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July 15 through 23, 2011

at the San Francisco Conservatory of Music

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American Bach Soloists

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Welcome to the Festival & Academy 5Schedule of Events 7American Bach Soloists Discography 9Our 2011/12 Season 11Our Mission 12Education & Outreach 12Academy Founders & Sponsors 13About American Bach Soloists 14Board of Directors, Founders, Staff, & Advisory Council 15Artist Biographies 16Academy Members & Chorus 20Contributors & Acknowledgments 39

• Concert Programs •

Chamber Series: Music by Johann Sebastian Bach I 21Chamber Series: Music by Johann Sebastian Bach II 23Masterworks Series: Bach’s Mass in B Minor 27Academy Series: Academy-in-Action I 33Academy Series: Academy-in-Action II 35Academy Series: Academy-in-Action III 36Masterworks Series: Handel’s Ariodante 37

San Francisco’s Summer Bach Festival

Contents

• Festival Sponsors •

Grants for the Arts/San Francisco Hotel Tax FundClarence E. Heller Charitable Foundation

The Bernard Osher FoundationMechanics Bank

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MusicSources proudly announces its 2011/2012 Season

•Music of Mozart and J.C. Bach performed on 2 antique fortepianos donated to MusicSourcs Collection.•Bach Concerti for 3 and 4 harpsichords•Lycanthropos:

The Werewolf in Story and Song•Choreomania:

Music for the Dancing Plagues of Medieval and Renaissance Europe•The Blood Countess: Music from the

Time of Elizabeth Bathory (1560-1614)

•Carolus Maximus! The Life of Charles V in Music•Medieval, Renaissance and Baroque

Concerts featuring: - Emma Kirkby

- Cançonièr - The Dufay Collective - Ostraka - Ensemble Ursae Majoris•Harpsichord recitals:

- Francesco Corti (Italy) - Christiano Holtz (Portugal)

MusicSourcesPO Box 6882 Albany CA, 94706(510) 528-1685info@musicsources.org

MUSIC IN CENTRAL EUROPE

MusicSources is a nonprofit organization (501)(c)(3) devoted to music from the Middle Ages to the Romantic Era (1200 to 1850).MusicSources serves as a local, national, and international base for professionals, teachers and promising students of Early Music.

“For sheer diversity, the early-music offerings of MusicSources are hard to beat.” ... San Francisco Classical Voice

www.musicsources.orgContact us to receive our season brochure

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Welcome to theAmerican Bach Soloists Festival & Academy

We welcome you to the inaugural concerts of the world’s newest Summer Bach Festival! The tradition of annual Bach festivals is now nearly two centuries old, and the cities that host them enjoy a status of celebrity and rank that is cherished by their followers. San Francisco and the entire Bay Area is distinguished by a great number of fine early music organizations and we—the American Bach Soloists—are thrilled to join and be a part of a vital national heritage of music festivals that take pride in their commitment to develop, educate, and inspire emerging professionals as they become the next generation of virtuosi.

Last summer, the American Bach Soloists founded its Academy, North America’s newest annual professional training program in historically informed performance practice. Drawing on its distinguished roster of performers, the American Bach Soloists Academy offers conservatory-level students and emerging professionals unique opportunities to study and perform Baroque music in a multi-disciplinary learning environment. Instrumentalists and singers work, rehearse, and perform with all faculty, thereby gaining the perspectives of seasoned professional artists from a variety of disciplines. With its successful initiation last year, the Academy is now reconceived as a rich strand in the ABS Festival’s larger fabric.

The American Bach Soloists Festival & Academy is characterized by a wide range of diverse but interlocking activities. The Chamber Series concerts on July 15 and 16 showcase the American Bach Soloists in performances of favorite and lesser-known works by Bach. Public Colloquia on July 16 and a Lecture Series (July 18 through 22) provide free and informative opportunities for public education and discussion on a host of subjects. For the Master Class Series (July 18 through 22) the ABS Academy opens its doors to the public to witness the mentorship and artistic growth of young performers at work with their teachers. And, in an echo of the origins of American Bach Soloists, whose founding mission was to bring acclaimed early music specialists together to perform Bach cantatas, the Academy Series features young artists in performances of cantatas and chamber music.

The Festival reaches its zenith in the Masterworks Series, annual performances of special works carefully selected from the Baroque repertoire. Capping the opening and closing weekends of the Festival on July 17 and 23, ABS music director Jeffrey Thomas conducts members of American Bach Soloists with Academy vocalists and

orchestra in performances of J. S. Bach’s Mass in B Minor. This magisterial summation of Baroque art is a fitting choice to anchor the annual performance calendar in future years of the summer Festival. The Masterworks series also includes an annual production from the operatic or oratorio literature. For its inaugural presentation, the Festival presents a concert performance of Handel’s Ariodante, a gripping story of passion, deception, jealousy, and the triumph of faith and love, vividly rendered by Handel’s colorful music.

All great ventures (and the most inspiring performances) are the result of the devoted and tireless work and support of a number of collaborators. The backbone of the Festival & Academy is to be found in the outstanding roster of the American Bach Soloists, having assembled from its own ranks a first-rate set of faculty and performers. Yet it is only through the essential and estimable support of funders, sponsors, media partners, and collaborating organizations that this Festival has come to fruition. Paramount among those organizations is the San Francisco Conservatory of Music, where splendid and state-of-the-art facilities are an inspiration to students and audiences alike. With its founding in the San Francisco Civic Center’s Performing Arts hub, the American Bach Soloists Festival & Academy secures an enduring legacy within the historical performance movement, whose national significance in recent decades has been spurred on in no small part by the passionate commitment of musicians, listeners, and supporters in the San Francisco Bay Area.

We thank you—our audiences —and the countless contributors, collaborators, colloquia presenters, staff members, musicians, and volunteers who have made the dream of San Francisco’s very own Summer Bach Festival into an exciting reality.

JEFFREY THOMASArtistic and Music Director

American Bach SoloistsCo-Director of the Academy

COREY JAMASONDirector, Historical Performance Program

San Francisco Conservatory of MusicCo-Director of the Academy

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415-262-0272www.calbach.org

MagnificatJohann Sebastian Bach OctOber 14–16, 2011

A Belén (To Bethlehem) 17th and 18th c. Spanish Villancicos December 2–4, 2011

D raw on, Sweet NightMadrigals across Europe march 16–18, 2012

Chandos and Chapel RoyalAnthems by George Frideric Handel april 27–29, 2012

Fridays at 8 pm — San Francisco · Saturdays at 8 pm — Palo Alto · Sundays at 4 pm — Berkeley

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Schedule of Events

FESTIVAL EVENTS FESTIVAL SCHEDULEMasterworks SeriesAnnual performances of Bach’s Mass in B Minor and

concert performances of selected works from Baroque

oratorio and opera. Jeffrey Thomas conducts the

American Bach Soloists Academy Orchestra and soloists,

joined by the American Bach Choir and Festival Chorus.

Chamber Series Virtuoso performances by the American Bach Soloists of

favorite and lesser-known masterpieces by Bach and his

contemporaries.

Academy Series“Academy-in-Action” performances featuring ABS

Academy participants — the next generation of early

music virtuosi — as they perform Bach cantatas,

conducted by Academy co-director Corey Jamason, and

chamber music by masters of the Baroque.

Lecture SeriesJoin the faculty and students of the American Bach

Soloists Academy for a series of enlightening and

informative public lectures. (Free)

Master Class SeriesThe ABS Academy opens its doors to the public to

witness the artistic transformations that make Master

Classes so tremendously exciting. You’ll take with

you knowledge and insights usually known only to

performers and their master teachers. (Free)

Public ColloquiaEngaging forums for performers, presenters, and their

public supporters. (Free)

FRIDAY JULY 155:00 p.m. Opening Night Gala Dinner • Restaurant Paul K8:00 p.m. Chamber Series: Music by J. S. Bach

SATURDAY JULY 162:30 p.m. Public Colloquia • “Early Music: Making it Happen!”8:00 p.m. Chamber Series: Music by J. S. Bach

SUNDAY JULY 172:00 p.m. Masterworks Series: Mass in B Minor

MONDAY JULY 182:30 p.m. Master Class: Harpsichord5:00 p.m. Lecture: Steven Lehning on Bach Cantatas 8:00 p.m. Academy Series • Bach Cantatas and works by Heinichen, Hotteterre,

and Telemann

TUESDAY JULY 192:30 p.m. Master Class: Violin5:00 p.m. Lecture: Judith Malafronte “Pop Tunes from the Pulpit” 8:00 p.m. Academy-in-Action • Arias from Bach Cantatas and works by Corelli and Telemann

WEDNESDAY JULY 202:30 p.m. Master Class: Voice5:00 p.m. Lecture: Debra Nagy “Leipzig’s Collegium Musicum”8:00 p.m. Academy-in-Action • Bach Cantatas and works by Janitsch and Telemann

THURSDAY JULY 212:30 p.m. Master Class: ‘Cello/Viola da gamba/Violone5:00 p.m. Lecture: John Thiessen “Bach’s Trumpet”

FRIDAY JULY 222:30 p.m. Master Class: Winds & Brass5:00 p.m. Lecture: Max van Egmond “Bach circa 1960”7:00 p.m. Masterworks Series: Ariodante (concert version)

SATURDAY JULY 235:00 p.m. Lecture: Jeffrey Thomas on Bach’s Mass in B Minor8:00 p.m. Masterworks Series: Mass in B Minor

The American Bach Soloists Academyis funded in part by a major grant from the

ClarenCe e. Heller

CHaritable Foundation7

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americanbach.org/recordings

Handel: Messiah Bach: St. Matthew

Passion Highlights Bach: Mass in B Minor

Haydn: LordNelson Mass Schütz:

Choral Works Corelli:Concerti Grossi

Bach: Italian Transcriptions Bach: Harpsichord

Concertos Carols forChristmas

Bach: Cantata Series Volumes I – VI

Our most recent releases...

Bach: Brandenburg Concertos Beethoven: Ninth

Symphony Bach, Handel, and Scarlatti: 1685 & the Art of

Ian Howell

24/7Listen to ABS

free streaming audio fromamericanbach.org/player

American Bach Soloists Discography

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September 9/10/11, 2011CATACOUSTIC CONSORT & WILDCAT VIOLS — We Hang Our Harps Upon the WillowsAfter Schütz, before Bach: Passionate cantatas of 17th-c. Germany

“A balm. . . endlessly absorbing” —The London Financial Times

October 21/22/23, 2011ENSEMBLE CAPRICE — La Follia & the GypsiesGypsy influence in the music of Ortiz, Schmelzer, Telemann, Vivaldi, and othersWinner of the PRIX DU PUBLIC (Audience Appreciation Prize) of the Conseil des arts de Montréal en tournée!

November 4/5/6, 2011BAROQUE BAND — Charlie’s AngelsGrand music from the court of Charles II by Purcell, Blow, Locke, Grabu

“Baroque Band’s programs. . . continue to make its concerts unmissable.” —Chicago Tribune

December 16/17/18, 2011MAGNIFICAT — Heinrich Schütz’s Weihnachtshistorie (Christmas Story) Schütz’s most beloved work, with the Whole Noyse and Sex Chordæ Consort of Viols

February 10/11/12, 2012HARMONIA FELICE — Le Virtuose SublimeSpiritual, sensual music of 18th-c. France by de La Guerre, Marias, Couperin & Barrière

March 2/3/4, 2012ARCHETTI — Masters of the Italian ConcertoFiery and distinctive performances of Vivaldi, Torelli, Handel and Bach

“. . . dazzling clarity. . . Bach at his best.” —San Francisco Examiner

April 13/14/15, 2012THE LOST MODE — That Which Colors the Mind An exploration of musical modes from the Middle Ages, Renaissance, and beyond

Special offer to Bach feStival patronS: Call the box office (510.528.1725) or mail this ad with your ticket order and get 10% off regular season subscription or individual ticket prices. Discount Code: American Bach

Artists and programs subject to change.

510-528-1725 p.o. Box 10151, Berkeley, ca 94709 WWW.SfemS.org

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HANDEL

Messiah

BACH

St. Matthew Passion

BACH

Double Concertos!

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Easter Oratorio& Favorite Cantatas

2011/2012Subscription

Season

Next season’s soloists include…Mary Wilson soprano

Ian Howell countertenorCharles Blandy tenor

Jesse Blumberg baritoneJohn Abberger oboe

Elizabeth Blumenstock violinCorey Jamason harpsichord

Sandra Miller fluteDebra Nagy oboe…and many more!

December 2011HANDEL: MESSIAH

Thursday December 15 2011 7:30 pmFriday December 16 2011 7:30 pmGrace Cathedral, SAN FRANCISCO

wFebruary 2012

BACH: ST. MATTHEW PASSION

Friday February 24 2012 8:00 pmSt. Stephen’s Church, BELVEDERE

Saturday February 25 2012 8:00 pmFirst Congregational Church, BERKELEY

Sunday February 26 2012 7:00 pmSt. Mark’s Lutheran Church, SAN FRANCISCO

Monday February 27 2012 8:00 pmDavis Community Church, DAVIS

wMarch/April 2012

BACH: DOUBLE CONCERTOS!Concerto for Two Harpsichords

Concerto for Two ViolinsConcerto for Oboe and Violin

Friday March 30 2012 8:00 pmSt. Stephen’s Church, BELVEDERE

Saturday March 31 2012 8:00 pmFirst Congregational Church, BERKELEY

Sunday April 1 2012 7:00 pmSt. Mark’s Lutheran Church, SAN FRANCISCO

Monday April 2 2012 8:00 pmDavis Community Church, DAVIS

wMay 2012

BACH: EASTER ORATORIO& FAVORITE CANTATAS

Friday May 4 2012 8:00 pmSt. Stephen’s Church, BELVEDERE

Saturday May 5 2012 8:00 pmFirst Congregational Church, BERKELEY

Sunday May 6 2012 7:00 pmSt. Mark’s Lutheran Church, SAN FRANCISCO

Monday May 7 2012 8:00 pmDavis Community Church, DAVIS

Subscribe to 3 or more concerts in 2011/12 and save 15%.

AS A SUBSCRIBER YOU’LL RECEIVE:• Great seats at excellent performances• Financial savings• Free ticket exchange and

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We Believe:• The experience of Art is a human right.• Music is essential to our quality of life.• Bach’s creativity and life epitomize ideals

of artistic virtuosity, humanitarianism within changing worlds, and the primacy of education.

Every Arts Organization must:• educate present and future generations.• uphold the highest aesthetic standards.• enlighten its own and greater audiences.• relate to the community and culture in

which it thrives.• inspire the intellects of its patrons.• serve as a compelling model for other

cultural organizations.

Arts Patrons want:• to have meaningful, memorable, and

valuable experiences.• to be empowered, knowledgeable, and

informed consumers.• to be involved as integral participants, not

just observers.

The American Bach Soloists:• promote artistic excellence.• sustain the musical heritage of historical

cultures.• value and respect the diversity of our

patrons and sponsors.• treasure the gifted instrumentalists and

singers that we present.• nurture young and emerging talent.• support the efforts of all who endeavor

to preserve history, celebrate culture, and ensure the accessibility of the Arts.

INSIGHTS Learn more about the program! One hour prior to each performance from January through May, enjoy a free and informative lecture given by ABS musicians and guest luminaries.

