharon Kahn * | Edward Kehler | George Laverock & Jane Coop * | David Layton & Zoe Druick | Melody Mason * | Margaret O’Brien * | Jocelyn Pritchard * | Pam Ratner & Joy Johnson * | Dr. Robert S. Rothwell * | Ingrid Söchting * | Fumiko Suzuki * | Anona Thorne & Takao Tanabe * | Dr. Carol Tsuyuki * | Gale Walker * | Bruno Wall * | Two Anonymous Supporters.  Patrons ($500-$999): Hugh & Jacqueline Anton * | Alan & Elizabeth Bell * | Christina Burridge * | Andrew J A Campbell * | Mark Tindle & Leslie Cliff * | Charles & Lucile Flavelle Family Fund * | Nancy & David Fraser * | Michael Fuhrmann | Ada Ho & Doug Vance * | The Elsie & Audrey Jang Fund * | Joseph & Jeanette Jones |Joy and Tasos Kazepides * | Harold Knutson * | Michael Kobald * | Paula Kremer * | Evelyn Leaf * | John C. Leighton * | Susanne Lloyd * | Leslie Loving * | Graeme & Paddy Macleod * | Marta & Nicolas Maftei * | Bill Meyerhoff | A donation in memory of Greg Muller | Geoffrey Newman * | Hans-Karl & Irene Piltz * | Meredith Quartermain | Mike Rampf | Mary Roberts | Nancy Jean Ross | Rick & Helma Sawatzky | Allan Sawchuk | John Schreiner * | Johanna Shapira & John Geddes * | Tom & Margaret Taylor * | David & Susan Van Blarcom | Nicholas Voss * | James Walsh * | Wawanesa Insurance | Michael Stevenson & Jan Whitford | Karen Wilson * | Jane & Michael Woolnough * | A donation in memory of Rosemary Wright * | Four Anonymous Patrons..  Friends ($100-$499): Dr. Patricia Baird * | Denise Ball * | Janet Becker | Richard Beecher * | Jeremy Berkman & Sheila McDonald * | Richard Bevis * | Patricia Birch * | Joost Blom | Lesley Bohm * | Janine Bond * | Kathleen Bourchier | Paul & Joyce Bradley * | Donna Brendon | Dr. Nonie Brennan | Mary Brown * | Pille Bunnell | Claire Carbert | David Chercover * | Marylin Clark * | Peter & Hilde Colenbrander * | Michael Collins * | Gillian & Mike Collins * | Ron Costanzo * | Shelagh Davies * | Tony Dawson | Marc Destrubé & Anna Goren * | Beatrice Donald * | Susan Edwards * | Josine Eikelenboom * | David Fallis & Alison Mackay * | Keith Farquhar & Koji Ito * | A donation in memory of Eve Farson * | Dr. Marguerite Fauquenoy * | Martin Ferera | Alex Fisher & Lisa Slouffman * | Judith Forst * | Irene Fritschi-Nelin * | Andrew Fyson * | Hannah & Ian Gay * | Patrick Gilligan-Hackett * | Elizabeth Grace | Susan Grant | Gordon & Kathleen Gray * | Dr Beverley Green * | Patricia Grindlay | Elizabeth Guilbride * | Penelope & Lyman Gurney * | Mark Halpern | Elizabeth & Keith Hamel * | Paul Gravett & Mark Hand * | Dr. Evelyn J. Harden * | Don Harder * | David Harvey | William M Hay * | Sally Hermansen | Heather & Bill Holmes * | Barry Honda & Valerie Weeks * | Dr. PJ Janson | Ron Jobe | France- Emmanuelle Joly | Valerie Jones | Karen Jones | Patrick Jordan * | Dr. Stanislava Jurenka * | Douglas Justice | Lars & Anne Kaario * | Lynn Kagan * | Dr Harry Karlinsky | Susan Kessler * | Mira Keyes | Barbara Kops | Ilia Korkh | A donation in memory of Nikolai Korndorf | Peter Kwok * | Janet & Derwyn Lea * | Marlene Legates | Cindy Leung | Audrey Lieberman | Steven Lo | Janet Lowcock | A donation in memory of Catherine Graff MacLaughlin * | Wanda Madokoro | E. J. Makortoff * | Emil Marek * | Janice Masur | Patrick May | A donation in memory of Christopher McCrum * | Glenys McDonald * | James McDowell * | William McKellin | Peter Mercer | Patricia Merivale * | Michael Millard | Barbara Moon * | Yolaine Mottet | Linda Mueller | Wesley Mulvin | Alfred & Jennifer Muma * | Sarah Munro * | Lee Napier | Sharon Newman * | Heather Nichol | Henry Numan * | Wilfried Ortlepp * | Julie Ovenell | Stephen Partridge * | Elizabeth Paterson * | Jocelyn Peirce | JoAnn Perry * | David Phillips & Margo Metcalfe * | Anne Piternick * | Monique Prudhomme | Dr. Rebecca Raglon | Tim & Janet Rendell * | Margot Richards | Kathleen Rittenhouse | Marika Roe | Peter & Elfriede Rohloff * | Rhona Rosen * | Chris Sallis | Erna Schaefer * | Iris Schindel | Traudi Schneider * | Stuart & Wendy Scholefield * | Verna Semotuk * | Shirley Sexsmith * | Karen Shuster * | Leah Skretkowicz | M L Stewart * | Patricia Evans & John Stonier * | G. Storey * | David & Lorraine Stuart | David & Eileen Tamblin * | Agnes Tao & Nelson Cheung | A donation in memory of Becky Tarbotton | Lynne Taylor * | Kathy Thomas | Valerie Boser & Patrick Tivy | Grant Tomlinson * | Trevor & Rebecca Tunnacliffe * | Urban Impact Recycling * | Helena Van der Linden | Crista Vannierop | Elinor Vassar * | Leah Verdone | Barbara M. Walker * | A donation in memory of Ulli Walker | Heddi & Tony Walter * | Norma Wasty * | Joella Werlin | Gwyneth Westwick * | John & Hilde Wiebe * | Elizabeth Wilson & Lauri Burgess | Audrey Winch * | Geoff Wing | Nancy Wong * | Dale & Ted Wormeli * | William J Worrall * | Reece Wrightman * | Jennifer & Kenneth Yule * | George Zukerman & Erika Bennedik | Twenty Anonymous Friends.  Donors ($25-$99): Dr Frank Anderson | Jill Bain | G. Pat Blunden * | Carol Brauner | Edgar Bridwell | Norma Chatwin * | Gillian Chetty | Abe Cohen * | Brian Coleman * | Greg Cross * | Bing Dai | Ute Davis | Judith Davis * | Mary Davison | Jacqueline Day | Dr Gaelan de Wolf * | Anne Duranceau | Ruth Enns * | Kenneth Friedman * | Nancy Garrett * | Joe Gilling | Jason Hall | Margaret & Murray Hendren | Elizabeth Hunter * | Sylwia Karwowska | Janet Kidnie | Robyn Kruger | A donation in memory of Edgar Latimer * | Reva Malkin * | Celia O’Neill * | Danielle Papineau | Scott Paterson * | Caroline Penn | Jane L Perry * | Jenny Price | Thomas Querner * | Martha Roth | Lyse Rowledge | Carole Ruth * | David Ryeburn * | A donation in honour of Verna Semotuk | Juliet Simon * | Kathryn Simonsen | Mr. Ronald Sutherland * | Brian Sutherland | Beverley Taylor * | Teresa Vandertuin | Esther Vitalis | C & H Williams * | Fourteen Anonymous Donors.

