February 3, 2016 at The Chan Centre - Early Music Vancouver...2016/02/03 · Largo - Adagio -...

February 3, 2016 at The Chan Centre

2 | Early Music Vancouver Main Concert Series 2015-16 [email protected]

Early Music Vancouver

board of directors

Tony Knox president

Spencer Corrigal cpa,catreasurer

Sharon Kahnpast president

Stuart BowyerChris Guzy

Tim Rendell cpa,caIngrid Söchting

Vincent TanMark VesseyFran Watters

÷

José Verstappen cmartistic director emeritus

÷

staff

Matthew Whiteexecutive & artistic director

Nathan Lorchbusiness manager

Alicia Hansenproduction & programme coordinator

Diana Magallonmarketing & fundraising coordinator

Ron Costanzovolunteer coordinator

Jan Gatesevent photographer

Laura Murray Public Relationsmarketing & media relations

Trevor Mangionand

The Chan Centre Box Office Staffemv ticket office: 604.822.2697

1254 West 7th Avenue, Vancouver BC, V6H 1B6

tel: 604.732.1610 fax: 604.732.1602

[email protected] Interested in joining our volunteer corps? Phone 604.732.1610 for details.

Our concerts are made possible through the generous assistance of our many volunteers who offer their time.

For today's concert, we would like to thank in particular:

Culture is the expression of Canada’s soul; it defines us and helps bring us together. The Government of Canada places great value on culture and is committed to supporting the arts and our artists. This is why we are proud to support these performances by Early Music Vancouver. Through its ecclectic performances and other artistic activities, this organization gives Canadian musicians the chance to demonstrate their talent and bring our culture to life.It lets music lovers discover melodies and harmoniesthat may come from a distant time, but still have the power to delight and inspire us today.

As Minister of Canadian Heritage, I would like to thank the Vancouver Society for Early Music and all the artists, organizers and volunteers who made theseperformances possible. I applaud your efforts to promote understanding and appreciation of earlymusic.

La culture est l’expression de l’âme du Canada.Elle contibue à nous définir et à nous unir. Le gouvernement du Canada accorde beaucoup d’importance à la culture, et il a à cœur de soutenir les arts et les artistes canadiens. C’est pour cetteraison que nous sommes fiers d’appuyer la présentation de ces concerts par l’organisme Early Music Vancouver. Grâce a ses spectacles et autres activités artistiques, cet organisme donne la chance aux musiciens canadiens de faire valoir leur talent et d’animer notre culture. Il permet aux mélomanes de découvrir des mélodies et des harmonies qui, bien que d’une autre époque, arrivent encore à nous séduire et a nous inspirer.

À titre de ministre du Patrimoine canadien, jeremercie la Vancouver Society for Early Music, ainsi que les artistes, les organisateurs et les bénévoles qui assurent la présentation de ces concerts. Vos effortsen vue de mieux faire connaître et apprécier la musique ancienne méritent d’être applaudis.

The Honourable / L’honorable Mélanie Joly

Culture is the expression of Canada’s soul; it defines us and helps bring us together. The Government of Canada places great value on culture and is committed to supporting the arts and our artists. This is why we are proud to support these performances by Early Music Vancouver. Through its ecclectic performances and other artistic activities, this organization gives Canadian musicians the chance to demonstrate their talent and bring our culture to life. It lets music lovers discover melodies and harmonies that may come from a distant time, but still have the power to delight and inspire us today.

As Minister of Canadian Heritage, I would like to thank the Vancouver Society for Early Music and all the artists, organizers and volunteers who made these performances possible. I applaud your efforts to promote understanding and appreciation of early music.

earlymusic.bc.ca Early Music Vancouver Main Concert Series 2015-16 | 3

the artists programme

Dorothee Mields soprano

Sumner Thompson tenor / baritone

and an instrumental ensemble directed by

Marc Destrubé violin

Linda Melsted violin

Joanna Blendulf viola da gamba

Elisabeth Reed viola da gamba

Natalie Mackie viola da gamba & violone

Nathan Whittaker violoncello

John Lenti theorbo

Michael Jarvis chamber organ

Katrina Russell bassoon

THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING

DEVICE IS STRICTLY PROHIBITED

Pre-concert chat with host Matthew White at 6:45:

Dorothee Mields & Marc Destrubé

Johann Rosenmüller Sonata Settima à 4 (1619-1684) from Sonatae à 2,3,4 e 5 stromenti da arco et altri (1682)

– 2 violins, 2 violas da gamba & basso continuo

Largo - Adagio - Prestissimo - Adagio - Allegro - Adagio

Johann Philipp Krieger Einsamkeit, du Qual der Hertzen (1649-1725) – soprano & basso continuo

Johann Ahle Herr Gott, mein Heiland (1658) (1625-1673) – baritone, 2 violins & basso continuo

Misericordias Domini – soprano, tenor, 2 violins & basso continuo

Jubilus-Jesu dulcis – baritone, 3 violas da gamba, violone & basso continuo

Dietrich Buxtehude Ich suchte des Nachts, BuxWV 50 (c.1637-1707) – soprano, baritone, 2 violins & basso continuo

INTERVAL

Dietrich Buxtehude Ciacona in e minor, BuxWV 160 – transcribed by Marc Destrubé for 2 violins, viola da gamba & cello

Quemadmodum desiderat cervus, BuxWV 92 (ca. 1690) – soprano, 2 violins & basso continuo

Johann Adam Reincken Sonata in d minor (1643-1722) from Hortus musicus, 6 Sonatas and Suites, No. 4

- for 2 violins, bass viol & basso continuo i. Sonata. Grave (Adagio) - Allegro - Solo. Adagio ii. Allemand. Allegro iii. Courant iv. Saraband v. Gigue. Presto

Matthias Weckmann Wie liegt die Stadt so wüste (1616-1674) – soprano, baritone, 2 violins, 3 violas da gamba & basso continuo

a collaboration with

&pac i f i cb a r o q u eo r c h e s t r a


pacific baroque orchestraboard of trustees

Richard L. Beecherpresident

Yolanda Zengtreasurer

Tracy Taisecretary

Gabrielle Komorowska, Jennifer West

AnonymousRoman & Sigrid BabickiVic & Joan BakerColleen BarlowKenneth A. BeecherRichard BeecherAlan & Elizabeth BellPaul G. BradleyHeather BriggsBrown Strachan AssociatesNorma ChatwinAllen ChallmieMarylin ClarkRoger A ColeRonald A. CostanzoJudith DavisElisabeth DehalmyElizabeth DemnerDr. Stephen DranceHelen ElfertVirginia EvansAdam FarsonAlexander FisherRobert & Marthena FitzpatrickCharles and Lucile FlavelleFamily Fund, held at theVancouver FoundationSylvia K. F. FocklerMissy FollwellMaureen GirvanJohn GoheenUrsula GrafPatricia GrindlayElizabeth GuilbrideIan HamptonMartha HazevoetJane Flick & Robert HeidbrederAnnie HessAllyson M HunterChristina Hutten Morgan InglisUrsula JaekelJadwiga Jankowska& Jerzy JankowskiGabrielle KomorowskaMyrna KostashJ. Evan & Janice KreiderDanette T. KuglerAdele LafleurJoanna LehmannMaureen LewtonAudrey LiebermanLeona LuchkowBarbara Maass David W. McMurtryNicolas Maftei