MASTER CLASSES Each season, ABS presents Master Classes in collaboration with the San Francisco Conservatory of Music. All Master Classes are open to the public and take place in the Conservatory’s Recital Hall. Admission is free and no tickets or advance reservations are required.

FREE CHORAL WORKSHOP Each year, ABS presents a Choral Workshop designed specifically for experienced choral singers. Within a rehearsal environment under the leadership of ABS music director Jeffrey Thomas, historically informed performance practice and aesthetics regarding Baroque vocal technique, phrasing, tempos, choral balance, and rhetoric are examined and cultivated in a musically enlightening and enriching event. The workshop is provided completely free of charge, but space is limited. For more information, visit: americanbach.org/workshop

FREE TICKETS FOR MUSIC EDUCATORS All K-12 music educators are invited to attend one of our concerts free of charge in exchange for their input regarding our educational programs. And each educator may purchase one additional companion ticket at 50% off. For more information, please call (415) 621-7900 or go to: americanbach.org/educators

ABS WEB SITE - americanbach.org Our excellent web site features over 200 artist biographies, links to program notes and concert repertory details, and options to listen to or purchase our celebrated series of critically acclaimed recordings. Additionally, you will find information about how you can help ABS by volunteering, providing financial support, or purchasing ads in our concert program booklets. Educational resources are available, including information about early instruments, our education and outreach programs, and links to other important organizations.

Education & Outreach

Our Mission

The American Bach Soloists engage and inspire

audiences through historically informed

performances, recordings, and educational programs

that emphasize the music of the Baroque, Classical,

and Early Romantic eras.

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Academy Founders & Sponsors

2011 ACADEMY SPONSORSAnonymousJose and Carol AlonsoRichard and Sharon BoyerLisa CapaldiniJohn and Lois CroweDavid Davies and Ama TorranceHugh Davies and Kaneez MunjeeThe Reverend Richard G. FabianTom Flesher and Adam VerretJudith FlynnRichard FordeJan GoldbergConnie HardenAngela Hilt and Blake ReinhardtMilton and Carol HollenbergJames and Joan KellyJohn LeeBlair MartinJames MeehanFraser and Helen MuirheadPaul and Sandra OgdenPeter and Asiye SonnenJim and Jennifer SteelquistJeffrey ThomasKwei and Michele Ü

ACADEMY FOUNDERSJose and Carol Alonso Richard and Sharon BoyerLisa Capaldini David CatesJ.P. Crametz and Tamar RavidJohn and Lois CroweSilvia DavidsonHugh Davies and Kaneez MunjeeTom Driscoll and Nancy Quinn The Reverend Richard G. FabianTom Flesher and Adam VerretJudith FlynnRichard FordeJan GoldbergBenjamin and Lynette HartJames and Joan Kelly James MeehanFraser and Helen MuirheadPaul and Sandra OgdenVirginia PattersonPeter and Asiye Sonnen Fred Stark and Roman Shi Jim and Jennifer Steelquist Jeffrey ThomasKwei and Michele Ü

The American Bach Soloists ACADEMY FOUNDERS and SPONSORS represent the San Francisco Bay Area arts community’s most culturally responsible patrons who are excited to provide uniquely challenging and artistically productive educational experiences to the world’s next generation of professional musicians specializing in the timeless repertoire of the Baroque era and, in particular, the music of Bach and his contemporaries. We are exceedingly grateful for their support and commitment to the Academy.

SUPPORT THE ACADEMY

Whether your passion is for the Arts, Education, or Early Music in particular, your investment in the careers of the most promising young artists from conservatories and professional studios around the globe will help ensure the future of great music from the Baroque that has inspired generations from all walks of life.

You can help us welcome next year’s roster of Academy students by becoming an Academy Sponsor through your commitment of $1,000 in support. Our goal is to invite the next generation of early music virtuosi to a completely tuition-free course of study. You can help us further—and bring much-needed scholarship funds to the program—by engaging your colleagues, associates, and friends to join you as Academy Sponsors.

American Bach Soloists Academy Sponsors will be acknowledged in Academy program booklets and enjoy the same perks and benefits as our annual donors. As a member of this essential and prestigious society, you will be invited to a special opening reception on the first day of the Academy to meet our students and faculty, and you will have first access to Priority Ticketing for all events.

Please call Don Scott Carpenter, ABS Executive Director, for information about how to become an Academy Sponsor: (415) 621-7900 extension 203.

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The AMERICAN BACH SOLOISTS (“ABS”) were founded in 1989 with the mission of introducing contemporary audiences to the cantatas of Johann Sebastian Bach through historically informed performances. Under the leadership of Co-founder and Music Director Jeffrey Thomas, the ensemble has achieved its vision of assembling the world’s finest vocalists and period-instrument performers to bring this brilliant music to life.

For twenty-two years, Jeffrey Thomas has brought thoughtful, meaningful, and informed perspectives to his performances as Artistic and Music Director of the American Bach Soloists. Recognized worldwide as one of the foremost interpreters of the music of Bach and the Baroque, he continues to inspire audiences and performers alike through his keen insights into the passions behind musical expression. Fanfare Magazine proclaimed that “Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach performance.”

Critical acclaim has been extensive: The Wall Street Journal named ABS “the best American specialists in early music…a flawless ensemble…a level of musical finesse one rarely encounters;” San Francisco Classical Voice declared that “there is nothing routine or settled about their work. Jeffrey Thomas is still pushing the musical Baroque envelope;” and the San Francisco Chronicle recently extolled the ensemble’s “divinely inspired singing.”

The first public concerts were given in February 1990 at St. Stephen’s Church in Belvedere, where the ensemble serves as Artists-in-Residence. 1993 brought the debut of ABS’s first annual summer festival in Tiburon/Belvedere. By the fifth season, regular performances had been inaugurated in San Francisco and Berkeley, and as a result of highly successful collaborations with the Robert and Margrit Mondavi Center for the Performing Arts, ABS’ full concert seasons expanded to the Davis/Sacramento region in 2005. As their audience increased, so the artistic direction of the ensemble expanded to include Bach’s purely instrumental and larger choral masterpieces, as well as music of his contemporaries and that of the early Classical era.

The American Bach Soloists present an annual Subscription Series with performances in Belvedere, Berkeley, Davis, and San Francisco. Their annual holiday performances of Handel’s Messiah, presented each December before capacity audiences since 1992, have become a Bay Area tradition. In addition to their regular subscription season, the American Bach Soloists have been presented at some of the world’s leading early music and chamber music festivals, and have appeared worldwide from Santa Fe to Hong Kong and Singapore. In 1998, in conjunction with the Fifth Biennial Berkeley Festival & Exhibition, ABS established the American Bach Soloists & Henry I. Goldberg International Young Artists Competition as a way to foster emerging musicians who wish to pursue a career in early music.

“Superbly musical ... wonderfully suave ... fresh, different” — Gramophone

“ABS is a rare, perhaps unique, organization that does something highly specialized and quite esoteric that still involves (and delights) a general audience…the houses were full and the concerts

were rich, rewarding, and well-received.” — Marin Independent Journal

“Thomas’ Bach orchestra is superb!” — Goldberg Magazine

About American Bach Soloists

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In conjunction with ABS’ 15th Anniversary Season in 2003-04, Maestro Thomas announced the “Bach Cycle,” an ambitious plan to present all of Bach’s major oratorios, including two Passions, the oratorios for Christmas and Easter, and the Mass in B Minor; the violin and harpsichord concertos, Brandenburg Concertos, and orchestral suites; the major cantatas from Bach’s years in Mühlhausen, Weimar, and Leipzig; and the sonatas and suites for violin, flute, cello, and viola da gamba.

ABS has been a leader throughout the Bay Area in their commitment to artistic collaborations. Some recent examples include a collaboration with two San Francisco dance organizations, Xeno and Ultra Gypsy, at The Crucible in Oakland in 2004 and collaborations with the well-known Mark Morris Dance Group in 2004 and 1999. To celebrate their 20th Anniversary Season, ABS joined forces with San Francisco’s Grace Cathedral and Lighting Systems Design Inc. (based in Orlando, Florida) in a spectacular laser show rendering of Handel’s Music for the Royal Fireworks.

The Chorus of the American Bach Soloists has shone in repertoire from the Baroque and early Classical eras. With the inception of the Choral Series in 2004, these fine singers have been featured on programs exploring over five centuries of choral music. To acknowledge this splendid work, the American Bach Soloists announced in 2006 a new name for their choral ensemble: American Bach Choir. Critics have acclaimed their “sounds of remarkable transparency and body.”

In July 2010, the American Bach Soloists inaugurated North America’s newest annual professional training program in Historically Informed Performance Practice. Drawing on their

distinguished roster of performers, the American Bach Soloists Academy offers advanced conservatory-level students and emerging professionals unique opportunities to study and perform Baroque music in a multi-disciplinary learning environment. The Academy is held in the San Francisco Conservatory of Music’s exquisite facilities in the heart of the city’s arts district, and is the educational component of the American Bach Soloists Festival.

The American Bach Soloists have a discography of eighteen CDs on the Koch International Classics, Delos International, and American Bach Soloists labels, including six volumes of Bach cantatas, many performed one on a part. The ensemble’s critically acclaimed disc of Bach’s Mass in B Minor has been called a benchmark recording and a “joyous new performance” (The Washington Post). One of their most popular offerings is an historically significant version of Handel’s Messiah, recorded live during performances in 2004 at the Robert and Margrit Mondavi Center for the Performing Arts at UC Davis, and released in November 2005 on the Delos International label. In 2007, ABS’ entire catalogue of critically acclaimed recordings of Bach’s Mass in B Minor, cantatas, and transcriptions of Italian music, Haydn Masses, choral and vocal works by Schütz, and other works was re-released on iTunes, Magnatune.com, Amazon, CDBaby, and ABS’ own excellent and resourceful web site, which features free streaming audio of most titles. The same year brought two new and much-anticipated releases: Beethoven’s Ninth Symphony and Bach’s Brandenburg Concertos. The most recent release, 1685 & The Art of Ian Howell, features the remarkable young countertenor (and recent winner of the ABS Young Artist Competition) in works by Bach, Handel, and Domenico Scarlatti.

BOARD OF DIRECTORS

Hugh Davies, President Lynette A. Hart, Vice President Jan Goldberg, Treasurer Marie Hogan, Secretary Jose Alonso Richard J. Boyer David Cates Cindy Cooper John H. Crowe Benjamin L. Hart Angela Hilt Helen Drake Muirhead Blake Reinhardt

FOUNDERS

Jeffrey Thomas Jonathan Dimmock Richard H. Graff The Rev. & Mrs. Alvin S. Haag Mr. & Mrs. Robert V. Kane Dr. & Mrs. Paul C. Ogden

STAFF

Jeffrey Thomas Artistic Director

Don Scott Carpenter Executive Director

Steven Lehning Music Administrator

Katherine McKee Patron Services Manager

James Stahlman Marketing & Public Relations Manager

Lisa May Leotyne Mbele-Mbong Box Office

Keith Perry Academy Administrator

Heli Roiha Bookkeeper

E. J. Chavez Stage Crew

Joseph Sargent Sam Smith Writers

Quinn Associates Development Consultants

ADVISORY COUNCIL

The Right Reverend Marc Andrus Irving Broido Karen Broido Corty Fengler Tom Flesher Phil Garratt John Karl Hirten Corey Jamason Sandra M. Ogden Don Roth Kwei Ü Charles E. Wilts Elizabeth R. Wilts

About American Bach Soloists

Board of Directors, Founders, Staff, & Advisory Council

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ELIZABETH BLUMENSTOCK (violin) is widely admired as a performer of interpretive eloquence and technical sparkle. A frequent soloist, concertmaster, and leader with American Bach Soloists, Philharmonia Baroque Orchestra, and the Italian ensemble Il Complesso Barocco, she is also a member of several of California’s finest period instrument ensembles, including Musica Pacifica, Ensemble Mirable, the Arcadian Academy, and Trio Galanterie. She has appeared with period orchestras and chamber ensembles

throughout the United States and abroad, and has performed for the Boston and Berkeley Early Music Festivals, Germany’s Göttingen Handelfestspiel, Los Angeles Opera, the Carmel Bach Festival, the Oulunsalo Soi festival in Finland, and the San Luis Obispo Mozart Festival, among many others. Ms. Blumenstock has recorded for Harmonia Mundi, Deutsche Grammophon, Virgin Classics, Dorian, BMG, Reference Recordings, Koch International, and Sono Luminus. She is instructor of baroque violin at the San Francisco Conservatory of Music and at the University of Southern California, teaches regularly at the International Baroque Institute at Longy, has taught at the Austrian Baroque Academy, and has coached university Baroque ensembles at USC, Roosevelt University, the University of Virginia, and California Institute of the Arts.

COREY JAMASON (harpsichord & Academy co-director) was named Artistic Director of the San Francisco Bach Choir in the spring of 2007, becoming the choir’s third director in its 72-year history. As a harpsichordist and chamber music collaborator, Mr. Jamason is active throughout the United States and Europe. He has appeared numerous times on NPR’s Performance Today and has performed the Goldberg Variations and The Well-Tempered Clavier throughout the United States. Chamber music collaborations

have included performances with Jean-Pierre Rampal, Wieland Kuijken, Eva Legêne, Eliot Fisk, and Marion Verbruggen. He has appeared as a concerto soloist with American Bach Soloists, Musica Angelica, Camerata Pacifica, and in collaboration with Joseph Silverstein at the Music in the Vineyards Festival. He has performed with a variety of other ensembles including LA Opera, Philharmonia Baroque Orchestra, San Francisco Symphony, El Mundo, and with members of the Bach Aria Group as well as festival appearances including the Berkeley and Bloomington Early Music Festivals, Bach Aria Festival, San Luis Obispo Mozart Festival, Whidbey Island Chamber Music Festival, and the Norfolk Chamber Music Festival. Mr. Jamason also co-directs the ensemble Theatre Comique, which specializes in recreating late nineteenth and early twentieth century American musical theatre. In May 2007 he conducted performances of Monterverdi’s L’Orfeo at the Bloomington Early Music Festival in celebration of the 400th anniversary of the opera’s premiere. He received degrees in music from SUNY College at Purchase, Yale University, where he was a student of Richard Rephann, and from Indiana University’s Early Music Institute, where he received a Doctor of Music degree. Recent recordings include performances with the violinist Gilles Apap, El Mundo, and with American Bach Soloists. Since 2001 he has been a member of the faculty of the San Francisco Conservatory of Music.

KATHERINE KYME (viola) received her musical training at the University of California, Berkeley, where she studied with Felix Khuner of the Kolisch Quartet, and at Yale University, where she studied with Broadus Erle of the Yale Quartet. For three years, she was a member of the Seattle Symphony, but after a year’s leave to study baroque violin in Vienna, she began to devote her energies to specializing in music before 1850. She has been a member of and frequent soloist and concertmaster

with Philharmonia Baroque Orchestra since its debut season, as well as a founding member of the American Bach Soloists, the Arcadian Academy, the Streicher Trio, and the Artaria Quartet, performing throughout the United States, in Europe, and in Asia, and making dozens of recordings. In 2006, she founded the New Esterhazy Quartet with her colleagues, Lisa Weiss, Anthony Martin and William Skeen, and they are currently performing and recording the complete string quartets of Franz Joseph Haydn. Ms. Kyme is an enthusiastic advocate and performer of music of the 20th century. In that capacity, she has performed with Earplay, the Stanford New Music Ensemble, the Yale New Music Ensemble, the Berkeley Contemporary Players, the Steve Reich Ensemble, and the Cornish New Music Ensemble in Seattle. As a teacher, she is also energetically engaged in the training and education of young musicians through her work at Yale University, the University of Puget Sound, Cornish Institute of Allied Arts, Sonoma State University, and currently in her capacity as conductor of the Junior and Intermediate level orchestras of the California Youth Symphony.