These listings include donations received prior to July 15 * A Special Thank-You to our Loyal Long-Time Donors The names in these listings which are marked with an asterisk [*] indicate donors who have supported Early Music Vancouver annually for five years or more. Their loyal and ongoing generosity has been especially valued, and has helped ensure that we can plan our annual projects & seasons with confidence and with a solid sense of security. Thank you!

early music vancouver | endowment fund donors

We also gratefully acknowledhe the select group of donors that, in addition to their annual donations, has generously contributed to Early Music Vancouver’s Endowment Fund – which is administered by the Vancouver Foundation, and which currently stands at over 1.8 million dollars. Interest from this Fund will continue to support our performances & activities in perpetuity.  ($100,000+): The Drance Family Early Music Vancouver Fund.  ($20,000+): Vic & Joan Baker | Ralph Spitzer & Hisako Kurotaki | José Verstappen | Two Anonymous Donors.  ($5,000+): A donation in memory of Tom Blom | Frank & Helen Elfert | Marianne Gibson | The Nemetz Foundation | Dr Katherine E Paton | Marcia Sipes | A donation in memory of Peter Wood.  ($2,500+): The RPC Family Foundation | Maurice & Tama Copithorne | Heather Franklyn | Tony & Margie Knox | James C. & Wendy Russell | Anona Thorne & Takao Tanabe.  ($1,000+): A donation in memory of Mrs Betty Drance | Patrick Gilligan-Hackett | Dorothy Jantzen | Ottie Lockey & Eve Zaremba | Susanne Lloyd | Greg Louis | Glenys McDonald | Dr Robert S Rothwell | Karen Shuster | Zelie & Vincent Tan | Lorna Weir | Four Anonymous Donors.  (up to $1,000): Evelyn Anderson | Alan & Elizabeth Bell | Meo Beo | Jeffrey Black & Mary Chapman | L & C Bosman | A donation in memory of C Y Chiu | Mary Christopher | Gillian & Mike Collins | A donation in memory of Basil Stuart-Stubbs | Judith Davis | Jane Flick & Robert Heidbreder | Dr Val Geddes | Margot Guthrie | Mark Halpern | Linda Johnston | Peter Kwok | Elizabeth Lamberton | Rob Mayhew | Janette McMillan & Douglas Graves | Benjamin Milne | Alberto Mondani | Alfred & Jennifer Muma | Barbara Murray | Judith & Greg Phanidis | Connie Piper | Pam Ratner & Joy Johnson | Joan Rike | Elfriede & Peter Rohloff | David Ryeburn | Jo & Bob Tharalson | John Tulip | James Walsh | Fran Watters | Glenys Webster & Paul Luchkow | Five Anonymous Donors.

12  Vancouver Bach Festival 2019 Purcell: Hail, Bright Cecilia [email protected]