Elaine J. MakortoffLena & Olof MalmbergJohn ManciniMonica MarantzEmil MarekMelody MasonPeggy Anne MathisenChristina MeyersColin L. MilesMichael J. & Jane MillardJane MillenIrene MillerMission Software SystemsBarbara MoonDonelda J ParkerStephen B. Partridge Randall M PetermanHans-Karl PiltzMerril PrestonGerry PrinsPeter ReisElizabeth RoachPeter RohloffRobert RothwellJohn SawyerErna SchaeferWaltraud SchneiderGeraldine Jill SchroderLydia SemotukVerna SemotukJuliet SimonLisa SlouffmanIngrid SöchtingDeborah E. SommerfeldCheryl SteinhauerSam SullivanDavid A. SwanThomas & Margaret TaylorHoward TeasleyJo Anne TharalsonSheryl ThurstonCraig Tomlinson & Carol TsuyukiJosé VerstappenDr. Bevan Voth and Barbara NickelBarbara M. WalkerBarrie WebsterAndrea WestcottGwyneth WestwickJames WhittakerMartha WintemuteRichard WongDr. Michael A. WoolnoughWilliam WorrallYolanda ZengLouise Zizka

PACIFIC BAROQUE ORCHESTRADONORS

pacificbaroque.com

PACIFIC BAROQUE ORCHESTRA is supported by

AVAILABLE IN HD ATATMACLASSIQUE.COM

ACD

226

78

GEORGEFRIDERICHANDEL

ORLANDO

To be released on September 24, 2013

Recorded following Orlando’s performances at the 2012 Vancouver Early Music Festival.

Orlando � Owen Willetts|COUNTERTENOR

Angelica � Karina Gauvin|SOPRANO

Medoro � Allyson McHardy|MEZZO-SOPRANO

Dorinda � Amanda Forsythe|SOPRANO

Zoroastro � Nathan Berg |BASS

Pacific Baroque Orchestra � Alexander Weimann|CONDUCTOR

For sale in the lobbyat tonight's concert

Recorded following the Orlando performanceat the 2012 Vancouver Early Music Festival

ACD

226

78A

CD2

2678

GEORGEFRIDERICHANDEL

ORLANDOORLANDOORLAOrlando � Owen Willetts|COUNTERTENOR

Angelica � Karina Gauvin|SOPRANO

Medoro � Allyson McHardy|MEZZO-SOPRANO

Dorinda � Amanda Forsythe|SOPRANO

Zoroastro � Nathan Berg |BASS

Pacific Baroque Orchestra � Alexander Weimann|CONDUCTOR


the musicians

Dorothee Mields Sumner Thompson Marc Destrubé

Dorothee Mields soprano

Dorothee Mields is one of the leading interpreters of 17th- and 18th-century music and is beloved by audiences and critics alike for her unique timbre and moving interpretations. Her flawless technique and the ethereal clarity of her voice also make her ideally suited for works by contemporary composers.

She appears regularly with the Collegium Vocale Gent, Bach Collegium Japan, Netherlands Bach Society, Freiburger Barockorchester, RIAS Kammerchor, Orchestra of the Eighteenth Century, L’Orfeo Barockorchester, Lautten Compagney and Klangforum Wien under such conductors as Stefan Asbury, Ivor Bolton, Frans Brüggen, Pierre Cao, Beat Furrer, Paul Goodwin, Philippe Herreweghe, Wolfgang Katschner, Gustav Leonhardt, Emilio Pomárico, Hans-Christoph Rademann, Ludger Rémy, Peter Schreier, Andreas Spering, Christoph Spering, Stephen Stubbs, Masaaki Suzuki and Jos van Veldhoven.

Dorothee Mields is a welcome guest at international festivals, including the Leipzig Bach Festival, Suntory Music Foundation Summer Festival in Japan, Boston Early Music Festival, Flanders Festival, Vienna Festival, the Handel Festival in Halle and the Tanglewood Festival.

A steadily growing discography with several award-winning recordings documents her artistic achievements. Recent releases of “In Darkness Let me Dwell” and “Loves Alchymie” (with Hille Perl and Lee Santana, Sony/dhm) and Purcell “Love Songs” and “Loves Madness” (with the Lautten Compagney, Carus) have received great critical acclaim. Equally well received was “Inspired by Song” with Stefan Temmingh (Sony/dhm) released in spring 2014.

Sumner Thompson tenor / baritone

Described as possessing “power and passion,” and “stylish elegance,” Sumner Thompson is in high demand on the concert and opera stage across North America and Europe.

He has appeared as a soloist with many leading ensembles and orchestras including the Britten-Pears Orchestra, the National Symphony, the Boston Early Music Festival Orchestra, Apollo’s Fire, Pacific Baroque Orchestra, Les Boreades de Montreal, Mercury Baroque, Les Voix Baroques, The Handel and Haydn Society, Boston Baroque, Tafelmusik, the Orpheus Chamber Orchestra, gli angeli genève, and the orchestras of Cedar Rapids, Phoenix, Richmond, Memphis, Indianapolis, Buffalo, and Charlotte.

Recent engagements included his first St. Matthew Passion as a tenor at St. Thomas’ in New York City, a repeat performance of Handel’s Messiah with Boston’s Handel and Haydn Society, Handel’s Saul with Boston’s Back Bay Chorale, Monteverdi’s 1610 Vespers with the critically acclaimed Green Mountain Project, Britten’s War Requiem with the Boston Philharmonic, Bach’s St. John Passion at the National Cathedral, and the title role in Britten’s Saint Nicolas with Philadelphia Choral Arts. On the operatic stage he performed the role of El Dancaïro in Carmen with the Cincinnati Opera in the Spring of 2014, and performed the role of Siegmund in a concert version of Act I of Wagner’s Die Walküre in Boston in the Spring of 2015.

Mr. Thompson can be heard on the Boston Early Music Festival’s Grammy nominated recording of Lully’s Psyché on the CPO label, with the Handel and Haydn Society on their recording of Handel’s Messiah on the Coro label, and also with Les Voix Baroques on Canticum Canticorum, Carissimi Oratorios, and Humori, all on the ATMA label.

In addition to his musical pursuits, Mr. Thompson spends his time restoring his 1885 Stick-style Victorian home, building various types of bass guitars, and entertaining his 3 year old daughter.

Marc Destrubé (director) violin

Marc Destrubé enjoys a diverse international career on historical and modern violins, performing as soloist, chamber musician, concertmaster or director/conductor. He is co-concertmaster of the Orchestra of the 18th Century (Amsterdam), first violinist of the Axelrod String Quartet (Smithsonian Institution, Washington, DC) and of the Vancouver quartet Microcosmos, and is a regular guest director and soloist with the Australian Brandenburg Orchestra and Lyra Baroque Orchestra. In Vancouver he has been director of the Pacific Baroque Orchestra, concertmaster of the CBC Radio Orchestra and first violinist with the Purcell String Quartet.

He performs regularly for Early Music Vancouver, is Artistic Director of the Pacific Baroque Festival (Victoria), a member of the Turning Point Ensemble, and concertmaster of the Oregon Bach Festival Baroque Orchestra. His recording of Haydn violin concertos (ATMA) has been critically acclaimed, and he has commissioned and premiered numerous works by Canadian composers.

A highly-respected teacher, he has been a visiting artist at the Paris, Utrecht and Moscow Conservatories, the Banff Centre, University of Indiana, Case Western University, UVic, UBC and VCC. He is on


Handel’s Apollo e Dafne Friday, March 18, 2016 at 7:30 pm Vancouver Playhouse 600 Hamilton Street

When public performances of opera were banned in Rome by papal edicts in the late seventeenth and early eighteenth centuries, opera audiences and composers turned to the dramatic cantata for their fix of lust, madness and death. Under the cover of portraying mythological or historical figures, cantatas could treat the same subjects that the Pope found so objectionable without fear of legal action. George Frideric Handel’s Apollo e Dafne is perhaps the greatest example of one of these mini operas masquerading under the convenient pseudonym of ‘cantata’. Full of exquisite music and the vitality that characterizes Handel’s early years.