STEVEN LEHNING (violone & contrabass) is a remarkable and versatile musician who is equally at home with violas da gamba, violone, violone grosso, and historical keyboards. The founder of Stylvs Phantasticvs, he has worked with many of the luminaries of the early music world including Jeffrey Thomas, John Butt, Andrew Parrott, and Ton Koopman. Mr. Lehning has performed throughout the U.S. and in Europe, appearing with the American Bach Soloists (since their inaugural season), Taverner

Consort, Philharmonia Baroque, San Francisco Bach Choir, Santa Fe Pro Musica, Concert Royale, to name a few. He has performed at the acclaimed Santa Fe Chamber Music Festival, as well as the Early Music Festivals in Boston and Berkeley. In addition to his performing career, he is sought after for his informative lectures on issues of performance practice, organology, as well as the cultural contexts in which works were conceived and performed. He is currently working toward a Ph.D. in musicology at the University of California (Davis). Mr. Lehning has been recorded on the American Bach Soloists, Delos, EMI, Harmonia Mundi, and Koch labels.

JUDITH MALAFRONTE (alto) has appeared with numerous orchestras and oratorio societies including the Los Angeles Philharmonic at the Hollywood Bowl, the San Francisco Symphony, the St. Louis and Baltimore Symphonies, the St. Paul Chamber Orchestra, Seattle Baroque Orchestra, and the Handel and Haydn Society. She has sung at the Tanglewood Festival, the Boston Early Music Festival, and the Utrecht Early Music Festival, and is a frequent guest artist with the American Bach Soloists,

Philharmonia Baroque Orchestra, the Dave Brubeck Quartet, and The Harp Consort. Her operatic performances have included the title role in Handel’s Serse at the Göttingen Festival, Scarlatti’s L’Aldimiro at the Berkeley Festival, Dido and Aeneas with Mark Morris

Artist Biographies

17

Dance Group (singing both Dido and the Sorceress), and Nero in Monteverdi’s L’Incoronazione di Poppea for the Aston Magna Festival. She has also sung leading roles at the opera houses of Lyon, Liège, and Montpellier. Ms. Malafronte has won several top awards in Italy, Spain, Belgium, and the United States, including the Grand Prize at the International Vocal Competition in ‘s-Hertogenbosch, The Netherlands. She holds degrees with honors from Vassar College and Stanford University, and pursued post-graduate studies at the Eastman School of Music, with Mlle. Nadia Boulanger in Paris, and with Giulietta Simionato in Milan as a Fulbright scholar. She has recorded a wide range of repertoire, from the twelfth century chant of Hildegard von Bingen to the Deutsche Motette of Richard Strauss, including Handel operas, Bach cantatas, and the St. Matthew Passion with American Bach Soloists, Medieval music, and Spanish seventeenth-century music. Ms. Malafronte’s writings on music have appeared in Opera News, Early Music America, Stagebill, Schwann Inside, and Opus, and she is on the faculty at Yale University where she conducts the Yale Collegium Singers.

ROBERT MEALY (violin) is one of America’s leading historical string players; his playing has been praised by The Boston Globe for its “imagination, taste, subtlety, and daring.” He is a frequent leader and soloist in New York, where he was recently appointed concertmaster of Trinity Wall Street’s resident baroque orchestra. He has recorded and toured in a wide variety of repertoires with many early music ensembles both here and in Europe, including Sequentia, Ensemble Project Ars Nova, the Newberry

Consort, the Folger Consort, Tragicomedia, Les Arts Florissants, and the Handel & Haydn Society. He recently led the orchestra for the Mark Morris Dance Group in a tour to Moscow, and has accompanied Renée Fleming on the David Letterman Show. Mr. Mealy has served as concertmaster of the Boston Early Music Festival Orchestra in three Grammy-nominated recordings and many performances, including a special appearance last fall at Versailles. A devoted chamber musician, he is a member of the Renaissance violin band The King’s Noyse, which has recorded eleven CDs for Harmonia Mundi, and directs the new 17th-century ensemble Quicksilver. For over a decade he was an instrumental soloist with the Boston Camerata. Mr. Mealy co-founded the medieval ensemble Fortune’s Wheel, which has appeared at early music festivals throughout the Americas, and at the Cloisters and the Frick Museum in New York. He was recently appointed Professor of Early Music at Yale University, where he directs the Yale Collegium and the Yale School of Music’s new postgraduate baroque ensemble. He is also on the faculty of the new historical performance program at Juilliard. Prior to joining Yale, he founded and directed the Harvard Baroque Orchestra. In 2004 he received Early Music America’s Binkley Award for outstanding teaching and scholarship. He has recorded over fifty CDs on most major labels.

SANDRA MILLER (flute) had an early fascination with the music of Johann Sebastian Bach that ultimately led her to the baroque flauto traverso, upon which she is widely regarded to be one of the finest performers of her generation. Trained at the North Carolina School of the Arts and the Curtis Institute of Music in the conservatory curriculum traditional for woodwind players, she chose—instead of the path leading to membership in a symphony orchestra—to settle in New York City, where she

leads an active musical life, appearing in a variety of chamber music performances, solo recitals and orchestral concerts. Ms. Miller was winner of the Concert Artists Guild Competition, the Erwin Bodky Competition for Early Music, and of a Solo Recitalist’s Fellowship

from the National Endowment for the Arts. She is frequently invited to perform and record with many well-known period instrument ensembles, including the American Bach Soloists, American Classical Orchestra, Clarion Society orchestra, Sinfonia New York, New York Collegium, Boston’s Handel & Haydn Society, and Tafelmusik. As a founding member and Associate Director of the ensemble Concert Royal, she has toured throughout the United States and in Canada, England, Germany, Brazil, and Mexico. For many years Professor (now Emerita) of Music at the Purchase College Conservatory of Music (SUNY), Ms. Miller has also taught at the Mannes College of Music, in CUNY’s doctoral program, at the New England Conservatory of Music, and as Kulas Visiting Artist at Case Western Reserve University. She is currently on the faculty of the Historical Performance Program at the Juilliard School of Music in New York City. Her solo recordings include the complete Bach flute sonatas and, on six- and eight-keyed classical flutes, the three Mozart concertos.

DEBRA NAGY (oboe) has been praised for her “dazzling technique and soulful expressiveness,” (Rocky Mountain News), and deemed “an elegant soloist” (Cleveland Plain Dealer). She performs with baroque ensembles and orchestras on both coasts including American Bach Soloists, Portland & Seattle’s Baroque Orchestras, Tempesta di Mare, Rebel, Apollo’s Fire, Musica Pacifica, and many others. Ms. Nagy was the first-prize winner in the 2002 American Bach Soloists Young Artist Competition and

is the director of Les Délices, whose debut recording was named “One of the Top Ten Early Music Discoveries of 2009.” She performs 15th-century music on shawms and recorders as a member of Ciaramella. Ms. Nagy serves on the Early Music faculty at Case Western Reserve University, where she earned her doctorate, and completed undergraduate and master’s degrees at the Oberlin Conservatory of Music. She has recorded for Capstone Records, Bright Angel, Naxos, Chandos, Koch, Yarlung, CPO, and ATMA. Ms. Nagy makes her home in Cleveland, Ohio, where she was recently awarded a 2010 Creative Workforce Fellowship (a program of the Community Partnership for Arts and Culture, generously funded by Cuyahoga Arts & Culture).

ELISABETH REED (viola da gamba & violoncello) was born and raised in Chapel Hill, North Carolina, and now lives in Oakland, California. She teaches viola da gamba, baroque cello, and ensembles at the San Francisco Conservatory of Music and at the University of California at Berkeley. She performs with many local and national early music ensembles including the Seattle Baroque Orchestra, the Portland Baroque Orchestra, American Bach Soloists, the Novello String Quartet, Wildcat Viols, and the

improvisational group, Motor. Recent highlights include solo and concerto appearances this past summer at the Magnolia Baroque Festival and the Indianapolis Early Music Festival. A graduate of the North Carolina School of the Arts, the Oberlin Conservatory, the Eastman School of Music, and Indiana University’s Early Music Institute, she can be heard on the Virgin Classics, Focus, and Magnatune recording labels. She is a Guild certified practitioner of the Feldenkrais Method of Awareness Through Movement and Functional Integration with a particular interest in the issues facing musicians and performers.

Artist Biographies

18

JOHN THIESSEN (trumpet) has performed with American Bach Soloists for nearly 15 years, and appears as soloist and principal trumpet with early music ensembles throughout the US and Canada, including Tafelmusik, Philharmonia Baroque Orchestra, Boston Early Music Festival, and Juilliard Baroque. He has performed with the English Baroque Soloists, Amsterdam Baroque Orchestra, Taverner Players, Academy of Ancient Music, and Handel & Haydn Society, and has appeared frequently at Lincoln Center,

Carnegie Hall, Tanglewood, Wolf Trap, and the Mostly Mozart Festival. Recent season highlights include Bach’s Brandenburg Concerto No. 2, Handel’s Messiah, and Beethoven’s Ninth Symphony, as well as two European tours with Tafelmusik. Mr. Thiessen is a graduate of the Eastman School of Music and King’s College, University of London, and the recipient of grants from the Canada Council and Ontario Arts Council. He has presented masterclasses for the International Trumpet Guild, University of Southern California, University of Texas, and University of North Texas. Mr. Thiessen has taught at the Oberlin Baroque Performance Institute and at the International Baroque Institute of the Longy School of Music in Boston. He has coached for Carnegie Hall’s Academy program and served as adjunct instructor for the Juilliard School and Université de Montréal. Mr. Thiessen has recorded extensively for Sony Classical Vivarte, Telarc, EMI, BMG, Deutsche Harmonia Mundi, London Decca, Analekta, CBC, American Bach Soloists, and Denon, including Bach’s Brandenburg Concerto No. 2, Orchestral Suites, Magnificat, and Christmas Oratorio; Telemann’s Concerto in D Major; Handel’s Messiah, Water Music, and Music for the Royal Fireworks; Vivaldi’s Gloria and Concerto for Two Trumpets (with Crispian Steele-Perkins); Beethoven Symphonies; and Haydn’s Masses and Symphonies.

JEFFREY THOMAS (conductor & Academy co-director) is Artistic and Music Director of the American Bach Soloists, with whom he has directed and conducted recordings of more than 25 cantatas, the Mass in B Minor, Musical Offering, motets, chamber music, and works by Schütz, Pergolesi, Vivaldi, Haydn, and Beethoven. Before devoting all of his time to conducting, he was one of the first recipients of the San Francisco Opera Company’s prestigious Adler Fellowships. Cited by The Wall Street

Journal as “a superstar among oratorio tenors,” Mr. Thomas’ extensive discography of vocal music includes dozens of recordings of major works for Decca, EMI, Erato, Koch International Classics, Denon, Harmonia Mundi, Smithsonian, Newport Classics, and Arabesque. Educated at the Oberlin Conservatory of Music, Manhattan School of Music, and the Juilliard School of Music, with further studies in English literature at Cambridge University, he has taught at the Amherst Early Music Workshop, Oberlin College Conservatory Baroque Performance Institute, San Francisco Early Music Society, and Southern Utah Early Music Workshops, presented master classes at the New England Conservatory of Music, San Francisco Conservatory of Music, SUNY at Buffalo, Swarthmore College, and Washington University, been on the faculty of Lehigh University in Pennsylvania, and was artist-in-residence at the University of California, where he is now professor of music (Barbara K. Jackson Chair in Choral Conducting). He was a UC Davis Chancellor’s Fellow from 2001 to 2006; and the Rockefeller Foundation awarded him a prestigious Residency at the Bellagio Study and Conference Center at Villa Serbelloni for April 2007, to work on his manuscript, “Handel’s Messiah: A Life of Its Own.”

TANYA TOMKINS (violoncello) received her Soloist Diploma from The Hague Conservatory in The Netherlands, where she studied with Anner Bijlsma. While in Holland, she founded the Trio d’Amsterdam, which toured extensively throughout Europe and made their New York debut at the Frick Collection. In 2001 Ms. Tomkins won the Bodky Competition for Early Music Soloists in Boston. She has been featured as a soloist with the American Bach Soloists, the Oregon Bach Festival Orchestra,

and the Mozart Festival Orchestra in San Luis Obispo. In addition, Ms. Tomkins plays principal ‘cello with the Portland Baroque Orchestra and Philharmonia Baroque Orchestra in San Francisco. She performs regularly in recitals with pianist and fortepianist Eric Zivian, with whom she has recorded the Beethoven Sonatas for the Centaur label. She has just completed a recording of Kummer Cello Duets with cellist, Phoebe Carrai, for Avie Records. Ms. Tomkins is also active as a chamber musician on the modern cello. She has appeared on the “Great Performers Series” at Lincoln Center, the “Meet the Virtuoso Series” at the 92nd Street Y, and San Francisco Performances, to critical acclaim. She has also appeared numerous times in the Concertgebouw Recital Hall in Amsterdam as recitalist and chamber musician, as well as in many other halls throughout Europe, Israel, and the United States. Her recordings include the quartets of Debussy and Ravel for Vanguard Classics with the Euridice Quartet (with members of the Concertgebouw Orchestra) and an all Schubert CD with the SoLaRe String Trio on the Ottavo label. Ms. Tomkins appears regularly at the Moab Music Festival and is currently a member of the San Francisco string trio, the Left Coast Chamber Ensemble, which specializes in contemporary music.

MAX VAN EGMOND (bass-baritone) was born in 1936, on the isle of Java (Netherlands East Indies, at the time). After World War II, he completed his education and musical studies in the Netherlands. He became a member of the Nederlandse Bachvereniging (Dutch Bach Society) at the age of eighteen. In 1959 (three years after his friend and compatriot, Elly Ameling) he became one of the prizewinners at the ‘s-Hertogenbosch Vocal competition. He took prizes also in Brussels (1959) and Munich (1964)

competitions. Those prizes marked the beginning of his full-time distinguished career as a singer of oratorio, lieder, and baroque opera. Max van Egmond achieved his greatest fame as an interpreter of J. S. Bach’s cantatas, masses, and passions, and from 1965 participated in complete recordings and performances of these masterpieces with conductors Gustav Leonhardt, Nikolaus Harnoncourt and Frans Brüggen. One of Holland’s most beloved artists, he has received numerous awards and honors including a special decoration from Queen Beatrix of the Netherlands for his decades of service to Dutch musical life. His forty-year career has taken him throughout Europe, Canada, the USA, Israel, and Asia. For many years a professor at Amsterdam’s Sweelinck Conservatory, Max van Egmond continues to give master classes throughout the world and has taught every summer in Mateus, Portugal and at the Baroque Performance Institute at Oberlin, Ohio. His recent recordings with the Belgian-based Ricercar Consort have explored the extensive seventeenth-century German cantata repertory in a highly successful ongoing series, “Deutsche Barock Kantaten.” In recent years, Max van Egmond has concentrated on performing lieder and French art songs, and has produced highly acclaimed recordings of Schubert’s Winterreise and chansons of Gabriel Fauré (Channel Classics). His concerts, recordings, and many prominent students all provide eloquent testimony not only to his expertise in all areas of the vocal repertoire, but also to his great kindness and humanity in the service of music.

