JEFFREY THOMASmusic director

Easter Oratorio & CantatasJohann Sebastian Bach

May 4 - 7 2012Belvedere - Berkeley - San Francisco - Davis

2011/2012Our Twenty Third Season

JEFFREY THOMASMUSIC DIRECTOR

Motets & TrauerodeA TRIBUTE TO LAURETTE GOLDBERG

FRIDAY JUNE 8 2012 8:00 p.m.First Congregational Church BERKELEY

at the Berkeley Festival & Exhibition

Fürchte dich nicht • Singet dem Herrn ein neues LiedLaß, Fürstin, laß noch einen Strahl

An evening of works celebrating the vital legacy of Northern California’s cherished mentor of generations

of early music advocates, featuring J.S. Bach’s Trauerode: Laβ, Fürstin, laβ noch einen Strahl, a musical ode written at the request of the Leipzig University and dedicated to Christiane Eberhardine, Electress of Saxony and a

personal friend of Bach himself.

Unusually scored for a lavish orchestra including two violas da gamba and two lutes, the music is hypnotically

beautiful. The concert also includes Bach’s most engaging double-chorus motets; works of this type were regularly composed to honor and memorialize the lives

of significant and important individuals.Photograph of Laurette Goldberg by Howard Schatz from his book Gifted Woman © Schatz Ornstein 1993

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Welcome from the Artistic Director

AMERICAN BACH SOLOISTS44 Page Street, Suite 403

San Francisco CA 94102-5975

Tel: (415) 621-7900Fax: (415) 621-7920

americanbach.orginfo@americanbach.org

twitter.com/americanbachfacebook.com/americanbach

American Bach Soloists are Artists-in-Residence at

St. Stephen’s Church, Belvedere.

© 2012 American Bach Soloists. All rights reserved.

Reproduction in whole or in part without permission is prohibited.

As we are planning for our 25th Anniversary Season in 2013/14—now just a little more than one year away—I find myself reflecting more and more on the wonderful journey that we have made together. Eager and compelled by our original goal to bring Bach’s great repertoire of cantatas to a broader audience here in Northern California, we set out on what would become an inspired commitment by dozens, even hundreds, of early music specialists to share these dramatic jewels among compositions by the most celebrated composer of all time. Some of those musicians who performed on our inaugural concert are performing tonight, and I am grateful to them and to all of ABS for their unflagging dedication to this music and to this ensemble. I know that I am one of the luckiest conductors in the world!

You very well may have noticed that ABS is presenting more concerts each year. We are growing because the demand for what we do and for the “Electric Camaraderie” (San Francisco Classical Voice) of the American Bach Soloists has grown. And part of the thrill of meeting that demand is in creating new programs of exceptionally brilliant music.

One month from now, ABS will be presenting a program of Bach’s motets & Trauerode at the Berkeley Festival & Exhibition. ABS and BFX are very nearly chronological twins. We are honored to have been regular artists at the biennial festival, having produced some legendary performances of Bach’s Mass in B Minor, Beethoven’s Ninth Symphony, and—twelve years ago—a program of Bach’s great motets. This summer, we will return to those choral and instrumental masterworks in a program that celebrates great music and a great pillar of our early music community.

Laurette Goldberg was a primary catalyst in transforming the San Francisco Bay Area—already recognized for its rich and colorful history of classical, jazz, and rock music—into one of the world’s centers of cutting edge early music performance. She and her disciples, mentored through her characteristically irresistible and irrepressible enthusiasm and zeal, have already fostered generations of early music advocates and performers who have since communicated far and wide her gentle yet tenacious determination to campaign for a long-lasting resurgence of the music she loved most. In particular, her love for Bach—the man and his music—was a passion that never faltered and took her, and those who knew her, on spiritual journeys that transcended traditional boundaries of religion and rhetoric. On June 8th, we will celebrate her still vital legacy in a program that includes some of her most favorite works and an ode that was conceived for an equally esteemed matriarch.