A co-production with Early Music Vancouver in partnership with White Rock Concerts

Handel’s Music for the Royal Fireworks Sunday, April 3, 2016 at 3:00 pm Chan Centre 6265 Crescent Road at UBC

The members of the Pacific Baroque Orchestra join forces with the UBC Baroque Mentorship Orchestra Programme to perform Handel’s suite for wind band written for the fireworks celebration commemorating the end of the War of Austrian Succession in April of 1749. Fittingly, the festively-sized orchestra of students and professional players will perform a re-scoring of this famous suite for full orchestra that Handel composed to benefit the student residents of the Foundling Hospital in London.

A collaboration with the UBC School of Music and Early Music Vancouver

pacific baroque orchestraalexander weimann | artistic director

UPCOMING CONCERTS

pacificbaroque.com


the faculty of the Berwick Academy at the Oregon Bach Festival and course co-director of the Twin Cities Baroque Instrumental Programme. http://marcdestrube.com

1 anonymous violin, Rogeri School (Brescia, 1685) 1 early baroque bow, Michelle Speller (Vancouver, 2012)

Linda Melsted violin

The passionate artistry of violinist Linda Melsted has won the hearts of audiences across North America, Europe, and Japan. She has appeared as soloist, member, and leader of many outstanding ensembles, including Tafelmusik, Freiburg Baroque Orchestra, Pacific MusicWorks, Portland Baroque Orchestra, Pacific Baroque Orchestras, and is currently concertmaster of Seattle Baroque Orchestra. Linda is the featured soloist in Tafelmusik’s documentary “Le Mozart Noir”, and has recorded for Sony, ATMA Classique, and Harmonia Mundi.

Linda’s true love is chamber music. She has performed with many ensembles in chamber music series from Toronto to Seattle including Early Music Vancouver, Gallery Concerts, Northwest Showcase, Camerata Musica, Folia, Discovery Island Music Festival, La Primavera, and Toronto Music Garden. She is co-founder of the new chamber ensemble sound|counterpoint (www.soundcounterpoint.org) as well as the Cosi Quartet, a new classical oboe quartet, and the Salish Sea Players, a group dedicated to bringing early music to retirement and nursing facilities (www.salishseaplayers.org).

1 violin by Nicolo Amati (Cremona, 1670)

Joanna Blendulf viola da gamba

Joanna Blendulf has performed and recorded with leading early music ensembles throughout the United States and is a sought-after instructor and coach. She maintains an active performance schedule on viols and baroque cello, working with the Nota Bene Viol Consort, Wildcat Viols, the Catacoustic Consort, Parthenia, the Portland Baroque Orchestra and Pacific MusicWorks. Ms. Blendulf holds performance degrees with honors from the Cleveland Institute of Music and the Jacobs School of Music at Indiana University where she was awarded the prestigious Performer’s Certificate for her accomplishments in early music performance. Joanna’s summer engagements have included performances at Tage Alter Musik Regenburg, Musica Antigua en Villa de Lleyva in Colombia, the Bloomington, Boston and Berkeley Early Music Festivals, the Ojai Music Festivals as well as the Carmel and Oregon Bach Festivals. Ms. Blendulf has been on the faculties of the University of Oregon and Indiana University Historical Performance Institute as well as viol workshops across the country.

1 bass viol by Dominik Zuchowicz (Ottowa, 2006)1 bass viol bow by H.F. Grabenstein (Williston VT)

Elisabeth Reed viola da gamba

Elisabeth Reed teaches Baroque cello and viola da gamba at the San Francisco Conservatory of Music, where she is co-director of the Baroque Orchestra. A member of Voices of Music, Pacific Musicworks, and Wildcat Viols, she has also appeared with the Seattle, Portland, Pacific, and Philharmonia Baroque Orchestras, and at the Boston Early Music Festival, the Berkeley Early Music Festival, the Ohai Festival, the Whidbey Island Music Festival, the San Luis Obispo Mozart Festival and the Smithsonian Institution. 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 also teaches baroque cello and viola da gamba at the University of California at Berkeley and is a Guild-certified practitioner of the Feldenkrais Method of Awareness Through Movement, with a focus on working with musicians and performers.

1 viola da gamba by Mark Norfleet (Ann Arbor, 1992)

Natalie Mackie viola da gamba & violone

Natalie Mackie studied cello at the Conservatoire de Musique (Québec), followed by a degree from the School of Music, University of British Columbia. While at UBC, she began studying viola da gamba as well, and later pursued further studies at the Koninklijk Conservatorium in The Hague. Natalie has played with many ensembles in Canada and the U.S., including New World Consort, Les Coucous Bénévoles, Tafelmusik Baroque Orchestra, Seattle and Portland Baroque Orchestras, Les Voix Humaines, Les Voix Baroques, Tempo Rubato, Oregon Bach Festival Orchestra, Victoria Baroque Players, Vancouver Intercultural Orchestra, and others. She has toured throughout Canada, the U.S. and Europe, playing in cities such as New York, Boston, San Francisco, at London’s Wigmore Hall, Paris, Cologne, Strasbourg, Utrecht and Bologna, among others, and has recorded for Radio France, German Radio, BBC, CBC, and NPR, as well as the Canadian label Atma Classique. She plays violone, viola da gamba, and occasionally baroque cello, in Pacific Baroque Orchestra, and the Bach Cantata Project players, and frequently appears in Early Music Vancouver’s summer Festival. Natalie also has a passionate and abiding interest in new music and performs newly commissioned works both as a soloist and with the ensembles of which she is a member.

1 violone by Dominik Zuchowicz (Ottawa, 1991), after Gasparo da Salo

Nathan Whittaker violoncello

Nathan Whittaker is a member of the Seattle Baroque Orchestra and the Seattle Baroque Soloists and performs regularly with the Pacific Baroque Orchestra (Vancouver B.C.) and Portland Baroque Orchestra. As a member of Plaine & Easie, an Elizabethan era quartet, he won the Grand “Unicorn” Prize in the 2009 EMA Medieval and Renaissance Competition in New York City. Over the past year, Mr. Whittaker has made appearances at the Oregon Bach Festival, Indianapolis Early Music Festival, Vancouver Early Music Festival, and the American Handel Festival. He has served on the faculty of the Indiana University String Academy and continues to be in demand with recent lecture appearances at the Pacific Northwest Viols Conference, the Gallery Concert series, and the University of Washington. He recently joined the faculty at The Cornish College of the Arts in Seattle and the Academy of Music Northwest.

1 violoncello by Gustav Griener (Breitonfeld, Germany, 1875)

John Lenti lute

John Lenti’s performances on theorbo, lute, and baroque guitar have been described as “a joy to behold” (Seattle Times) and praised for their “nuanced beauty and character” (Gramophone). He regularly deploys his “unusually big sound” (Third Coast Digest) in opera pits, churches, theaters, and living rooms all over the place, at the Vancouver Early Music Festival, and with, among others, American Bach Soloists, Carmel Bach Festival, Haymarket Opera, the Los Angeles Philharmonic, Portland Baroque Orchestra, Portland Opera,


BRING EMV HOME!

Host an EMV Guest MusicianDo you have a guest room that often sits empty? Do you enjoy well-educated, articulate houseguests from across the country and the world? Do you like Classical music? Would you like to get the ‘inside scoop’ about performing from a professional musician? If your answer to any of these questions is ‘yes’, then I invite you to consider joining the growing number of EMV supporters who house visiting guest musicians.

Get to know some of the wonderful musicians that come to Vancouver to bring you great music.

Host only when it is convenient for you; all you need to provide is a private room.