Artist Biographies

19

YULIA VAN DOREN (soprano), consistently singled out by critics for her “perfect baroque voice” (Seattle Times), has established herself as a rising star of the new generation of Baroque specialists. A major highlight of the 2010-2011 season includes being a featured artist at the Cartagena International Music Festival, Colombia, where she appears in nationally televised performances of Bach’s Mass in B Minor with soprano Dawn Upshaw and the City of London Sinfonia, as well as Bach’s “Coffee

Cantata” with the Brentano String Quartet. The season also includes return engagements to the Portland Baroque Orchestra (Messiah under Rinaldo Alessandrini), Seattle Baroque Orchestra (Pergolesi Stabat Mater), St. Thomas Choir of Men and Boys (Bach Mass in B Minor, Pacific Musicworks (Monteverdi Vespers), Seraphic Fire (Bach St. John Passion), American Bach Soloists (Bach and Telemann), Clarion Music Society (Haydn), Ottawa Chamber Music, and Vancouver Early Music Festivals (Monteverdi with ensemble Les Voix Baroques), and two major roles with the Boston Early Music Festival: Belinda in Dido and Aeneas, and the role of Manto in the North American première of Steffani’s Niobe, BEMF’s centerpiece opera starring French countertenor Philippe Jaroussky. A winner of Astral Artists’ 2009 National Auditions, she will also be presented in recital with baritone Jonathan Beyer on Astral’s Philadelphia concert series. Her discography includes two Grammy-nominated opera recordings with the Boston Early Music Festival, a disc of rare French baroque music with ensemble La Donna Musicale, and a forthcoming disc of early English music with Canadian ensemble Les Voix Baroques, to be released on the ATMA label in 2011. Born in Moscow and raised in the United States, Ms. Van Doren has been a fellow at the Tanglewood Music Festival, Villecroze Académie (France) and Britten-Pears Young Artist Programme (UK). She has been the recipient of numerous academic scholarships, including the prestigious Soros Fellowship for New Americans. Yulia currently splits her home between New York City and San Francisco.

- Additional Performers -

PAUL AVRIL (horn) lives in the San Francisco Bay area and is a member of the Portland Baroque Orchestra and Philharmonia Baroque Orchestra. He performs on both the Baroque and Classical horns, as well as early valve horn. Paul is a founding member of the San Francisco Classical Wind Quintet.

DANIEL DEITCH (basssoon) has been playing historical woodwinds, especially bassoons, in numerous ensembles and period instrument orchestras both here and abroad since the early 80s including the Portland Baroque Orchestra, the Pacific Baroque Orchestra of Vancouver, Arion Ensemble of Montreal, the Apollo Ensemble under John Hsu in New York, and San Francisco Bay Area ensembles Magnificat, Philharmonia Baroque, Jubilate, California Bach Society, and Chora Nova Orchestra, among others. Besides performing, he maintains a woodwind repair and restoration workshop and was formerly a builder of historical woodwinds.

PETER NOWLEN (horn) studied at Northwestern and DePaul Universities, joined the Sacramento Symphony horn section in 1987, the UC Davis faculty in 1988, and the California State University Sacramento faculty in 1990. He is an active orchestral and chamber musician, having performed frequently with the San Francisco Symphony, Opera and Ballet orchestras, Symphony Silicon Valley, the Sacramento Philharmonic and other area orchestras. For several years, Pete performed regularly as principal hornist of the International Orchestra of Italy, participating in concerts and recordings in Italy’s finest theaters. In 1992 he was runner up in the International Competition for Solo Horn of the Castle of Duino, Italy,

and in 1994 was a semi-finalist in the prestigious American Horn Competition. Previous American Bach Soloists performances include Handel’s Messiah and Music for the Royal Fireworks. Pete is currently Artistic Director and Conductor of the Vocal and Instrumental Teaching Artists Academy and director of Concert Bands at UC Davis.

KENT REED (timpani) has performed with American Bach Soloists since 1997. As a timpanist and percussionist he has also performed and recorded with many other San Francisco Bay Area period instrument ensembles. He was a member of the San Jose Symphony before its closure, is currently a member of the Symphony Silicon Valley, and has performed with all the major San Francisco Orchestras including San Francisco Symphony, San Francisco Opera and Ballet orchestras.

KATE VAN ORDEN (bassoon) studied modern bassoon at Sweelinck Conservatorium in Amsterdam and baroque bassoon at the Koninklijk Conservatorium in The Hague, beginning her performing and recording career on period instruments with European ensembles including Les Arts Florissants, La Petite Bande, and La Chapelle Royale. In America she has performed regularly with American Bach Soloists, Tafelmusik, Handel and Haydn Society, Boston Baroque, and Philharmonia Baroque Orchestra. She also studies the French Renaissance and is a professor in the Music Department at the University of California, Berkeley. She has recently completed a book titled Music, Discipline, and Arms in Early Modern France (University of Chicago Press, 2005), as part of her research for which she reconstructed an equestrian ballet from 1612 and directed its performance (“Le Carrousel du Roi”) in the Berkeley Festival of Early Music, 2000 and 2002. The book just received the Lewis Lockwood Book Prize from the American Musicological Society.

Artist Biographies

San Francisco

Renaissance Voices Todd Jolly, Music Director

Cupid & Death

Our OPERA EARLY & ANCIENT series

returns with the delightful masque

“Cupid & Death”

by Matthew Locke & Christopher Gibbons.

Cupid & Death accidentally exchange arrows –

lovers are struck dead & those whose time of

passing has come are struck ardent –

pandemonium ensues until Mother Nature &

the god Mercury step in to make things right.

August 13, 14 & 20, 2011 Performances in San Francisco, Berkeley & Palo Alto

Visit our website for de tails & ticke ts:

www.SFRV.org “Best Classical Music 2010” - SFWeekly

20

CONDUCTING FELLOW Brett Karlin - Tampa, Florida

VIOLIN Émilie Brûlé - Montréal, Quebec, CanadaEdmond Chan - Corpus Christi, Texas Natalie Carducci - Columbus, Ohio Rebecca Harris - Philadelphia, Pennsylvania Tess Isaac - Denton, Texas Jessica Park - New York, New York Laura Rubinstein-Salzedo - Sunnyvale,

California Noah Strick - San Francisco, California

VIOLACaitlin Cribbs - Fort Worth, Texas Jason Pyszkowski - San Francisco, California Clio Tilton - Lafayette, Indiana

VIOLONCELLO Rosa Cañellas - Palma de Mallorca, Spain Gretchen Claassen - San Francisco, California Emily Davidson - Cambridge, Massachusetts Jane Leggiero - Austin, Texas Adaiha MacAdam-Somer - San Francisco,

California Joanna Neuschatz - San Rafael, California Hallie Pridham - San Francisco, California Anneke Schaul-Yoder - New York, New York Juliana Soltis - South Charleston, West Virginia

VIOLA DA GAMBAAdaiha MacAdam-Somer - San Francisco,

California Jessica Lynn Powell - Chevy Chase, MarylandHallie Pridham - San Francisco, California

CONTRABASS/VIOLONEKristin Keys - Edinburg, Texas Jessica Lynn Powell - Chevy Chase, MarylandDaniel Silberman - Evanston, Illinois

FLUTENihan Atalay - Istanbul, Turkey Jo Brand - New York, New York Luke Conklin - Cortland, New York Vicki Melin - San Francisco, California

OBOELuke Conklin - Cortland, New York Ryan Jones - Baltimore, Maryland Maria Raffaele - Arlington, Virginia Sian Ricketts - Minneapolis, Minnesota

TRUMPETPatrice Boileau - Toronto, Ontario, CanadaShelby Lewis - Baton Rouge, Louisiana Timothy Will - Scandia, Minnesota

HARPSICHORD & ORGANChristopher Bagan - Vancouver, British

Columbia, CanadaJoyce Chen - Taipei, Taiwan Susie Fong - San Francisco, California Emma Gavenda - Albany, California Esther Lam - Hong Kong Derek Tam - South San Francisco, California Robert Warner - Stony Brook, New York

SOPRANOCecilia Leitner - Santa Fe, New Mexico Jessica Petrus - Farmington, Michigan Terri Richter - Nashville, Tennessee

MEZZO-SOPRANOCharlotte Cumberbirch - Montréal, Quebec,

CanadaMargaret Wendt - Sycamore, Illinois

COUNTERTENORBrennan Hall - Orlando, Florida Eric Jurenas - Cincinnati, Ohio Gerrod Pagenkopf - Boston, Massachusetts

TENORJon Lee Keenan - Las Vegas, Nevada Steven Soph - New Haven, Connecticut

BARITONEJonathon Adams - Edmonton, Alberta, CanadaThomas Thompson - Seattle, Washington

BASSJohn Taylor Ward - Boone, North Carolina

AMERICAN BACH CHOIR & FESTIVAL CHORUS

SOPRANOAnne-Claire BaconnaisJennifer BrodyTonia D’AmelioJulia EarlElisabeth EnganMarcella FassòPam IgelsrudAnne JanzerClare KirkKaneez MunjeeNaomi Lopin OsborneDiana PrayMary TusaHelene Zindarsian

ALTOJames ApgarGabriele BriggsElisabeth EliassenDanielle Reutter-HarrahDeborah RosengausAmelia TriestMayo TsuzukiHeidi WatermanCeleste Winant

TENORNick BurdickJohn Davey-HatcherMark MuellerArie PerryJohn RouseSam Smith

BASSJose AlonsoJohn Kendall BaileyAdam ColeJames CowingHugh DaviesThomas HartRaymond MartinezDavid Varnum

Academy Members & Chorus

21

Music by Johann Sebastian Bach - I

Chamber SerieS

Music by Johann Sebastian Bach

This performance is generously sponsored byMichele and Kwei Ü

Elizabeth Blumenstock, violinCorey Jamason, harpsichord

Katherine Kyme, violaSteven Lehning, violone

Robert Mealy, violinSandra Miller, fluteDebra Nagy, oboe

Elisabeth Reed, violoncelloTanya Tomkins, violoncello

•

Sonata in E Minor for Violin and Basso continuo, BWV 1023 Johann Sebastian Bach

Allegro - Adagio ma non tanto - Allemanda - Gigue 1685-1750

Suite VI in D Major, BWV 1012 J. S. Bachfrom Six Suites for Unaccompanied Violoncello

Prélude - Allemande - Courante - Sarabande - Gavottes I & II - Gigue

- Intermission -

Sonata in G Minor for Oboe and Harpsichord, BWV 1030b J. S. Bach

Andante - Siciliano, largo e dolce - Presto–Allegro

Brandenburg Concerto V in D Major, BWV 1050 J. S. Bach

Allegro - Affetuoso - Allegro

•

Friday July 15 2011

When Bach arrived in Leipzig in 1723, he set to work on what he felt was one of his most important

callings: to write a five-year cycle of cantatas for nearly every Sunday and each feast day during the church year. The project would take a considerable number of years (more than just five) and Bach would soon have to moderate his expectations of the technical fluency and capabilities of the boys at his disposal. During the third year, he began to compose more slowly and shifted at least part of his attention toward instrumental writing again. He was in the midst of composing the St. Matthew Passion, which would feature some of the most elegant and exquisite instrumental obligato parts, especially for the violin and flute. Also, in 1725 or 1726, he set his pen to six sonatas for violin and harpsichord, elevating

what had previously served primarily as a continuo or solo instrument to an equal partner in trio sonata textures, an innovation that would prove to be ground-breaking. Those sonatas served as a model for his future compositions for viola da gamba and harpsichord, and for flute and harpsichord.

Considering the comparatively large number of manuscript sources for the six sonatas for violin and obligato harpsichord, it is remarkable how few sources survive for violin sonatas in the traditional mold (i.e., for solo violin and basso continuo alone). Certainly Bach seems not to have compiled any collections of such pieces and it is quite likely that he was simply not interested in, or challenged by, the traditional format. The earliest source for the Sonata in E Minor, BWV 1023—one of only

program notes continued...

22

Program Notes - Music by Johann Sebastian Bach - Itwo violin and continuo sonatas that can remotely by attributed to Bach—belonged to the Dresden court and is thus testimony to Bach’s close relation with the superlative musicians there. (It was to the Dresden court that Bach sent the first half, or “Missa,” of what would eventually become the Mass in B Minor.) Some writers have suggested that the court’s virtuoso concertmaster, Johann Georg Pisendel, was instrumental in inspiring Bach to compose the sonatas and partitas for solo violin (the Sonata II in A Minor will be performed tomorrow night). Certainly the exuberant opening movement of BWV 1023 has much in common with the celebrated prelude to the E Major Partita, and the work as a whole is strangely intense and harmonically pungent, even by Bach’s standards.

Most likely written around 1720, while he was in the employ of the court in Cöthen, Bach’s magnificent Suites for Solo

Violoncello are enigmatic in several respects. While there are a number of earlier works for unaccompanied violin, there is very little earlier solo music of any kind written specifically for the ’cello. The Suites are perhaps best viewed as idealized representations of an improvisational practice, and together they comprise an encyclopedic presentation of the most sophisticated artistry that such a practice could produce. Bach’s student, Scheibe, criticized his former teacher for cluttering his scores by writing out what other composers left to the performer. Are these Suites then concert works in the modern sense? It seems doubtful that they were intended as such, but they do work very well as concert pieces. Perhaps only Bach himself could have improvised such sophisticated, original music, but in much the same manner as a brilliant jazz solo captured on a recording, they give us an exciting glimpse of the very best a past musical culture had to offer.

The Suites are extraordinarily cosmopolitan works, incorporating and synthesizing sophisticated aspects of the two dominant national styles, the French and the Italian—an astonishing accomplishment in light of the fact that Bach spent his entire career in a relatively small part of Germany. Bach did not have an opportunity to study and work abroad, but the Thuringian courts that Bach visited cultivated these styles, employing some of the finest French and Italian musicians. In addition, the increasing importance of notation and printing in Bach’s culture was vital to his development in many ways.  Throughout his life he had access to an unusually broad range of scores: Members of his family and some of his most important employers had put together impressive collections, and recent improvements in music publishing, spurred by a growing market for scores, made it easier for Bach to build his own library. 

Each of the six suites begins with an extended prelude, followed by a number of dance movements, ending with a sprightly gigue. The Suite VI in D Major stands out from the rest in that it was originally conceived for an instrument with five strings (most violoncellos have four), and is about 50% longer than the other five (when all repeats are taken).

The Sonata in G Minor for Oboe and Harpsichord, BWV 1030b, is a transcription of the Sonata in B Minor for flute and harpsichord

that was composed some time around 1736. While the version for flute has remained intact, only the harpsichord part in G minor exists. Considerations of the key and the style of instrumental writing suggest that an oboe, rather than a violin, would have played the missing instrumental part.

By the mid-1730s, Bach had already enjoyed more than half a decade as music director of Leipzig’s Collegium Musicum, a position that provided some relief from the fatigue caused by less than ideal

circumstances at St. Thomas Church by enabling him to return to the composition of concertos and other secular works.

This particular sonata is quite grand in scale. Its opening movement is very nearly as long as all the rest of the sonata. Complex in chromatic harmonies, and reminiscent of the great Prelude and Fugue in B Minor for organ, its contrapuntal devices of fugue subjects and counter-subjects that continually interweave and interact with each other are especially pleasing to fans of fugal structures and counterpoint. A lovely B-flat major middle movement seems like a slow minuet. The tell-tale binary structure (AABB) reveals its derivation from a dance form. The final movement, actually two movements in one, begins with a masterful fugue marked by continual development of its subject into more and more complex figures of fleeting sixteenth-notes. When the prospects for further permutations are nearly exhausted, Bach brings us to a full stop on the dominant chord. What could follow? A cadenza, perhaps? Something better: a brilliant, light, airy, and yet bravura gigue characterized by syncopations caused by rests on the main beats. This technique is not unlike hocket, the medieval term for a contrapuntal technique of utilizing silences through the staggered arrangement of rests. The term means bump, hitch, or even hiccup.

Dating from the Cöthen era, the Brandenburg Concerto V in D Major, BWV 1050, is one of six concertos that Bach presented

to the Margrave of Brandenburg in 1721. The set demonstrates and exemplifies virtually every conceivable texture available within the genre of the concerto. The fifth concerto presents a complex hierarchy of players; for here there are three soloists, rather than just one, who must establish their own mutual relationships. These three are a somewhat unlikely group: the violin is usual enough, but the transverse flute was a very new instrument in German orchestras in 1721, an import from the trend-setting court of France. Most peculiar of all, though, is the appearance of the harpsichord in the solo group: this instrument was perfectly familiar as a solo instrument, or as a continuo “chord-filler” within an orchestral texture, but was quite new as a concerto soloist. The comparatively thin tone of the instrument doubtlessly rendered it traditionally unsuitable to carry a solo line, but the construction of larger instruments, and, particularly, the court’s well-documented acquisition of a large harpsichord from Berlin in 1719, might have accounted for Bach’s ground-breaking experiment.

The instrument is hardly coy in its first appearance within a concerted context: it is accorded the most virtuosic writing, quite often dominating the texture of the other two instruments. In the closing section of the first movement, the harpsichord takes over entirely, presenting a frenzied cadenza-like soliloquy which all but forsakes the principal motives and melodies. Of all Bach’s instrumental works, this is the one that seems most to challenge the establishment of a hierarchy within the music.

The second movement is a trio for the three solo instruments alone, and the point at which the concerto genre comes closest to the sonata. This scoring does not seem so unusual when it is considered that the majority of Bach’s concertos were almost certainly performed with only a single instrument on each line: in other words, every instrument is, in a sense, a soloist. The final movement is an exceedingly vivacious gigue, which presents both a ritornello form and a large-scale da capo of the opening section. The harpsichord is considerably better behaved than in the first movement, sharing out the solo sections with the other instruments. Nevertheless, it still has the fastest note-values.

— John Butt, John Lutterman, Jeffrey Thomas, Michael Zweibach

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Music by Johann Sebastian Bach - II

Chamber SerieS

Music by Johann Sebastian Bach

This performance is generously sponsored byJan Goldberg

Elizabeth Blumenstock, violinCorey Jamason, harpsichord and organ

Katherine Kyme, violaSteven Lehning, violoneJudith Malafronte, alto

Robert Mealy, violinSandra Miller, fluteDebra Nagy, oboe

Elisabeth Reed, violoncelloJohn Thiessen, trumpet

Tanya Tomkins, violoncelloYulia Van Doren, soprano

Max van Egmond, baritone

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Concerto for Oboe and Strings in G Minor, BWV 1056r Johann Sebastian Bachafter Harpsichord Concerto No. V in F Minor, BWV 1056, and Sinfonia to BWV 156 1685-1750

[Allegro] - Adagio - Presto

Arias from Cantatas J. S. Bach

“Der Herold kömmt… Kommt, ihr angefochtnen Sünder” from Freue dich, erlöste Schar, BWV 30

“Es kommt der Helden Held…Er ists, der ganz allein” from Gott fähret auf mit Jauchzen, BWV 43

“Wenn meine Trübsal als mit Ketten” from Aus tiefer Not schrei ich zu dir, BWV 38

Sonata III in E Major for Flute and Basso continuo, BWV 1035 J. S. Bach

Adagio ma non tanto - Allegro - Siciliano - Allegro assai

- Intermission -

Sonata II in A minor, BWV 1003 J. S. Bachfrom Three Sonatas and Three Partitas for Unaccompanied Violin

Grave - Fuga - Andante - Allegro

Jauchzet Gott in allen Landen!, BWV 51 J. S. Bach

Aria: Jauchzet Gott in allen Landen!Recitative: Wir beten zu dem Tempel anAria: Höchster, mache deine GüteChorale: Sei Lob und Preis mit Ehren Aria: Alleluja!

Saturday July 16 2011

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For a long time scholars assigned most of Bach’s chamber and ensemble music to the Cöthen years (1717-1723), but it now seems

that the greater part was composed at Leipzig, and principally for the Collegium Musicum that Bach directed from 1729 to the early 1740s. Sadly, many (if not most) of Bach’s orchestral compositions have been lost. The surviving repertory gives us only an incomplete idea of his output for larger instrumental ensembles, and adds up to only a small fraction of the works that he must have written during his years at Cöthen and while he was working with the Collegium Musicum in Leipzig. Because we know that Bach frequently recycled his own music, traces of lost concerto movements may be found in numerous cantatas and other large-scale vocal works, and the surviving harpsichord concertos, in particular, are assumed to have been generated from lost originals that would have used another instrument as the soloist.

Pointers to lost works that may have been composed in Cöthen can be obtained from Leipzig pieces showing clear signs of reworking. In other words, through rather complicated musicology and identification techniques, we know that other original concertos for oboe, oboe d’amore, violin, or three violins existed, even though what we have are only the revisions of those works scored for different soloists and in different keys. Since we know that when Bach made alterations they were typically extensive—and we can tell this by analysis of his handwriting on autograph manuscripts—rarely is the absolute reconstruction of a supposed, but lost, original really possible. In every case, Bach’s parodies (or transcriptons) included enhancements of the previous work—through further compositional development, structural modifications, and the addition of new contrapuntal material—so that it would acquire its own identity and purpose.

Nevertheless, both musicologists and performing musicians have come as close as possible to recreating many of Bach’s lost original concertos. The Concerto for Oboe and Strings in G Minor survives as a concerto for harpsichord and strings in F minor. As is the case with the Sonata in G Minor for Oboe and Harpsichord (transcribed from a version in B minor for flute and harpsichord), the instrumental writing for the solo instrument (or the right hand of the harpsichordist) easily supports the assumption that an oboe would have been the original soloist. The opening of the first movement is strikingly similar to the first measures of Bach’s Concerto for Oboe and Violin in C Minor, offering further support to the determination that the original was conceived as a concerto for oboe. At the heart of the work is one of Bach’s most calming and comforting movements: The same music serves as the sinfonia to Cantata 156, Ich steh mit einem Fuß im Grabe (literally, “I stand with one foot in the grave”), where the scoring is indeed for oboe and strings. That cantata was composed in 1729, Bach’s sixth year in Leipzig. All factors point to the original for that movement as having been composed earlier, in Cöthen, far before the version for harpsichord, which was composed in 1741.

Many of the most enthusiastic followers of Bach’s music consider his cantatas to be the crème de la crème among all

of his compositions. In fact, nowhere else in his output did he more fluently realize his personal, religious, and educational goals. The musical genres that he incorporated over more than forty years of writing cantatas represents well more than a century and a half of compositional styles. Consistent among them all is Bach’s brilliant ability to employ vocal rhetoric in a way that taught his “audience” not only the tenets of Lutheranism, but most definitely revealed Bach’s own insights and beliefs. Bach probably considered himself to be as much of a theologian as he was a composer, and through his cantatas he was able to serve his calling as a teacher of theology.

The Arias from Cantatas presented on this program are drawn from a span of fourteen years of works composed for Leipzig’s St. Thomas Church. From the toe-tappingly galant aria from Cantata 30 to the

heroic trumpet fanfares that depict the heroism of he who “has trod upon the winepress full of sorrow, torment and pain,” Bach provides thoroughly enjoyable ways of learning one’s Sunday lessons. Yet it is the sternness of the trio from Cantata 38 that ironically relays its meaning with such undeniable success. The voices sing in rigid canon (and it is no coincidence that “canon” means “decree”) to describe the linking of one set of troubles to another, until the text reveals that the savior will release the troubled ones from their worldly (and musical) bonds, at which point the canon abruptly ceases and gives way to a much more melifluous texture.

Like the sonatas for violin, Bach composed flute sonatas for either flute alone, flute with continuo, or flute with obligato harpsichord.

The latter format creates a three-voiced texture: the harpsichordist plays a bass line with the left hand, and an “obligato” treble voice with the right, amounting to a “trio” sonata that requires just two players. The sonatas for flute and continuo, however, rely upon the inventiveness of the harpsichordist to improvise the right-hand part, which is meant to fill out the harmonies that are implied by the flute and bass line (often doubled by a ‘cellist).

One of just two surviving sonatas for flute and continuo, the Sonata III in E Major was composed quite late in Bach’s career, circa 1741, in the same year that produced the Goldberg Variations and the wedding cantata, “O holder Tag, erwünschte Zeit.” Accurately dating the work, however, was a bit of a puzzle as no autograph score has survived. The only copy was written out in the nineteenth century, with indications that Bach composed the work while in Potsdam, visiting the court of Frederick the Great. A more likely conclusion is that Bach composed the work before beginning his sojourn there, and that it was meant to flatter both the King and his principal flute player. Bach’s son, Carl Philipp Emanuel, had been appointed to the position of principal harpsichordist at Potsdam, and Johann Sebastian was greatly interested in becoming affiliated with the King.

The quality of music at the Prussian court was highly renowned. Frederick patronized the arts, was a correspondent of Voltaire, and was particularly fond of the transverse flute, for which he himself composed a number of compositions. As is the case with all of Bach’s compositions for flute, this sonata is among his most popular and satisfying for listeners and players alike. The opening movement—just 20 measures long—serves as a prelude to the remaining three, and thereby establishes the format of a sonata da chiesa (church sonata), characterized by the slow-fast-slow-fast scheme of its tempos. The following Allegro is a vivacious and frisky episode in which the flute plays an almost never-ending barrage of fast sixteenth-notes. The Siciliano (a slow dance form in compound meter) begins with the flute and continuo playing in canon, which gives way to further imitation between the two parts. The last movement, also in binary form (AABB), is as galant and lighthearted as was the previous Allegro, bringing the sonata to a rather ebullient close.

Bach’s Sonatas and Partitas for solo violin and the similar Suites for solo violoncello have long been considered works

for connoisseurs. They are most remarkable for the way in which they manage to convey many voices in a single line. While this is characteristic of much of Bach’s music, the manner in which this implied polyphony is evoked in these unaccompanied works is astonishingly concise. Contrapuntal lines are sketched with a trajectory and tonal logic so clear that their continuations need not be explicitly stated. The imagination provides this continuation, while the actual sounding voice jumps to sketch another line. Diverse voices are also present in the motivic ideas, or “inventions,” as Bach might have called them. There are only one or two short ideas per movement, but each is pregnant with possibilities for elaboration. They evoke dances, courtly processions, the hunt, foreign cultures, and sometimes allude

Program Notes - Music by Johann Sebastian Bach - II

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to specific other works, but the primary interest lies in the way Bach muses over them, plays with them, explores their potential. A magical world—half heard, half imagined—is created, and the listener is drawn into this world as an active participant. 

Bach composed his six “solo” sonatas and partitas for violin—actually three sonatas and three partitas—around 1720, while employed at Cöthen. The Sonata II in A Minor is comprised of four movements, as are the other two sonatas within the set (the three partitas are each comprised of from five to eight dance movements). Each sonata follows the slow-fast-slow-fast architecture of a sonata da chiesa, with the second movement being a fugue, decidedly the most challenging of the four. While the identity of the first performer of these sonatas and partitas remains unknown, a number of prominent violinists in Bach’s circle have been suggested, including two violinists at the Dresden court, Johann Georg Pisendel and Jean-Baptiste Volumier, as well as the leader of the orchestra at Cöthen, Joseph Spiess. But it is equally assumed that Bach may have composed these works for his own enjoyment and performance, and were therefore less likely to have had pedagogical intentions than the solo sonatas for violoncello.

In some sense, Bach’s solo cantatas are his only true cantatas since the term “cantata” was drawn from an Italian genre that was

designed for solo voice. Bach indeed used this term for the solo works and named those with more voices “concerto.” However, this latter term has been dropped in modern musical practice to avoid confusion with the purely instrumental works of that name. It would be a mistake to consider the solo cantatas as vastly different from the concerted works since they are products of the same environment. But the solo cantatas do offer a more contemplative approach to the text since the standard form for a single soloist was the aria, which can so potently internalize and express human emotion.

In Lutheran schools from the time of the Reformation until well beyond Bach’s death, music was considered an important art, one that was intended to move both the pupil and the listener towards closer faith. Although all boys at Leipzig’s St. Thomas Church were divided into singing classes (and many earned their living by singing chorales

around the town), Bach was interested only in the most talented ones, those he selected to sing in the choirs that performed cantatas. For this more complex “figural” music it was customary to train a singer—the “concertist”—in all the florid coloratura and expressive devices of performance, something quite different from the skills required for chorales and simple motets.

The original purpose of Jauchzet Gott in allen Landen! is somewhat obscure. Its text of praise and thanksgiving is not tethered to a specific festival and would be appropriate for any number of occasions (Bach added the words “et in ogni Tempo” to his score). While the partially autograph performance parts point to a performance on September 17, 1730, the score shows that all but the last two movements were probably adapted from an earlier composition. Moreover, a recent hypothesis suggests that Bach wrote this work as a birthday cantata for the court at Weißenfels, where he was an honorary Kapellmeister. Certainly works with similar Italianate scoring were frequently heard there. If this is true it would seem that the Leipzig performance was a repeat, perhaps occasioned by the presence of a particularly talented singer in Bach’s choir (Joshua Rifkin has suggested the name of Christoph Nichelmann). Some changes to the text in Bach’s later hand show that the composer returned to this cantata at least once again, and Wilhelm Friedemann, Bach’s eldest son, used this work for his own performances after his father’s death, adding a part for second trumpet and timpani.

Cantata 51 is usually renowned for the superlative virtuosity of its soprano part, extending the range up to “high C.” Nevertheless, while the part is very exposed, it is barely more complex than lines found in some other vocal works, for instance the solo and chorus lines of the Mass in B minor. What is particularly appealing in Cantata 51 is the conciseness of the cantata and the variety achieved in its five movements: it opens in a concerto-ritornello style, proceeding through expressive arioso and ostinato movements to a chorale arrangement and the stunning fugal finale.

— John Butt, John Lutterman, Jeffrey Thomass

Program Notes - Music by Johann Sebastian Bach - II

“Der Herold kömmt… Kommt, ihr angefochtnen Sünder” from Freue dich, erlöste Schar, BWV 30Recitative Der Herold kömmt und meldt den König an,

Er ruft; drum säumet nichtUnd macht euch aufMit einem schnellen Lauf,Eilt dieser Stimme nach!Sie zeigt den Weg, sie zeigt das Licht,Wodurch wir jene selge AuenDereinst gewißlich können schauen.