For more information please contact Alicia Hansen,

Production Manager, Early Music Vancouver:[email protected]

604.732.1610 extension 2004

Early Music Vancouverthanks the following for graciously hosting

some of the guest musicians for today's concert:

Maria HarrisSharon Kahn

J. Evan KreiderMarlene LeGates & Al Dreher

Seattle Baroque, Seattle Symphony, and Seraphic Fire. He enjoys nothing so much as making music with his chamber ensembles, the I-90 Collective, Ostraka, and Wayward Sisters. When not playing one or more of the many plucked, fretted instruments upon which he may expected to do something “adroit” (Washington Post) any given week, he may be found in Seattle with his wife, Sarah, singing songs and playing banjo for their baby son, Victor. John is a native of South Carolina and attended the North Carolina School of the Arts and Indiana University. He studied lute with Nigel North, Jacob Heringman, and Elizabeth Kenny. Great musical help and inspiration have come from Ronn McFarlane, Ricardo Cobo, Pat O’Brien, and Dr. Walter Gray.

1 theorbo by Klaus Jacobsen (London, 1985), after Matteo Sellas, Venice, 1635

Michael Jarvis chamber organ

Michael Jarvis has been acclaimed as one of Canada’s finest harpsichordists, fortepianists, organists and continuo players, and is in demand as a collaborative artist and performance practice coach. He has performed with many of Canada’s leading orchestras and chamber ensembles across Canada, the US and Europe. As a conductor he has led many diverse programmes from 17th-century French theatrical dance and English theatre music to 21st-century 12-tone opera. He has recorded for many labels, including Marquis Classics, Hungaroton, ATMA, Naxos, Solitudes and Avalon, and has many times broadcast nationally and regionally for the C.B.C., as well as nationally across the U.S. on N.P.R. His CD of Hummel’s op. 5 violin sonatas (with violinist Paul Luchkow) was chosen as a finalist as best classical album of the year in the Western Canadian Music Awards 2013. He has taught at UBC, the University of Toronto and Wilfred Laurier University, was featured on two national Canadian television specials, “A Baroque Christmas” and “A Baroque Easter” and was also co-host and star of the 13-part television series “Come into the Parlour” for Bravo-tv. He is also an avid antique phonograph restorer and early sound recording collector. Michael lives in Victoria, BC.

1 baroque-style chamber & continuo organ by Helmuth Wolff (Laval, QC, 1995)- from the instrument collection of Early Music Vancouver

Katrina Russell bassoon

Born and raised in Edmonton, Katrina Russell holds a Bachelor of Music Degree in Performance from The University of Victoria and a Graduate Diploma in Historical Performance (with distinction in performance) from the New England Conservatory of Music, Boston. In 1992 Katrina moved to London, England where she spent eighteen years playing both modern and historical bassoons. As a specialist in historical performance, she has played and recorded with many of the period instrument ensembles in Britain and Europe, including The English Concert, The King’s Consort, The Orchestra of the Age of Enlightenment, The Academy of Ancient Music, The Hanover Band, The Gabrieli Consort and Players, L’Orchestre des Champs-Élysées, The Orchestra of “The Sixteen”, and The Amsterdam Baroque Orchestra. In late 2010 Katrina and her husband (British horn player Andrew Clark) relocated to the West Coast, and have established themselves near Ladysmith where they have a speciality brass making workshop producing horns and trumpets. Katrina is on faculty at the Nanaimo Conservatory of Music and in addition to returning to the U.K to perform, makes regular appearances with the Vancouver Island Symphony as well as the Victoria Baroque Players, Pacific Baroque Orchestra and Early Music Vancouver.

1 bassoon by Olivier Cottet (1986) after Eichentopf (early 18th cetury)


programme notes

This evening’s programme explores how “Pre-Bach” German Baroque composers created music of stark beauty to express religious devotion and to make sense of the constant peril of death brought on by the lingering effects of The Thirty Years’ War. Ending with the Treaty of Westphalia in 1648, this was the longest and most destructive war fought on German soil until the twentieth century. It had a profound impact on these composers that gave extra poignancy to all music of the period – both joyous and melancholic. Long neglected, the rich and varied repertoire of mid-seventeenth century Germany laid the expressive groundwork for the musical language of the great J.S. Bach.

Discussion of Johann Rosenmüller’s music is often eclipsed by his colourful, even scandalous, personal biography. After graduating from the University of Leipzig in 1640, serving as principal organist of the famous Nicolai church, and working as an assistant at St. Thomas’s, he was imprisoned in 1655 on charges of pederasty. After escaping, he fled to Italy, and by 1658 was working at both Saint Mark’s and L’Ospedale della Pietà in Venice. At the end of his life he returned to Germany, where he worked for 10 years as choirmaster at the court of Duke Anton-Ulrich of Brunswick-Wolfenbüttel. Whether or not there was any truth to the allegations that forced him to flee Germany, his music masterfully incorporates German Renaissance contrapuntal conventions with new Italian musical trends in a style that his uniquely his own.

While almost completely unknown today, Johann Phillip Krieger was one of the most distinguished German musicians of the period. A student of Rosenmüller’s, he was, for over forty years, Kapellmeister at Weissenfels. Music at the court flourished under his leadership. He was a prolific composer who wrote over 2,000 cantatas, at least 18 operas, trio-sonatas, etc. Sadly, much of his work has not survived and we have copies of only 76 of his original 2,000 cantatas!

Today, Johann Ahle is known for his hymn melodies of which three remain in the German Evangelical Hymn book. He also wrote an important treatise on choral singing that was published several times during his lifetime. Much of his compositional output consists of sacred choral and vocal works like the ones you will hear on the programme tonight. He was organist for many years at the Church of St. Blasen in Mühlhausen. On his death, he was replaced first by his son Johann Georg Ahle (1651-1706), and then, briefly, by J.S. Bach.

The best known composer on tonight’s programme, Dietrich Buxtehude is the most important composer of the generation between Heinrich Schütz and J.S. Bach, and the composer of some of the most arresting, progressive, and beautiful music of the German Baroque. As one of the greatest organists of the period, he held one of the most coveted posts in northern Germany at the Marienkirche in Lübeck. J.S. Bach demonstrated his admiration by walking over 280 miles to

study with Buxtehude. When Bach finally returned to his full-time position in Arnstadt, the church council rebuked him for his long absence and criticized his new, “improper”, and “curious” chorale harmonisations. Although there is no precise evidence of how his playing changed, Buxtehude must have made a big impression on young Bach.

Ich suchte des Nachts, BuxWV 50 is Buxtehude’s sensual setting of a passage from the Song of Songs and is an exquisite evocation of a woman restlessly pacing and longing for her lover. The ostinato, or ground bass, was one of the most common musical devices of the seventeenth century. Over the repeating harmonic pattern, musicians dreamt up melodic variations that demonstrated their compositional skill and virtuosity. Dietrich Buxtehude was particularly fond of this technique and his Ciacona in e minor, BuxWV160, originally written for organ, is one of his best.

The sacred cantata Quemadmodum desiderat cervus, BuxWV 92, is one of Buxtehude’s six settings of a Latin text. It is the ardent song of a believer eager to meet his Creator and look on His face – ‘My soul thirsts after thee, O Lord’. Above the ciacona bass, Buxtehude crafts increasingly florid, even ecstatic variations that reflect the intense longing expressed in the text.