The herald comes and announces the King,he calls; therefore do not delayand rouse yourselveswith a hasty gait,hurry after this voice!It shows the way, it shows the light,by which that blessed pasturewe shall surely behold one day.

Aria Kommt, ihr angefochtnen Sünder, Eilt und lauft, ihr Adamskinder, Euer Heiland ruft und schreit!Kommet, ihr verirrten Schafe,Stehet auf vom Sündenschlafe,Denn itzt ist die Gnadenzeit!

Come, you tempted sinners,hurry and run, you children of Adam,your Savior calls and cries!Come, you erring sheep,get up from your sleep of sin,for now is the time of grace!

“Es kommt der Helden Held…Er ists, der ganz allein” from Gott fähret auf mit Jauchzen, BWV 43Recitative Es kommt der Helden Held,

Des Satans Fürst und Schrecken,Der selbst den Tod gefällt,Getilgt der Sünden Flecken,Zerstreut der Feinde Hauf;Ihr Kräfte, eilt herbeiUnd holt den Sieger auf.

The hero of heroes comes,the terror and bane of Satan,who Himself has defeated death,removed the stains of sin,destroyed the horde of enemies;you powers, hurry hereand take up the victor! texts and translations continued...

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Program Notes - Music by Johann Sebastian Bach - IIAria Er ists, der ganz allein

Die Kelter hat getretenVoll Schmerzen, Qual und Pein,Verlorne zu errettenDurch einen teuren Kauf.Ihr Thronen, mühet euchUnd setzt ihm Kränze auf!

It is He, who completely alonehas trod upon the winepressfull of sorrow, torment and pain,to save the lost onesthrough a precious purchase.You thrones, stir yourselves,and set a wreath upon Him!

“Wenn meine Trübsal als mit Ketten” from Aus tiefer Not schrei ich zu dir, BWV 38Trio Wenn meine Trübsal als mit Ketten

Ein Unglück an dem andern hält,So wird mich doch mein Heil erretten,Daß alles plötzlich von mir fällt.Wie bald erscheint des Trostes MorgenAuf diese Nacht der Not und Sorgen!

When my troubles like chainslink one misfortune to another,then my Savior will rescue me,so that it all suddenly falls from me.How soon the morning of comfort appears after this night of anguish and worry!

Jauchzet Gott in allen Landen!, BWV 51Cantata for the 5th Sunday after Trinity

Aria Jauchzet Gott in allen Landen!Was der Himmel und die WeltAn Geschöpfen in sich hält,Müssen dessen Ruhm erhöhen,Und wir wollen unserm GottGleichfalls itzt ein Opfer bringen,Daß er uns in Kreuz und NotAllezeit hat beigestanden.

Exult in God in every land!Whatever creatures are containedby heaven and earthmust raise up this praise,and now we shall likewisebring an offering to our God,since He has stood with usat all times during suffering and necessity.

Recitative Wir beten zu dem Tempel an,Da Gottes Ehre wohnet,Da dessen Treu,So täglich neu,Mit lauter Segen lohnet.Wir preisen, was er an uns hat getan.Muß gleich der schwache Mund von seinen Wundern lallen,So kann ein schlechtes Lob ihm dennoch wohlgefallen.

We pray at your temple,where God’s honor dwells,where this faithfulness,daily renewed,is rewarded with pure blessing.We praise what He has done for us.Even though our weak mouth must gape before His wonders,our meager praise is still pleasing to Him.

Aria Höchster, mache deine GüteFerner alle Morgen neu. So soll vor die Vatertreu Auch ein dankbares Gemüte Durch ein frommes Leben weisen, Daß wir deine Kinder heißen.

Highest, renew Your goodnessevery morning from now on. Thus, before this fatherly love, a thankful conscience shall display, through a virtuous life, that we are called Your children.

Chorale Sei Lob und Preis mit EhrenGott Vater, Sohn, Heiligem Geist!Der woll in uns vermehren,Was er uns aus Gnaden verheißt,Daß wir ihm fest vertrauen,Gänzlich uns lass’n auf ihn,Von Herzen auf ihn bauen,Daß uns’r Herz, Mut und SinnIhm festiglich anhangen;Drauf singen wir zur Stund:Amen, wir werdn’s erlangen,Glaub’n wir aus Herzensgrund.

Glory, and praise with honorbe to God the Father, Son, and Holy Spirit!He will increase in uswhat He has promised us out of grace,so that we trust fast in Him,abandon ourselves completely to Him,rely on Him within our hearts,so that our heart, will, and minddepend strongly on Him;therefore we sing at this time:Amen, we shall succeed,if we believe from the depths of our hearts

Aria Alleluja! Alleluja!

(“Nun lob, mein Seel, den Herren,” verse 5: Johann Gramann, 1549) Translations © Pamela Dellal

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maSterworkS SerieS

Johann Sebastian Bach (1685-1750)Mass in B Minor, BWV 232

The July 23rd performance is generously sponsored byAngela Hilt & Blake Reinhardt

Jessica Petrus & Terri Richter, sopranos • Cecilia Leitner & Charlotte Cumberbirch, mezzo-sopranosBrennan Hall, Eric Jurenas, & Gerrod Pagenkopf, countertenors

Jon Lee Keenan & Steven Soph, tenors • Jonathon Adams & Thomas Thompson, baritonesAMERICAN BACH SOLOISTS ACADEMY ORCHESTRA

AMERICAN BACH CHOIR & FESTIVAL CHORUSJeffrey Thomas, conductor

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I. MISSAKYRIE

Chorus: Kyrie eleisonDuet: Christe eleisonChorus: Kyrie eleison

GLORIAChorus: Gloria in excelsis Deo

Chorus: Et in terra paxAria: Laudamus te

Chorus: Gratias agimus tibiDuet: Domine Deus

Chorus: Qui tollis peccata mundiAria: Qui sedes ad dextram PatrisAria: Quoniam tu solus sanctus

Chorus: Cum Sancto Spiritu

- Intermission -

II. SYMBOLUM NICENUMChorus: Credo in unum Deum

Chorus: Patrem omnipotentemDuet: Et in unum Dominum

Chorus: Et incarnatus estChorus: Crucifixus

Chorus: Et resurrexitAria: Et in Spiritum Sanctum Dominum

Chorus: ConfiteorChorus: Et expecto

III. SANCTUSChorus: Sanctus

IV. OSANNA, BENEDICTUS,AGNUS DEI ET DONA NOBIS PACEM

Chorus: Osanna in excelsisAria: Benedictus

Chorus: Osanna in excelsisAria: Agnus Dei

Chorus: Dona nobis pacem

Bach: Mass in B M

inorSunday July 17 & Saturday July 23 2011

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subject give evidence that no previous manuscript could have existed. Moreover, like the first “Credo” section, the “Confiteor” features a plainchant cantus firmus that corresponds to the specific text. The “Et incarnatus est” was added to the Symbolum Nicenum during the compilation and may also represent a new composition.

There is no record of a performance of the complete Mass in B Minor in Bach’s lifetime. Long after his father’s death, C.P.E. Bach conducted a performance in 1786 of the Symbolum Nicenum in a concert that included works by himself and Handel. Performances in the first part of the 19th century followed this example, presenting only extracts of the Mass. Only in the latter half of the century did the work see performance as an integral composition.

— Kristi Brown-Montesano

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R ecent scholarship that has illuminated the often difficult task of reliably dating the various elements of the complete

Mass in B Minor has been all but conclusive. Debates still continue about the origins of a number of movements that seem to be parodies of pre-existing compositions. (Note that, when used in the context of Bach’s compositional methods, parody simply refers to Bach’s practice of borrowing music from his own earlier compositions. Typically the context would change, but the music would not.) The methods of discovery are several but the most interesting, and problematic, is that of calligraphic analysis. Within the autograph score, three types of Bach’s handwriting have been identified: the so-called “fair” hand, characterized by meticulously spaced notes, vertically upright note stems, and calligraphic text; the “revision” hand, characterized by the fluent copying of notes for one group of instruments or voices, but poorly spaced and often corrected notes in another part, and often cluttered verbal underlay (the result of applying a new text to pre-existing musical material); and the “composing” hand, characterized by diagonal note stems, uneven note spacing, corrections, and generally poor calligraphy. Through the identification of these handwriting styles, much can be determined regarding the originality of the musical material; that is, whether or not a piece was pre-existing, a parody of an earlier work, or newly composed.

Several movements contain more than one type of handwriting. For example, the opening Kyrie contains all three. The initial four bars show the revision hand for the instrumental parts, which were put to paper first, and the composing hand for the vocal parts. Then, the main body of the Kyrie is in the fair hand, indicating a pre-existing work. Generally, those movements in the fair or revision hands are considered to be pre-existing or parodies. But Bach’s health was poor by the time he compiled the complete mass (or, missa tota), and there are arguments as to whether or not his infirmity led him to preliminarily sketch new music before committing it to the final version of the score, thus clouding the issue in the cases of music not in the composing hand and that cannot be found among his earlier surviving works.

The genesis of the Mass in B Minor—so admired for its colossal dimensions and encyclopedic stylistic variety—

is actually a long history of separable parts. Although Bach compiled the music for this work in the last years of his life (1748-1749), most of the movements had been composed long before or were reworked from earlier pieces. The origins of the Mass date back to Christmas day of 1724—the day on which the Sanctus was first performed. Indeed, it was entirely in keeping with Lutheran liturgical practice of this time to insert individual parts of the Latin Mass Ordinary into the predominantly vernacular liturgy.

Two other sections—the Kyrie and Gloria—anticipate the compilation of the Mass by a considerable amount of time. In 1733, Bach presented a manuscript of the Kyrie and Gloria (titled Missa) to the new Elector Friedrich August II in Dresden; he also attached to this an ingratiating petition for a titled position in the Elector’s Hofkapelle, which he hoped would give him additional stability in his post as Kantor at the Thomaskirche in Leipzig. Three years earlier, Bach had been threatened by the political machinations of the head Leipzig Burgermeister, Jakob Born, who tried to restore the original requisites for the position of Kantor and thus disqualify Bach from his job. Although this initiative failed, Bach continued to be frustrated with the limited musical resources in Leipzig and with the behavior of the authorities. (In the end, Bach had to wait until 1736 to receive the requested court title, that—though it perhaps gave to him a measurable increase in rank—did not dispel the difficulties that persisted in his career at the Thomaskirche.) As John Butt notes in the Cambridge Music Handbook on the Mass in B Minor, Bach seems to have composed the Kyrie and Gloria especially to suit the taste of the Dresden court, in that they demonstrate several style characteristics typical of mass settings at Dresden: the writing for two soprano parts, the setting of the “Christe eleison” as a duet, the absence of da capo arias, and the use of independent instrumental parts. (This invaluable guide examines the Mass from a variety of perspectives and provides an overview of the latest scholarly discoveries.) It is unknown whether these two sections were performed around the time of their presentation. The music for the Gloria, however, shows up again in the mid-1740’s, appearing in Bach’s Latin cantata Gloria in excelsis Deo, BWV 191.

For most of the parts of the Mass, Bach borrowed music from his own compositions. Aria, duets, instrumental concertos, and cantata choruses all provide possible sources for the various movements. Some of the sections—such as the breathtaking aria “Agnus Dei”—represent the third version of a musical model; the music for the chorus, “Et expecto”, appears in at least three other settings.

Bach gathered the parts of the Mass in B Minor into four discreet manuscripts, to which he assigned a numerical order. Part I consists of the Kyrie/Gloria Missa of 1733; Part II the Symbolum Nicenum or Credo; Part III the Sanctus; and Part IV the Osanna, Benedictus, Agnus Dei, et Dona nobis pacem. Unlike the Missa and Sanctus, the Symbolum Nicenum seems not to have existed before the final compilation. This section also contains the only newly composed parts of the Mass. In fact, only the “Confiteor” is regarded without doubt to be an original composition; Bach’s alterations in the autograph of the opening fugue

Program Notes - Mass in B Minor

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Such technical detective work does not, however, shed light on the most burning question of all: Why did Bach compile, or assemble, a work for which he had no plans or need for performance? We know that in Bach’s last years, he set his hand to two other summative documents that would become monuments of his compositional legacy. In 1747, The Musical Offering was composed and very shortly thereafter published, and The Art of the Fugue, a collection of fugues and canons that exhaustively catalogues the contrapuntal possibilities of one predominant fugue subject, was copied out by Bach in 1745 and published in its final, yet incomplete, form in 1751 (one year after his death). Bach was clearly reading the writing on the wall regarding his “old school” craftsmanship. Compositional styles had already changed quite dramatically, and the fact that Bach’s music was more or less always considered to be old-fashioned further exacerbated his fears that a century of contrapuntal mastery—begun by his predecessors—was simply going down the drain. He had no reason to believe that any of his church cantatas would survive. Indeed, Bach’s own compositions essentially replaced those of the previous Leipzig Kantor, and newly composed works by whomever would be his successor would surely replace his. But complete settings of the choral movements from the Ordinary of the Mass had survived as time capsules from previous centuries. And new Age of Enlightenment trends would further secure the longevity of such “masterworks” (a concept that was still mostly outside of the consciousness of artists and their patrons). By encapsulating works from a span of at least thirty-five years—the “Crucifixus”

is borrowed from music composed in 1714, and the new movements including “Confiteor” were composed in 1749—Bach was able to leave behind a lasting testament to his art.

Performance Note: Since we believe that the compilation of works known today as the Mass in B Minor was never

performed as a single work during Bach’s lifetime, we are set free from the responsibilities (and limitations) of producing a recreation of any one performance. In fact, even though some recent scholarship seems to support the use of just one or two players or singers to each part, we enjoy the opportunity to enhance what might have been Bach’s typical performing forces in ways that we believe would have been possible in Bach’s time, and in ways that we feel present this work most successfully. Bach completed the new movements for the Mass between August 1748 and October 1749. In looking at the history of Bach’s performances around that time, we have decided to employ several enhancements. For example, for the 1749 performance of the St. John Passion, additional parts for violin, viola, and continuo were prepared. Bach was apparently willing to use these additional available forces. So are we. And similarly, in following the numbers suggested by Bach in his 1730 letter to the Leipzig town council, we employ more than one singer to each part. Also, although at times the bassoons are indicated on separate staves, we otherwise include them in the continuo section. And, we include 16-foot (violone and contrabasso) sonority in the Kyrie and Gloria sections, which otherwise do not specifically indicate its use.

— Jeffrey Thomas

Program Notes - Mass in B Minor

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An Evening in Old Leipzig

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Johann Sebastian Bach Mass in B Minor, BWV 232

I. MISSA Tromba I, II, III; Corno da caccia; Timpani; Flauto traverso I, II; Oboe I, II; Oboe d’amore I, II; Fagotto I, II; Violino I, II; Viola; Continuo (e Violoncello); Soprano I, II; Alto; Tenore; Basso

KYRIE

5-part chorus; flutes, oboes d’amore, bas-soon, strings, continuo

Kyrie eleison.Lord, have mercy.

soprano I and soprano II duetviolins, continuo

Christe eleison.Christ, have mercy.

Alla breve4-part chorus; flutes, oboes d’amore, bas-soon, strings, continuo

Kyrie eleison.Lord, have mercy.