Johann Adam Reincken, was, along with Dietrich Buxtehude, regarded as one of the best organists in Germany. He lived an extraordinarily long life and influenced multiple generations of players and composers. In his book Music in the Castle of Heaven, John Eliot Gardiner relates the following anecdote:

“Bach himself returned to play the organ in Katharinenkirche in Hamburg for two hours at a stretch in the presence of Reincken, who at that time was almost 100 years old and who listened to him with particular pleasure. Bach chose at the request of those present to improvise on none other than the old master’s chorale variations on An Wasserflüssen Babylon – at great length (for almost half an hour) and in different ways that no doubt included allusions to and interpolations from Reincken’s work. For this he was shown much courtesy by the old composer. To have been told that “I thought that this art was dead, but I see that it lives in you” must have moved Bach deeply.”


Matthias Weckmann began his musical training in Dresden under the direction of Heinrich Schütz and then went on to Hamburg where he worked with Jacob Praetorius. He became organist in Dresden at the Electoral Court of Saxony and then in 1655 was named organist at the Jacobikirche in Hamburg, where he founded the renowned Collegium Musicum. Wie liegt die Stadt so wüste, was inspired by a terrible plague that struck Hamburg in 1663, killing Weckmann’s boss, the town cantor Thomas Selle, and a fellow organist, Heinrich Scheidemann. The text, from the Lamentations of Jeremiah, is reshuffled and set up as a dialogue between the soprano and bass. The soprano assumes the role of the narrator and symbolizes the mourning widow, the city of Jerusalem, while the bass takes the part of the prophet Jeremiah. The structure of the dialogue is underlined by the soprano’s accompaniment being limited to continuo while the bass is accompanied by full string ensemble. The two voices only come together at the end in their cry for help “Ach Herr, siehe an mein Elend” (O Lord behold my affliction!). It is not difficult to imagine that Weckmann personally identified with Jeremiah as they each lamented the devastation of their cities.

– Brian Groos and Matthew White, February 2016

Early Music Society / Vancouver Summer Festival July 2015 / 150 line screen

greyscale / 3.5” x 4.75”

www.earlymusicsocietyoftheislands.ca

Join us in beautiful Victoria, BC for our 2015-2016 season. Subscriptions and tickets now available. For details visit our website or check us out on Facebook

Early Music SocietyOF THE ISLANDS

31st

Praetorius Christmas Vespers Tafelmusik Collegium Vocale Gent Piffaro, The Renaissance Band Byron Schenkman and Friends Victoria Baroque Players Dialogos Ensemble CapricePick up our colourful calendar/brochure

in the lobby tonight – which includes full details about the summer festival, and about the

upcoming 2015-16 winter season.

earlymusic.bc.ca


texts & translations

Johann Rosenmüller (1619-1684):

Sonata Settima à 4from Sonatae à 2,3,4 e 5 stromenti da arco et altri (1682)

2 violins, 2 violas da gamba & basso continuo

Largo - Adagio - Prestissimo - Adagio - Allegro - Adagio

Johann Philipp Krieger (1649-1725):

Einsamkeit, du Qual der Hertzensoprano & basso continuo

Einsamkeit, du Qual der Hertzen, du verderbst mir alle Lust. Will ich nur ein wenig schertzen,fi nden sich die größten Schmertzen in der abgezehrten Brust. Einsamkeit, du Qual der Hertzen,du verderbst mir alle Lust.

Einsamkeit, du Qual der Seelen, du betrübst mich biß in Todt: Deine Pein ist nicht zu zehlen,wolt ich sie auch gleich verhehlen, kam ich in die größte Noth. Einsamkeit, du Qual der Seelen,du betrübst mich biß in Todt.

Einsamkeit, du Qual der Hertzen, halt mich doch nicht länger auf! Sihst du nicht die Hertzen schertzenmit den schönsten Liebes-Kertzen? Laß dem Glücke seinen Lauff . Einsamkeit, du Qual der Hertzen,halt mich doch nicht länger auf

Loneliness, torment of the hearts, you ruin my every pleasure. I only want to fi nd a little joy but instead I fi nd the greatest painin my haggard breast.Loneliness, torment of the hearts, you ruin my every pleasure.

Loneliness, torment of the souls, you grieve me to death. Your agony cannot be counted,even if I tried to conceal it,I would sink into greatest misery.Loneliness, torment of the souls, you grieve me to death.

Loneliness, torment of the hearts,do no longer hold me back.Don’t you see the hearts jestwith most beautiful love candles?Let happiness take its course.Loneliness, torment of the hearts,do no longer hold me back.

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Early Music at Green College

Viola d’amore duets UBC Green College - Coach House

with Tekla Cunningham & Elly Winer Thursday, March 31 at 5pm - admission free


Johann Ahle (1625-1673):Herr Gott, mein Heiland (1658)

baritone, 2 violins & basso continuo

Herr Gott, mein Heiland,Ich schreie, Tag und Nacht für dir.

Lass mein Gebet für dich kommen;und neige deine Ohren zu meinem Geschrei.

Denn meine Seele ist voll Jammers und meine Gestalt ist jämmerlich, für Elende.

Du machest, dass meine Freunde, und Nächsten, und meine Verwandten sich ferne von mir thun,um solches Elendes willen.

Herr, thue ein Zeichen an mir, dass mir’s wohl gehe, dass es sehen, die mich hassen, und sich schämen müssen, dass du mir beistehest und tröstest mich.

Lord God, my Saviour,I cry day and night for you.

Let my prayer come unto you; incline thine ears unto my cry.

For my soul is full of troubles and I am full of pitiful woes.

You cause my friends, people who are dear to me, and my relatives to stay away from mebecause of this misery.

Lord, give me a sign, which will be seen by those who hate me and must be ashamed,that you support and comfort me.

I will sing, I will sing of the Grace of the Lord for ever.I will sing of the Grace of the Lord for ever.I will sing of the Mercy of the Lord for everAmen.

Misericordias Domini soprano, tenor, 2 violins & basso continuo

Jubilus-Jesu dulcisbaritone, 3 violas da gamba, violone & basso continuo

Ich will singen, will singen von der Genade des Herren,von der Genade des Herren ewiglichMisericordias, Domini in æternum cantabo, Amen.

Jesu dulcis memoriadans vera cordi gaudia:sed super mel et omniaejus dulcis præsentia.

Nil canitur suavius,nil auditur jucundius,nil cogitatur dulcius,quam Jesus Dei Filius.

The sweet memory of JesusGiving true joy to the heart,But more than honey and all things [does so]His sweet presence.

Nothing more delightful is sung,Nothing more pleasing heard,Nothing sweeter thought,Than Jesus, the Son of God.

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Sign up for our E-mail Reminder Service!You don’t have to miss our performances anymore, simply because you misplaced our concert schedule. Subscribe to our E-mail Reminder Service, and you will receive a reminder one week before each concert. Just send us an e-mail with the word “subscribe” in the subject line, and also include your post address and telephone number in the body of the message. Simple!

This will also help us save postage costs – but we promise that we will continue to mail you our annual colourful Season and Festival brochures.

We do make it easy to “unsubscribe”; and we won’t pass your e-mail address on to others.

[email protected]


Dietrich Buxtehude (c.1637-1707):

Ich suchte des Nachts, BuxWV 50soprano, baritone, 2 violins & basso continuo

DUETT

Ich suchte des Nachts in meinem Bette, den meine Seele liebet, aber ich fand ihn nicht.

VIVACE

Ich will aufstehn und in der Stadt umgehen auf den Gassen und Straßen und suchen, den meine Seele liebet.

(Adagio) Ich suchte aber ich fand ihn nicht.

ARIE

Ich durch den Sündenfall verfluchte, ich suchte ohne Licht des Nachts in meinem Bette, den ich so gern gefunden hätte und fand ihn nicht. Ich ging die Gassen auf und nieder, kam wieder und suchte ohne Licht den meine Seele liebet, den ich so sehr betrübet, und fand ihn nicht.

DUETT

Es funden mich die Wächter, die in der Stadt umgehen. Habt ihr nicht gesehen, den meine Seele liebet?

ARIE

Ihr Wächter, habt ihr nicht gesehen hier gehen, den meine Seele liebt? Ihr schweigt und laßt mich fragen. Ich bin, nun ihr nichts könnet sagen, noch mehr betrübt.

DUETT

Da ich ein wenig für ihnen überging, da fand ich den meine Seele liebet, Ich halt ihn und will ihn nicht lassen, bis daß ich ihn bringe in meiner Mutter Haus, in meiner Mutter Kammer.

In my bed at night I searched for the one who loves my soul,But I found him not.

I want to rise and go into town,into the alleys and streets,And search for the one who loves my soul.

(Adagio) I searched But I found him not.

I, damned because of my sins,I searched without lightat night in my bedthe one I would so dearly have found.And I found him not. I went up and down the alleyscame back, and searched without lightfor the one who loves my soul,the one I have grieved so much,And I found him not.

The night watchmenwho go around the town, found me.Have you not seen the one who loves my soul?

You, watchmen, have you not seen him come by, the one who loves my soulYou are silent and let me ask As you cannot say anything I am even more distressed

By and by,I found the one who loves my soulI hold him and will not let him go,until I take himto my mother’s houseInto my mother’s chamber.

– INTERVAL –


Dietrich Buxtehude:

Ciacona in e minor, BuxWV 160 transcribed by Marc Destrubé for 2 violins, viola da gamba & cello

Quemadmodum desiderat cervus, BuxWV 92 (ca. 1690)soprano, 2 violins & basso continuo

Quemadmodum desiderat cervus

Quemadmodum desiderat cervus,ad fontes aquarum, ita desiderat anima mea, ad te, Deum,sitivit anima mea ad te, Deum, fontem vivum.Quando veniam et apparebo ante faciem tuam?O fons vitæ, vena aquarum viventium,quando veniam ad aquas dulcedinis tuæ?Sitio, Domine, fons vitæ es, satia me,sitio te Deum vivum, sitio.O quando veniam et apparebo, Domine, ante faciem tuam,putas me, videbo diem illam jucunditatis et lætitiæ,diem, quam fecit Dominus,exsultemus et lætemur in ea,ubi est certa, certa securitas, secura tranquillitas,et tranquilla jucunditas,jucunda felicitas, felix æternitas, æternabeatitudo et beata Trinitaset Trinitatis unitas, et unitatis Deitas, etDeitatis beata visio,qua est gaudium Domini tui,o gaudium supergaudium, vinces omne gaudium.

As the hart desireth the waterbrooks

As pants the hartafter the water brooks, so pants my soul after You, O God.My soul thirsts for God, the living God.When shall I come and appear before Your face?O source of life, wellspring of the living waters,when will I attain the waters of Your delight?I thirst, Lord, You are the source of life, quench my thirst,I thirst for the living God.O when shall I come and appear, Lord, before Your face?You cleanse me and I shall see the day of joy and happiness,the day that the Lord gives,when we shall rejoice and be happy.Where there is certainty, certain safety, safe calm,and calm joy,joyful happiness, happy eternity, eternal beauty andthe beauty of the Trinity,and the unity of the Trinity, and the Godhead united,and the wonderful sight of the Godheadwhich is the delight of your Lord,O delight surpassing all others, conquering all other delights.

12

Johann Adam Reincken (1643-1722):

Sonata in d minor from Hortus musicus, 6 Sonatas and Suites, No. 4

for 2 violins, bass viol & basso continuo

12

i. Sonata. Grave (Adagio) - Allegro - Solo. Adagio ii. Allemand. Allegro iii. Courant iv. Saraband v. Gigue. Presto

www.pacificmusicworks.orgPacific MusicWorks is a resident organization at the University of Washington School of Music

PACIFIC MUSICWORKSStephen Stubbs, Artistic Director

2015/2016 SEASONMonteverdi 1610 Vespers2015

Handel Messiah2015

Vivaldi The Four Seasons2016

Gluck Orphée2016

SAT OCT 24 8:00pmSt. James Cathedral, Seattle

SAT DEC 12 8:00pm SUN DEC 13 2:00pm Meany Theater, UW, Seattle

SUN FEB 28 2:00pmMeany Theater, UW, Seattle

FRI MAY 20 7:30pmSAT MAY 21 7:30pmSUN MAY 22 2:00pmMeany Theater, UW, Seattle




Handel Messiah2015


Gluck Orphée2016








Handel Messiah2015


Gluck Orphée2016








Handel Messiah2015


Gluck Orphée2016








Handel Messiah2015


Gluck Orphée2016








Handel Messiah2015


Gluck Orphée2016






Wie liegt die Stadt so wüste

Wie liegt di Stadt so wüste, die voll Volkes war!Wie liegt di Stadt so wüste, die voll Menschen war!Sie ist wie eine Witwe,die eine Fürstin unter den Heidenund eine Königin in den Landen war,muss nun dienen!Wie liegt die Stadt so wüste, die voll Volkes war!

Euch sage ich allen, die ihr vorübergehetSchauet doch und sehet,ob irgend sei ein Schmerzewie mein Schmerze, der mich troffen hat.

Sie weinet des Nachtsdass ihr die Tranen uber die Wangen fliessen

Schauet doch und sehetob irgen sein ein Schmerzewie mein Schmerze, der mich troffen hat.

Sie weinet des Nachtsdass ihr die Tranen uber die Wangen fliessen,und ist niemand unter allen ihren Freunden,der si troste.

Schauet doch und sehet,ob irgend sei ein Schmerzewie mein Schmerze, der mich troffen hatDenn der Herr hat mich voll Jammers gemachtAm Tage seines grimmigen Zorns.

Jerusalem hat sich versündiget;Darum ist sie wie ein unrein Weib.Alle ihre Nächsten verachten sieUnd sind ihre Feinde worden.

Man höret’s wohl, dass ich seufze,und habe keine Tröster. Mein Herz wallet mir im Leibe,denn ich bin hoch betrübet.

Ach Herr, siehe an mein Elend;Denn der Feind pranget sehr!

How doth the city sit solitary

How doth the city sit solitary, that was full of people!How doth the city sit solitary, that was so populous!How iss he become as a widow,she that was great among the nations,and princess among the provinces,how iss he become tributary!How doth the city sit solitary, that was full of people!

All ye that pass by:Behold and seeIf there be any sorrowLike unto my sorrow, which is done unto me.

She weepeth sore in the night,and her tears are on her cheeks.

Behold, and seeIf there be any sorrowLike unto my sorrow, which is done unto me.

She weepeth sore in the night,and her tears are on her cheeks,among all her lovers she hathnone to comfort her.

Behold and seeIf there be any sorrowLike unto my sorrow, which is done unto me.The Lord hath afflicted meIn the day of his fierce anger.

Jerusalem hath grievously sinned;Therefore she is become as an impure woman.All her friends condemn her, they are become her enemies.

They have heard that I sigh,there is none to comfort me.Mine heart is turned within me,for I am grief stricken.

O Lord, behold my affliction;Because the enemy prevails!

12

Matthias Weckmann (1616-1674):

Wie liegt die Stadt so wüstesoprano, baritone, 2 violins, 3 violas da gamba & basso continuo


Some restrictions apply.Contact us for more details:

earlymusic.bc.ca

Bring a Youth for Free!

Early Music Vancouver’s audience initiative for young people aged 7-17: Youths receive free admission to any of our concerts when they bring along a paying adult (one youth per attending adult). These free tickets are only available in advance through the offi ce of Early Music Vancouver, by phone: 604 732 1610 (for our concerts at the Chan Centre for the Performing Arts at least one week before the concert date), or at the door on the evening of the concert. (Subject to availability).