GLORIA5-part chorus; trumpets, timpani, flutes, oboes, bassoon, strings, continuo

Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis.Glory be to God in the highest. And in earth peace to men of good will.

soprano II ariaviolin solo, strings, continuo

Laudamus te; benedicimus te; adoramus te; glorificamus te.We praise thee; we bless thee, we worship thee; we glorify thee.

Alla breve4-part chorus; trumpets, timpani, flutes, oboes, bassoon, strings, continuo

Gratias agimus tibi propter magnam gloriam tuam.We give thanks to thee for thy great glory.

soprano I and tenor duetflute solo, strings, continuo

Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe altissime: Domine Deus, Agnus Dei, Filius Patris:Lord God, heavenly King, God the Father almighty. O Lord, the only-begotten Son Jesus Christ most high: Lord God, Lamb of God, Son of the Father:

4-part chorus; flutes, strings, continuo Qui tollis peccata mundi, miserere nobis: Qui tollis peccata mundi, suscipe deprecationem nostram:Thou that takest away the sins of the world, have mercy upon us: Thou that takest away the sins of the world, receive our prayer:

alto ariaoboe d’amore solo, strings, continuo

Qui sedes ad dextram Patris, miserere nobis:Thou that sittest at the right hand of the Father, have mercy upon us:

bass ariacorno da caccia solo, bassoons, continuo

Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe:For thou only art holy, thou only art the Lord, thou only art the most high, Jesus Christ:

Vivace5-part chorus; trumpets, timpani, flutes, oboes, bassoon, strings, continuo

Cum Sancto Spiritu in gloria Dei Patris. Amen.With the Holy Ghost in the glory of God the Father. Amen.

- Intermission -

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Mass in B Minor Text & Translation

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II. SYMBOLUM NICENUM Tromba I, II, III; Timpani; Flauto traverso I, II; Oboe I, II; Oboe d’amore I, II; Violino I, II; Viola; Continuo; Soprano I, II; Alto; Tenore; Basso

5-part chorus; violins, continuo Credo in unum DeumI believe in one God

4-part chorus; trumpets, timpani, oboes, strings, continuo

Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium:the Father almighty, Creator of heaven and earth, and of all things visible and invisible:

Andantesoprano I and alto duetoboes d’amore, strings, continuo

Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula: Deum de Deo, Lumen de Lumine, Deum verum de Deo vero, Genitum non factum, consubstantialem Patri, per quem omnia facta sunt: qui propter nos homines et propter nostram salutem descendit de coelis:And in one Lord Jesus Christ, the only-begotten Son of God, begotten of the Father before all worlds: God of God, Light of Light, very God of very God; begotten not made; being of one substance with the Father, by whom all things were made: who for us men and for our salvation came down from heaven:

5-part chorus; violins, continuo Et incarnatus est de Spiritu Sancto ex Maria virgine, et homo factus est.and was incarnate by the Holy Ghost of the Virgin Mary, and was made man.

4-part chorus; flutes, strings, continuo Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.He was crucified also for us under Pontius Pilate, he suffered and was buried.

5-part chorus; trumpets, timpani, flutes, oboes, strings, continuo

Et resurrexit tertia die, secundum scripturas: Et ascendit in coelum. Sedet ad dextram Dei Patris. Et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis.And the third day he rose again according to the scriptures; and ascended into heaven. He sitteth at the right hand of God the Father. And he shall come again with glory to judge both the quick and the dead; whose kingdom shall have no end.

bass ariaoboes d’amore, continuo

Et in Spiritum Sanctum Dominum et vivificantem, qui ex Patre Filioque procedit: Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per prophetas. Et unam sanctam catholicam et apostolicam ecclesiam.And in the Holy Ghost the Lord and giver of life, who proceedeth from the Father and the Son; who with the Father and the Son together is worshipped and glorified; who spake by the prophets. And in one holy, catholic and apostolic church.

5-part chorus; continuo Confiteor unum baptisma in remissionem peccatorum.I acknowledge one baptism for the remission of sins,

Vivace e Allegro5-part chorus; trumpets, timpani, flutes, oboes, strings, continuo

Et expecto resurrectionem mortuorum et vitam venturi saeculi. Amen.and I look for the resurrection of the dead and the life of the world to come. Amen.

text and translation continued...

“Thomas united enlightened historical performance practice with native musical intelligence. He welded scholarship to theatricality...This was a B Minor Mass that transcended technical expertise and incidental points of authenticity to touch the heart on the most profound level.” — Allan UlrichSan Francisco Examiner MASS IN B MINOR

2 CD SET - ON SALE TONIGHT

Mass in B Minor Text & Translation

32

III. SANCTUS Tromba I, II, III; Timpani; Oboe I, II, III; Violino I, II; Viola; Continuo (Violoncello, Violone, Fagotto, Organo); Soprano I, II; Alto I, II; Tenore; Basso

6-part chorus; tutti Sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria ejus.Holy is the Lord God of Hosts. Heaven and earth are full of his glory.

IV. OSANNA, BENEDICTUS, AGNUS DEI et DONA NOBIS PACEM

Tromba I, II, III; Timpani; Flauto traverso I, II; Oboe I, II; Violino I, II; Viola; Continuo; Soprano I, II; Alto I, II; Tenore I, II; Basso I, II

double-chorus (8-part); tutti Osanna in excelsis.Hosanna in the highest.

tenor ariaflute solo, continuo

Benedictus qui venit in nomine Domini.Blessed is he that cometh in the name of the Lord.

double-chorus (8-part); tutti Osanna in excelsis.Hosanna in the highest.

alto ariaviolins, continuo

Agnus Dei qui tollis peccata mundi, miserere nobis.Lamb of God, that takest away the sins of the world, have mercy upon us.

4-part chorus; tutti Dona nobis pacem.Grant us peace.

“Times . . . they are a changing.”

Marin Symphony’s Fifty-Ninth Concert Season

Fresh. Local. Music.

And so will our 2011-2012 Season. Sunday concerts will start at 3pm.

Tuesday concerts will remain at 7:30pm.

Reserve now for best seats www.marinsymphony.org

415.479.8100

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MS M a r i n S y m p h o n y

Alasdair Neale, Music Director

11-MS-AmerBachSoloist_

Mass in B Minor Text & Translation

33

Academ

y-in-Action C

oncert IaCademy SerieS

Academy-in-Action Concert I

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Der Herr denket an uns, BWV 196 Johann Sebastian Bach Jessica Petrus, sopranoBrennan Hall, altoSteven Soph, tenorThomas Thompson, bass

Edmond Chan, violin INatalie Carducci, violin IICaitlin Cribbs, violaHallie Pridham, violoncelloJuliana Soltis, violoncello (violone)Esther Lam, organ

1685-1750

Trio Sonata in G Major, TWV 42:G 13 Georg Philipp Telemann

Adagio - Allegro - Largo - Allegro 1681-1767Jo Brand, fluteSian Ricketts, oboe

Emily Davidson, violoncelloEsther Lam, harpsichord

Trio Sonata in C Major Johann David Heinichen

Largo - Allegro - Largo - Allegro 1683-1729Maria Raffaele, oboeRyan Jones, oboe

Johanna Neuschatz, violoncelloSusie Fong, harpsichord

Trio Sonata in A Major, Op 3, No. 5 Jacques-Martin Hotteterre

Prélude–Lentement - Courante - Sarabande - Legerement 1674-1763Jo Brand, fluteVicki Melin, flute

Jessica Lynn Powell, viola da gambaJoyce Chen, harpsichord

Trio Sonata in B Minor, TWV 42:h 4 Telemannfrom Essercizii Musici

Largo - Dolce - Vivace

Nihan Atalay, fluteHallie Pridham, viola da gamba

Jessica Lynn Powell, viola da gambaJoyce Chen, harpsichord

- Intermission -

Die Himmel erzählen die Ehre Gottes, BWV 76 J. S. BachJessica Petrus, sopranoBrennan Hall, altoSteven Soph, tenorThomas Thompson, bassTimothy Will, trumpetSian Ricketts, oboe I & oboe d’amoreMaria Raffaele, oboe II

Edmond Chan, violin INatalie Carducci, violin IICaitlin Cribbs, violaHallie Pridham, viola da gambaJuliana Soltis, violoncelloKristin Keys, contrabassEsther Lam, organ

For texts and translations, please see program supplement.

Monday July 18 2011

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Also available:

Lorraine Hunt LiebersonBERLIOZ: Les Nuits d'été HANDEL: Arias “An indispensable document from one of the greatest singers of the 20th Century.” –San Francisco Chronicle

HAYDN SymphoniesNo. 104 "London"

No. 88

No. 101 "Clock"Philharmonia Baroque OrchestraNicholas McGegan

NEW!

Philharmonia Baroque Productions

Available at philharmonia.org, iTunes, and fine record stores everywhere.

6

Subscriptions go on sale in mid-July

www.sfbach.org 415·441·4942

October 15/16, 2011

The Bach Family Tradition Johann Christoph Bach, Johann BernhardBach, Johann Ludwig Bach and others

December 3/4, 2011

Psallite! A Candlelight ChristmasMusic from Germany, Italy and England

March 17/18, 2012

J.S. Bach Magnificat

and Vivaldi Gloria

May 19/20, 2012

Music from Town and TavernWorks in the popular vein by Bach, Telemann, Mozart and others

35

Academ

y-in-Action C

oncert IIaCademy SerieS

Academy-in-Action Concert II

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Ouverture-Suite: Burlesque de Quixotte, TWV 55:G 10 Georg Philipp Telemann

OuvertureLe Reveil de Quixotte (The Awakening of Don Quixote)Son Attaque des Moulin à Vent (His Attack on the Windmills)Les Soupirs amoureux après la Princesse Dulcinee (His Amourous Sighs

for Princess Dulcine)Sanche Panche berne (Sancho Panza Mocked)Le Galope de Rosinante - Celui d’Ane de Sanche (The Gallop of Rosinante -

The Gallop of Sancho Panza’s Mule)Le Couche de Quixotte (Don Quixote at Rest)

1681-1767

Émilie Brûlé, violinNatalie Carducci, violinEdmund Chan, violinRebecca Harris, violinTess Isaac, violinJessica Park, violinLaura Rubinstein-Salzedo, violinNoah Strick, violinCaitlin Cribbs, violaJason Pyszkowski, violaClio Tilton, viola

Rosa Cañellas, violoncello Jane Leggiero, violoncelloAdaiha MacAdam-Somer, violoncello Anneke Schaul-Yoder, violoncelloJuliana Soltis, violoncelloKristen Keys, contrabassDaniel Silberman, contrabassEmma Gavenda, harpsichord

Brett Karlin, conductor

Arias from Cantatas Johann Sebastian Bach

Please see program supplement for detail, including texts and translations. 1685-1750Jessica Petrus, sopranoEric Jurenas, countertenorGerrod Pagenkopf, countertenorJon Lee Keenan, tenorThomas Thompson, baritoneJohn Taylor Ward, bassJo Brand, fluteLuke Conklin, fluteRebecca Harris, violinTess Isaac, violinJessica Park, violinNoah Strick, violinClio Tilton, viola

Adaiha MacAdam-Somer, viola da gambaHallie Pridham, viola da gambaRosa Cañellas, violoncelloGretchen Claasen, violoncelloEmily Davidson, violoncelloJane Leggiero, violoncelloAnneke Schaul-Yoder, violoncelloDaniel Silberman, contrabassChristopher Bagan, keyboard continuoJoyce Chen, keyboard continuoEmma Gavenda, keyboard continuoDerek Tam, keyboard continuoRobert Warner, keyboard continuo

- Intermission -

Concerto Grosso in C Minor, Op. 6 No. III Arcangelo Corelli

Largo - Allegro–Adagio - Grave - Vivace - Allegro 1653-1713Tess Isaac, concertino violin INoah Strick, concertino violin II

Rosa Cañellas, concertino violoncelloChristopher Bagan, concertino harpsichord

Émilie Brûlé, violinNatalie Carducci, violinEdmund Chan, violinRebecca Harris, violinJessica Park, violinLaura Rubinstein-Salzedo, violinCaitlin Cribbs, violaJason Pyszkowski, violaClio Tilton, viola

Jane Leggiero, violoncelloAdaiha MacAdam-Somer, violoncello Anneke Schaul-Yoder, violoncelloJuliana Soltis, violoncelloKristen Keys, contrabassDaniel Silberman, contrabassEmma Gavenda, harpsichord

Brett Karlin, conductor

Tuesday July 19 2011

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aCademy SerieS

Academy-in-Action Concert III

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Liebster Gott, wenn werd ich sterben?, BWV 8 Johann Sebastian Bach Teri Richter, soprano Charlotte Cumberbirch, altoJon Lee Keenan, tenorJonathon Adams, bassNihan Atalay, fluteLuke Conklin, oboe d’amore I Ryan Jones, oboe d’amore II

Émilie Brûlé, violin ILaura Rubinstein-Salzedo, violin IIClio Tilton, violaAdaiha MacAdam-Somer, violoncelloJessica Lynn Powell, contrabassSusie Fong, organ

1685-1750

Quadro Sonata in G Major, TWV 43:G 12 Georg Philipp Telemann

Dolce - Allegro - Soave - Vivace 1681-1767Luke Conklin, fluteHallie Pridham, viola da gambaJessica Lynn Powell, viola da gamba

Emily Davidson, violoncelloEsther Lam, harpsichord

- Intermission -

Sonata da camera in B-Flat Major, Op. 3 Johann Gottlieb Janitsch

Larghetto - Allegretto - Allegro 1708-1763Nihan Atalay, fluteRyan Jones, oboeMaria Raffaele, oboe

Johanna Neuschatz, violoncelloSusie Fong, harpsichord

Jesu, der du meine Seele, BWV 78 J. S. BachTerri Richter, sopranoCharlotte Cumberbirch, altoJon Lee Keenan, tenorJonathon Adams, bassVicki Melin, fluteLuke Conklin, oboe IRyan Jones, oboe II

Émilie Brûlé, violin ILaura Rubinstein-Salzedo, violin IIClio Tilton, violaAdaiha MacAdam-Somer, violoncelloJessica Lynn Powell, contrabassSusie Fong, organ

For texts and translations, please see program supplement.

Wednesday July 20 2011

Academ

y-in-Action C

oncert III

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George Frideric Handel (1685-1759)Ariodante, HWV 33an opera in three acts

Libretto adapted anonymously from Ginerva principessa di Scozia by Antonio Salvi (1664–1724);after Ludovico Ariosto’s poem Orlando Furioso

This performance is generously sponsored byJudith Flynn

ARIODANTE, a vassal Prince - Margaret Wendt, mezzo-sopranoGINEVRA, daughter of the King of Scotland, betrothed to Ariodante - Cecilia Leitner, soprano

DALINDA, Ginevra’s attendant, secretly in love with Polinesso - Terri Richter, sopranoPOLINESSO, Duke of Albany - Eric Jurenas, countertenor

LURCANIO, Ariodante’s brother - Steven Soph, tenorKING OF SCOTLAND - John Taylor Ward, bass

ODOARDO, a courtier, favorite of the King - Jon Lee Keenan, tenor

AMERICAN BACH SOLOISTS ACADEMY ORCHESTRAJeffrey Thomas, conductor

•

Handel: A

riodanteFriday July 22 2011

On December 7, 1732, London’s new and rather splendid Theatre Royal (the forerunner of what is now the Royal

Opera House) opened its doors for the first time in Covent Garden. It was principally through the efforts of one of George Frideric Handel’s competitors, John Rich, that the hall was built. In 1728, Rich, then actor-manager of the Duke’s Company at Lincoln’s Inn Fields Theatre, had commissioned The Beggar’s Opera from John Gay. The satirical ballad opera was a tremendous success, and would strike a devastating blow to Handel’s Italian opera productions. In fact, as Allan Kozinn wrote in The New York Times, “Gay wrote the work more as an anti-opera than an opera, one of its attractions to its 18th-century London public being its lampooning of the Italian opera style and the English public’s fascination with it.”