Rush Seating for Students,at only $10 per ticket!

Early Music Vancouver off ers rush tickets for students at a special rate of only $10. This off er applies to all our concerts! These rush seats are available only at the venue box offi ce, one hour before the start of each performance; bring your valid student ID. (Subject to availability).

Need to plan ahead? Students with valid ID can now purchase Series Tickets at a price of only $10 /concert.This offer applies to our summer Festival and our Main Series. Rush Tickets for the Fox Cabaret Series will only be available at the door on the evening of the performance, subject to availability.

Are you 35 or younger?We have tickets for you at half price!

Early Music Vancouver now also off ers half-price tickets for audiences 35 & younger! Tickets at this special rate may be ordered in advance, and will also be available at the door on the day of the concert (some restrictions apply). This 50% discount will also apply to our Series Tickets.

MONICA HUGGETT ARTISTIC DIRECTOR

2015-16 SEASONFEATURING ALL SIXBRANDENBURGS

pbo.org 503.222.6000


early music vancouver gratefully acknowledges the assistance and support of:

government support

foundations

production partners

corporate support

we also gratefully acknowledge the generosity of our many individual donors. thank you!

partners

the drance familyearly music vancouver fund

Tony Knox Barrister & Solicitor, Arbitrator

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Knox & Co. denotes D.A.Knox Law Corporation

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

You can be in good company too!The corporate sponsors of Early Music Vancouver give back to their community through the support of our performances and education & outreach programmes. Their eff orts make a meaningful diff erence for concertgoers and musicians alike.

Our wide range of activities off ers unique sponsoship opportunities for both large and small companies to support us while also reaching their corporate goals. A range of sponsorship advantages is available, including logo recognition, complimentary tickets for your clients, employee discounts, and many other benefi ts tailored to your specifi c needs.

Call Matthew White to discuss how our audience profi le may fi t with your company’s objectives: 604 732 1610.

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LAUDATESINGERS

EARLY MUSIC GUILD

Whidbey IslandMusic Festival

We acknowledge the support ofthe Province of British Columbia


EARLY MUSIC VANCOUVER

Leave a Legacy

Help us give the gift of Early Music to future generations

You can ensure the continued health and vibrancy of Early Music in Vancouver through one of the most powerful tools in your possession – your estate plan. Legacy gifts are an expression of your values, wishes and hopes for the future.

There are different ways in which you can make a legacy gift. Each type has different benefits for you and your family.

Examples:

• A Bequest in your Will – naming Early Music Vancouver as a beneficiary

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• Creating or contributing to an Endowment Fund

If you have already included Early Music Vancouver in your estate plan or would like more information on possibilities for legacy gifts, please contact our Managing Director Tim Rendell at 604.732.1610 or [email protected] for more information.

To ensure that your particular needs are met and that your exact wishes are honoured, we recommend that you consult your legal and/or financial advisors.

Planned gifts can create excellent tax advantages; ask your financial advisor to help determine the most advantageous plan for you.

Thank you for your support!

Full Legal name: Vancouver Society for Early MusicCharitable Number: 10816 7776 RR0001

Early Music Vancouver1254 West 7th Avenue, Vancouver BC, V6H 1B6

Phot

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edit

Jan

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es

($100,000+)The Drance Family

Early Music Vancouver Fund

($20,000+)Vic & Joan BakerRalph Spitzer & Hisako KurotakiJosé Verstappen2 Anonymous Donors

($5,000+)Marcia Sipes

($2,500+)A donation in memory of

Tom BlomMaurice & Tama CopithorneFrank & Helen ElfertJames C. & Wendy Russell

($1,000+)Heather FranklynMartha HazevoetDorothy JantzenTony & Margie KnoxOttie Lockey & Eve ZarembaGreg LouisGlenys McDonaldThe RPC Family FoundationKaren ShusterNicholas SwindaleLorna WeirA donation in memory of

Peter Wood1 Anonymous Donor

A select group of donors has, in addition to their annual donations, generously contributed to Early Music Vancouver’s Endowment Fund which is administered by the Vancouver Foundation, and which currently stands at over $600.000. Interest from this Fund will continue to support our performances & activities in perpetuity.

It is possible to contribute to the Early Music Vancouver Endowment Fund with a current gift, which can be pledged over time, or through a gift in your will. Matching funds for current gifts are available from Canadian Heritage. All donors to the Fund, whether their gift is current or planned, will be recognised in our programmes, with the donor’s permission. To find out more, please contact Managing Director Tim Rendell at 604.732.1610 or [email protected].

Early Music Vancouver is pleased to accept gifts of publicly traded securities. When you donate securities traded on a designated stock exchange directly to Early Music Vancouver, you benefit from the donation tax credit, and the complete elimination of the capital gains tax. As a result, the combined tax savings can be quite impressive.

EARLY MUSIC VANCOUVER ENDOWMENT FUND DONORS

(up to $1,000)Evelyn Anderson Alan & Elizabeth BellMeo BeoJeffrey Black & Mary ChapmanL & C BosmanA donation in memory of

C Y ChiuA donation in memory of

Basil Stuart-StubbsJudith DavisJane Flick & Robert HeidbrederDr Val GeddesMargot GuthriePatrick Gilligan-HackettMark HalpernLinda JohnstonPeter KwokElizabeth LambertonSusanne LloydJanette McMillan

& Douglas GravesBenjamin MilneAlberto MondaniAlfred & Jennifer MumaBarbara MurrayJudith & Greg PhanidisJoan RikeElfriede & Peter RohloffDr Robert S RothwellJo & Bob TharalsonAnona Thorne & Takao TanabeJames WalshGlenys Webster & Paul Luchkow5 Anonymous Donors


Archangels ($10,000-50,000):Elaine Adair *Carol BraunerThe Mary & Gordon Christopher

Foundation *Howard & Margaret EvansThe Leon and Thea Koerner

FoundationLong-term friends of

Early Music Vancouver *

Angels ($5,000-$9,999):Bryan & Gail Atkins *Dr Stephen Drance *Sharon Kahn *Tony & Margie Knox *The Lloyd Carr-Harris Foundation *The Nemetz Foundation *Dr Katherine E Paton *José Verstappen *Bruce Munro Wright2 Anonymous Angels

Patrons ($1,000-$4,999):Mary Brown *Spencer Corrigal *Helen & Frank Elfert *A donation in memory of

Alfred Leo FischerHeather Franklyn *Dr Val Geddes *Marianne Gibson *Ursula Graf *Chris Guzy & Mari Csemi *The Hamber Foundation *The Martha Lou Henley

Charitable FoundationThe John & Leni Honsaker Fund *Dorothy JantzenDonations in honour of

Sharon Kahn and Barrie MacFaddenD.A. Knox Law CorporationJ. Evan & Janice Kreider *Yvonne McLean *David W McMurtry *James C & Wendy Russell *Ingrid Söchting *Vincent TanJo & Bob Tharalson *Anona Thorne & Takao Tanabe *Dr Carol Tsuyuki *Mark Vessey and Maya Yazigi *Birgit Westergaard &

Norman Gladstone *A donation in memory of

Peter Wood *Gordon W. Young *3 Anonymous Patrons

Sponsors ($500-$999):Dr Patricia Baird *Christina BurridgePatrick & Meredith CashionMaurice & Tama Copithorne *

Jocelyn Pritchard *Jesse ReadJoan Rike *Barb Robertson *Rhona RosenSelma Savage *Elaine SawyerTraudi Schneider *Stuart & Wendy Scholefield *Shirley Sexsmith *Lorraine Sharpsteen & Carl DouglasMr. Paris Simons *Marcia SipesA donation in honour of Eileen Stevens *David & Eileen Tamblin *Douglas ToddGrant Tomlinson *Doug TuckVancouver ViolsNicholas Voss *Barbara M Walker *James Walsh *Heddi & Tony Walter *Jon WashburnJim Wearing *Lorna WeirGwyneth & Roy WestwickAudrey WinchNancy WongDr Michael & Jane Woolnough *Dale & Ted Wormeli *Karen WrightRosemary & Owen WrightReece WrightmanJennifer & Kenneth Yule20 Anonymous Donors

Friends (up to $100):Simone ArtaudKerry BaisleyJeremy Berkman & Sheila McDonald *Patricia BirchG. Pat Blunden *Natalie & Gary BoychukJanet BrynjolfssonNorma Chatwin *Marylin Clark *Abe CohenBrian Coleman *Michael Collins *

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

Donations in memory of Betty DranceErnst & Young LLPCharles & Lucile Flavelle Family Fund *Jane Flick & Robert Heidbreder *Martha Hazevoet *Agnes Hohn *Heather & Bill HolmesEtsuko Fuseya Jennings *Paula KremerHisako Kurotaki *Evelyn Leaf *John Leighton *David LemonIan MichaudHans-Karl & Irene Piltz *Tim & Janet RendellElfriede and Peter RohloffDr Robert S Rothwell *Karen Shuster *Nicholas Swindale *Mark Tindle & Leslie CliffBruno Wall & Jane MacdonaldFran WattersDr James Whittaker *Wolrige Mahon LLP3 Anonymous Sponsors

Benefactors ($300-$499):Wendy AffleckEvelyn Anderson *Hugh AntonAlan & Elizabeth Bell *Stuart BowyerPatricia ColdrenAlex Fisher & Lisa Slouffman *David & Nancy FraserHannah & Ian Gay *Beverley Green *Winifred HallMaria HarrisDelma Hemming *Barry Honda & Valerie WeeksHanna & Anne Kassis *Peter Kwok *Graeme & Paddy Macleod *Marta & Nicolas Maftei *Glenys McDonald *Patricia Merivale *Christi MeyersJodi NorrisonStephen Partridge *Pam Ratner & Joy JohnsonJames & Jean Simpson *Tom & Margaret Taylor *Ada Ho & Doug Vance * John WiebeKaren Wilson *Tessa Wright6 Anonymous Benefactors

Donors ($100-$299):Debra AndersonSarah BallantyneLeslie Bauming *

Richard BeecherRichard Bevis *Peter & Doris BietenholzJanine Bond *Gordon BriggsDavid BrentKarl Brunner *Frank Cameron Andrew J A Campbell *David ChercoverPeter & Hilde Colenbrander *Gordon Cool *Ron Costanzo *Cull Family FundJudith Davis *Elisabeth de Halmy *Marc Destrubé & Anna Goren *Margaret DukeCarolyn EckelDavid Fallis & Alison MackayMartina FarmerKeith Farquhar & Koji Ito *A donation in memory of

Mrs Eve FarsonMarguerite Fauquenoy &

Bernard Saint-JacquesIngrid FedoroffRobert & Marthena Fitzpatrick *Judith Forst *Andrew FysonJames GaffneyJohn GracePaul Gravett & Mark Hand *Jolle GreenleafElizabeth GuilbrideElizabeth & Keith HamelIan Hampton & Susan Round *Dr Evelyn J Harden *Christina HuttenRalph Huenemann & Deirdre Roberts *Denise HuiElsie & Audrey Jang FundPatrick Jordan *Lars & Anne Kaario *Lynn KaganTasos & Joy Kazepides *Miles KellyJudy Killam *Harold & Simone Knutson *Joslin Kobylka *David Lach & Suzann Zimmering *Elizabeth Lamberton *Nicholas LammUrsula LitzckeSheryl MacKayShirley MacKenzieA donation in memory of

Catherine MacLaughlinE.J. Makortoff *Emil MarekFraidie MartzMelody Mason *Lucie McNeill *Dr Barbara J MoonAlfred & Jennifer Muma *John MunroSarah Munro *Barb Murray *Shari & Larry Nelson *Geoffrey NewmanSharon Newman *Margaret O’Brien *Neil & Donna OrnsteinWilfried Ortlepp *Jane Papageorgis *JoAnn PerryDavid M. Phillips *Hannelore PinderAnne Piternick *

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

These listings include donations received prior to January 20, 2016

Bette Cosar *Greg Cross *Catherine Crouch *Dr Gaelan de Wolf *Ruth Enns *A donation in memory of

Szajndla & Moses FischSharon FitzsimonsElinor FreyKenneth Friedman *Mary GodolphinEmmett HallRobert Haywood-FarmerAnnie HessElizabeth Hunter *Gretchen & Robert IngramValerie JonesLouise KlaassenRobert KoepkeYolande LaFleur *A donation in memory of

Edgar Latimer *Julia MacRaeReva MalkinJim McDowellColleen McLaughlin-BarlowColin Miles *Nina Moser *Helen & John O’BrianCelia O’NeillJane L Perry *Connie Piper *Diane RicherCarole Ruth *David Ryeburn *Valerie ShackletonJuliet SimonPeter & Rosa Stenberg *Ronald & Dorothy Sutherland *Beverly Taylor *Esther VitalisWilliam H. Walsh *Norma WastySteven & Deborah WeinerHector, Caroline, & Edward WilliamsJohn WrightElizabeth Yip Andrew Young17 Anonymous Friends

early music vancouver - donors and supporters

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— SPECIAL THANKS TO —

Gift of French Double-Manual Harpsichord by Carol Brauner

Early Music Vancouver gratefully acknowledges the recent donation by Carol Brauner of a double-manual French harpsichord, made by Edward R. Turner of Pender Island. This instrument, built in the mid-70s, is modelled after a superb 18th-century harpsichord by Pascal Taskin in the Russell Collection in Edinburgh; this new addition, which is particularly appropriate for performance of late baroque repertoire, will enrich our collection tremendously.

Tafelmusik Baroque Orchestra

House of DreamsAn imaginative multi-media concert, with works by Bach, Handel, Vivaldi and Marais

Friday, March 4, 2016 at 7:30 pm Vancouver Playhouse

George Frideric Handel’s

Apollo e DafneFriday, March 18, 2016 at 7:30 pm Vancouver Playhouse

Yulia Van Doren soprano Douglas Williams baritoneAlexander Weimann music directorPacific Baroque Orchestra

BAROQUE PLAYHOUSE SERIES

Handel’s Music for the Royal FireworksSunday, April 3, 2016 at 3:00 pm Chan Shun Concert Hall at the Chan Centre

Pacific Baroque Orchestra & UBC Baroque Mentorship OrchestraAlexander Weimann conductor

Phillipe Herreweghe and Collegium Vocale Gent

Lagrime di San PietroOne of the world’s most accomplished vocal ensembles performs “The Tears of Saint Peter”, a cycle of twenty exquisite sacred madrigals by Orlande de Lassus

Friday, April 15, 2016 at 7:30 pm Chan Shun Concert Hall at the Chan Centre

MASTERWORKS SERIES AT THE CHAN

UPCOMING CONCERTS

Early Music VancouverInformation: earlymusic.bc.caTickets / Subscriptions: 604.822.2697

SUBSCRIPTIONS STILL AVAILABLE :

These 4 remaining concerts for the price of 3 !

February 3, 2016 at The Chan Centre - Early Music Vancouver...2016/02/03 · Largo - Adagio -...

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Transcript of February 3, 2016 at The Chan Centre - Early Music Vancouver...2016/02/03 · Largo - Adagio -...