Handel had been the reigning impresario in London for many years. His reputation for finding the best singers from Italy and bringing them—and the Italian opera seria style—to London to sing his exquisite music placed Handel amidst the most prominent members of the upper class. His efforts had been

happily and generously supported by the Royal Family and—at least for a while—his productions were the toast of the town. But tastes changed, as they always do, and Londoners grew weary of so much imported grandiosity. Some of Handel’s singers were known to be bad-tempered and although there was always much welcomed mystique and allure about them—especially the castrati—eventually the public distrusted the whole idea of Italian opera.

Nevertheless, Handel’s operas would continue to be presented in London and, as part of the third season at the Theatre Royal, he produced Ariodante there in 1735. Taking full advantage of the artistic resources of John Rich’s theatre, he included choruses and a number of ballet sequences that would utilize Marie Sallé and her company. Sallé, one of the most prominent dancers of her time, had been brought from Paris to London by Rich, and she appeared in her own production of Pygmalion at the Theatre Royal in 1734, both shocking and delighting her audiences by shedding the usual unwieldy dance costumes of the day in favor of donning unornamented muslin.

Theatre Royal, Covent Garden

program notes continued...

38

SYNOPSIS

ACT I

The mutual love of the Princess Ginevra and Prince Ariodante has the full approval of her father, the King of Scotland. As the opera begins, she is confiding her feelings to Dalinda when Polinesso, Duke of Albany, who covets the throne, bursts into her room and makes advances to her, which she forcefully rejects. Dalinda tells him that Ginevra’s heart is already bestowed, but confides that she herself is not indifferent to him. A plot thereupon forms itself in Polinesso’s mind to make use of her to be revenged on Ginevra and gain his ends.

Meanwhile, in the royal gardens, Ariodante and Ginevra, exchanging vows, are given the blessing of the King, who intends to make Ariodante his successor.

Polinesso persuades Dalinda to dress up as Ginevra and admit him to her room that night: he promises to respect her honour and make her his wife. Dalinda is overjoyed, and when Ariodante’s brother Lurcanio appears and declares his love for her, she quickly evades him. Left alone, Lurcanio reflects on his love for Dalinda. She in turn reflects on her love for Polinesso.

The act ends with the betrothed royal couple expressing their happiness and calling upon the nymphs and shepherds to celebrate their joy in dance and song.

ACT II

That night Ariodante, unable to sleep for excitement, is walking in the royal gardens when he encounters Polinesso, who feigns surprise at the news of the forthcoming marriage and claims to be enjoying Ginevra’s favours. When Ariodante furiously reaches for his sword at these outrageous words, Polinesso promises to substantiate his charge: he tells him to hide and observe with his own eyes. Lurcanio, who has been surprised to see his brother talking with the disliked Polinesso, had also concealed himself and is watching events.

Polinesso knocks on the secret door to the royal apartments, and in answer to his signal Dalinda, disguised as Ginevra, lets him in and closes the door. Ariodante, horrified at this apparent betrayal, is about to kill himself by falling on his sword when Lurcanio, who has also been duped, rushes forward and prevents him throwing away his life for a worthless woman. Ariodante goes off in utter despair; Polinesso, swearing devotion to Dalinda, gloats over the success of his ruse.

The following morning the King is in council, about to declare Ariodante his heir, when Odoardo brings a report that the Prince has thrown himself into the sea in a sudden frenzy and has drowned. The King hurries to break the news to Ginevra, who collapses in shock. His own grief is heightened when Lurcanio, accusing Ginevra of unchaste behaviour that drove his brother to his death, demands justice in the lists: he will fight anyone who offers to champion her cause. The King disdainfully declares that a wanton is no longer his daughter. Ginevra, bewildered at the charge and at his rejection of her, goes out of her mind.

ACT III

Polinesso has hired two assassins to silence Dalinda. They set about her in a forest, but Ariodante, who has been wandering aimlessly and dejectedly, chances to be there and beats them off. She is amazed to see him alive, and he is equally astonished to learn from her of the trickery of which he was the victim, and which she now sees involved her own death. He sets out immediately for the palace with her.

The King has refused even to see his daughter until a champion for her can be found. Polinesso, with an eye to succession to the throne if he is successful, offers himself. Though Ginevra refuses his aid, her father insists on his acceptance.

Polinesso meets Lurcanio in public combat and is felled by a mighty blow. Lurcanio, still burning to avenge his brother’s supposed death, challenges any further champions of Ginevra, and the King himself is about to enter the lists to retrieve his family honour when a knight whose face is hidden by his closed visor appears for her defence. Lurcanio tells him to prepare for combat, but the knight raises his visor and, to general astonishment, reveals himself as Ariodante. He offers to explain all if the King will pardon Dalinda for her unwitting part in the deception; Odoardo brings news that Polinesso, as he lay dying, has confessed his treachery. The King at once hastens to his daughter with the happy news, and Dalinda, repenting her former love as well as the deception into which it lead her, now gladly accepts Lurcanio’s renewed wooing.

Ginevra, in the apartment to which she has been confined, is giving way to despair when the King joyfully arrives to tell her she is vindicated: he frees her, embraces her, and reunites her with Ariodante. She is astonished and raptured to find him alive after all, and the opera ends with general rejoicing in the great hall of the palace.

Program Notes - AriodanteHandel spent an uncharacteristically long time composing Ariodante. While it took him only twenty-four days to compose Messiah in 1741, he spent more than ten weeks on Ariodante, probably indicating that he was putting special care into the work in the hope of regaining the favor of his audience that had moved toward less refined entertainments.

Ariodante brought the Theatre Royal debut of the Italian castrato, Giovanni Carestini, one of the foremost of his time. Carestini had sung throughout Europe, in Rome, Vienna, Prague, Mantua, Naples, Venice, and Milan, and was brought to London by Handel in 1733 to perform in a number of operas and oratorio performances. His creation and rendering of Ariodante’s title role was exceedingly well received, but

overall attendance was poor. The rival company, Opera of the Nobility, was wrestling with poor attendance as well, and curiously enough mounted a production of Handel’s Ottone (starring the great Farinelli, who never sang for Handel) to compete with Ariodante. Neither company did well that year. Ariodante was produced only once more in Handel’s lifetime, in 1736, and subsequently remained unperformed for nearly two centuries until a revival in Stuttgart in 1928.

Early eighteenth-century tastes notwithstanding, Ariodante is one of Handel’s greatest works. Its music is of a consistently high quality, placing considerable demands on the singers, yet the characterizations in the hands of Handel’s exquisite sense of humanity contribute to the opera’s welcoming accessibility. The story is uncomplicated and quite romantic, and the listener is drawn in with great interest and hopefulness that the purity of the love felt by Ariodante and Ginevra will overcome the inhumanity of their antagonist. Happily, it does.

— Jeffrey ThomasGiovanni Carestini

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Cantors ($500-$999)AnonymousGretchen BrosiusPeter and Susan BrowneBarbara Casey and Richard SigginsDonna ChazenUni CordobaGarniss Curtis

Mag DimondAyame FlintPhilip and Ruth HicksKathryn HobartHallie HoltzmanSusan and Stafford KeeginJames and Joan KellyRichard and Patricia Taylor Lee

William LokkeSusan MannFrank PajerskiCharles QuesenberryDavid and Mary RaubColby and Katherine RobertsEdward TowneDelia Voitoff-Bauman and Steve Bauman

The American Bach Soloists gratefully acknowledge the generous support received from

Contributors & Acknowledgments

Nakamichi Foundation

ClarenCe e. Heller

CHaritable Foundation

$20,000 and aboveGrants for the Arts/San Francisco Hotel Tax

FundClarence E. Heller Charitable Foundation

$10,000-$19,999Charles Hosmer Morse FoundationGoatie FoundationE. Nakamichi FoundationNational Endowment for the Arts

$5,000-$9,999Ann and Gordon Getty FoundationThe Bernard Osher FoundationWallis Foundation

$2,500-$4,999The Michael J. Weller Trust

Up to $2,499AT&T Foundation Matching Gifts Program

AXA Foundation Matching Gifts ProgramThe McNally Family TrustMechanics Bank

MEDIA SUPPORTBay Area News GroupKDFCSan Francisco Classical VoiceSan Francisco ExaminerSan Francisco Guardian

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Royal Patrons ($10,000 and above)Anonymous (2)Hugh Davies and Kaneez MunjeeJan GoldbergAngela Hilt and Blake ReinhardtFraser and Helen Muirhead

Bach Family Circle ($5,000-$9,999)Jose and Carol AlonsoRichard and Sharon BoyerJohn and Lois CroweJudith FlynnMarie Hogan and Douglas LutgenPatricia and George LockeKim and Judith MaxwellJeffrey ThomasKwei and Michele Ü

Capellmeisters ($2,500-$4,999)Wendy BuchenDavid Cates and Cheryl Sumsion

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Alfred and Irene M. GlassgoldConnie Harden and Chuck O’NeillBenjamin and Lynette HartJoan IntratorRobert and Kathleen KaiserValerie and Dan KingNorman T. LarsonJohn LeeOlaf and Jeanette LeifsonLamar LelandBlair MartinJames MeehanPaul MorinVirginia PattersonMark and Katherine PerlAnn PrestonRobert Ripps and Steven SpectorMartin and Elizabeth SeckerPeter and Asiye SonnenGeerat and Edith Vermeij

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($250-$499)AnonymousPeter and Magaret ArmstrongCheryl Arnold and John FrykmanBorden and Betty BloomEric Collier and Joseph NewellChauncey and Emily DiLauraBob and Margaret EldredBarbara Thomas FexaCynthia FosterDavid Franklin and Ruedi ThoeniPaula Gambs and A. JohnRobert and Ann GoldbergDavid and Dorli HanchetteSteve and Randi HermanKen HoffmanNorman and Rae LeaperJennifer LindsayNoreen MazelisSharon MenkeMarian MetsonAndrew Morgan and Danny RichardKrista Muirhead and Barry GrossmanDebra NagyLissa NicolausChristopher RobertsonCynthia SawtellGary Schilling and Stefan HastrupMichael and Karen TraynorMillicent TomkinsThomas and Ann WatrousEffie WesterveltDavid WilsonFoster and Betty Wright

Choristers ($100-$249)AnonymousPhyllis and Tom BaerJeff BartakJohanna and Tom BaruchRobert BermanAl Bernstein

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Aline SoulesDavid Stein and William StewartMariana SteinbergGerald and Sandra SwaffordKenneth TaylorRobert ThompsonDean and Jeanice TippsRick TrautnerKurt Von MeierRichard WhiteJerri Witt

Friends ($25-$99)Anonymous (2)Cindy AlbersShirley ArmorAdrienne Austin-ShapiroSchuyler and Susie BaileyRoger BarlowCharles BeadleRachmael Ben-AvramErnst and Hannah BibersteinJohn BinghamMary BraytonIrving and Karen BroidoStephanie CartwrightAnn ChengRoger and Ana ChretienRichard and Evelyn ClairJulie CoffinJP Crametz and T. RavidJosh Eichorn and Sandra WhitneyMarcella FassoTom and Cherielyn FergusonCassandra ForthSandra FrancisSusan Garbini and Ian MacGregorVictor and Linda GavendaJudge and Mrs. Ronald M. GeorgeDavid GoiBasil GuyDavid HammerMargaret HardingLauri HarperCynthia HeardenRobert Herriot and Patricia LandmanPeter HusonBob Isaacson and Virginia StearnsCary and Elaine JamesAnn JensenElaine JohnsonLaurel JohnsonShelley JohnsonGeorge KnudsonGeorge Kovatch and J. Robert WiskotzilNatalie Krawczyk

Contributors & Acknowledgments

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Jennifer LaneWilliam LangleyHarold and Helene LecarRobert LevinLaura LouisLarry MariettaAnn McCownStepheny McGrawMinako MiyazakiBarbara MolloyMichael and Jennifer MoranDiane and John MusgravePaul NettelmanMichael and Elfrieda O’NeillMary OsterlohArie PerryDove PierceThomas RamosEugene and Libby RenkinThomas RobinsonJulius Otto SchindlerNorman SchlossbergMarcelle SchollLawrence SeverinoCecelia ShawDavid SheehanNina ShoehalterAlan SmithSam W. SmithMason and Sandra StoberLi-Hsia WangHeidi WatermanSuzanne Young

Bach Kids Sharon and Richard Boyer in honor of:

Jake D. Sutter Keira N. Sutter Alexander J. Sutter Leah G. Sutter

Jan Goldberg in honor of: Cameron Gremmels Michael Goldberg Alexander Goldberg

Dorli and David Hanchette in honor of: Kevin Wottrich Meaghan Wottrich

Sandy Ogden in honor of: Sarah Sterling Ogden Katherine Lanier Ogden Matthew Currier Ogden Ashley Katrine Ogden

Tributes Anonymous

in honor of Moreen MazelisPhyllis and Thomas Baer

in honor of Katherine McKee RobertsSharon and Richard Boyer

in memory of Mamie F. Vercelli in memory of Edward T. Smithburn in memory of Rosemary Pollastrini

Cynthia Foster in honor of Andrew Morgan and Katherine McKee

Joan Intrator in memory of Pat Wolf

Janice Masterton in honor of Jim and Jennifer Steelquist in memory of Larry Masterton

Sandy Ogden in memory of Michael Barcun in memory of Patricia Wolf in honor of Mr. & Mrs. Charles C. Ogden in honor of Dr. & Mrs. David L. Ogden

Libby and Gene Renkin in honor of Harriet and Bill Lovitt

Robert Ripps and Steven Spector in honor of Don Scott Carpenter

Colby and Katherine Roberts in memory of Patricia Wolf

Norman Schlossberg in memory of Henry Goldberg

Karen and Michael Traynor in honor of Dr. Garniss H. Curtiss

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Contributors & AcknowledgmentsIn Memory of Perry Foster Peter and Susi Browne Mary Brayton Nancy and Penn Butler Michael Chappell Sarah C. Chase Bim Coyle and Pat Cannell Coyle Tom and Cherielyn Ferguson Jane Lang Stepheny McGraw The McNally Family Trust Sandy Ogden Jeffrey Thomas The Michael J. Weller Trust

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Community IndividualsCarol AlonsoJohanna BaruchSharon BoyerBarbara CaseySilvia DavidsonCynthia FosterKevin and Peggy HarringtonKen HoffmanShelley JohnsonJennifer Lane Elfrieda LangemannRaymond MartinezPaul MorinKaneez MunjeeLissa NicolausKatherine Roberts PerlNancy Quinn and Tom DriscollAnn RosenfeldMillicent TomkinsKwei and Michele ÜHeidi WatermanDavid WilsonRick Yoshimoto

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Where it all beginsWhere it all beginsWhere it all beginsWednesday, October 19, 8 p.m.

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