Not far behind that concert will be the start of our annual summer Bach Festival—July 12 through 22—with added performances including the debut of our Distinguished Artist Series featuring countertenor Ian Howell in a program of music for Voice & Viols, and a program that I am absolutely thrilled to bring to our audiences: “The Leipzig Masters.” Johann Sebastian Bach succeeded Johann Kuhnau as cantor of the Thomaskirche (St Thomas Church) in Leipzig. But, astonishingly, Bach was the Leipzig town council’s third choice! This program of masterful compositions presents the music of Kuhnau and Bach, along with masterpieces by Christoph Graupner and Georg Philipp Telemann, the first and second choice candidates for the job. Read more about all of the ABS FESTIVAL & ACADEMY programs in the brochure that is included with this booklet. And have a look at our exciting 2012/13 SEASON on page 7.

Thank you for sharing these musical experiences with us. As always, the Board and Staff of ABS join me in my gratitude to our wonderful musicians and to you, our wonderful audience. Enjoy the music!

Jeffrey ThomasArtistic Director

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About American Bach Soloists

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 more than two decades, 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 “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.” 

PERFORMANCES

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. Each season culminates with the American Bach Soloists Festival, held every

summer in July in the spectacular facilities of the San Francisco Conservatory of Music. Components of the annual summer Bach Festival include the Masterworks Series, Chamber Music Series, Distinguished Artist Series, Academy-in-Action Series, free Lecture and Master Class Series, and public Colloquia on a variety of topics. 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. 

ABS has been a leader throughout the Bay Area in its commitment to artistic collaborations. Some 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 the 20th Anniversary Season, ABS joined forces with San Francisco’s Grace Cathedral and Lighting Systems Design Inc. (based in Orlando FL) in a spectacular laser show rendering of Handel’s Music for the Royal Fireworks.

HISTORY

The first public concerts were given in February 1990 at St. Stephen’s Church in Belvedere, where the ensemble serves as Artists-in-Residence. The debut of ABS’s first annual summer festival in Tiburon/Belvedere took place in 1993. 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 the 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.

“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

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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.

The Chorus of the American Bach Soloists has shone in repertoire from the Baroque and early Classical eras. With the inception of a 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 unique opportunities to advanced conservatory-level students and emerging professionals 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 new facilities in the heart of the city’s arts district. 

RECORDINGS

The American Bach Soloists have a discography of nineteen titles 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 countertenor (and winner of the ABS Young Artist Competition) in works by Bach, Handel, and Domenico Scarlatti.

The American Bach Soloists have been recipients of major grants from Grants for the Arts/San Francisco Hotel Tax Fund, The Clarence E. Heller Charitable Foundation, The Charles Hosmer Morse Foundation, The National Endowment for the Arts, The Ann and Gordon Getty Foundation, The Bernard Osher Foundation, The Wallis Foundation, The AT&T Foundation Matching Gifts Program, The AXA Foundation Matching Gifts Program, Clorox Foundation, County of Marin, and The San Francisco Foundation. An administrative staff and Board of Trustees support ABS’ activities as a non-profit organization.

About American Bach Soloists

BOARD OF DIRECTORS

Hugh Davies, President Marie Hogan, Vice President Jose Alonso, Treasurer Angela Hilt, Secretary Richard J. Boyer David Cates Cindy Cooper John H. Crowe * Judith Flynn Jan Goldberg Greg Madsen Blake Reinhardt

* on Sabbatical

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 & Music Director

Don Scott Carpenter Executive Director

Steven Lehning Music Administrator

Jeff McMillan Executive Administrator

Katherine McKee Development Associate

Heli Roiha Bookkeeper

Lisa May Box Office Manager

Kiel Curtis Kevin Downing Jonathan Szin Stage and House Managers

E. J. Chavez Stage Crew

Elfrieda Langemann William Langley Leonore Levit Wendy Brewster Moseley Office Volunteers

ADVISORY COUNCIL

The Rt. Rev. Marc Andrus Irving Broido Karen Broido Corty Fengler Tom Flesher John Karl Hirten Corey Jamason Harvey Molloy Sandra M. Ogden Don Roth Peter Sonnen Kwei Ü Charles E. Wilts Elizabeth F. Wilts

Board of Directors, Founders, Staff, & Advisory Council

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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.

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.

Our Mission

Education & Outreach

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A Member Of Real Living

Belvedere 415.789.8686 Kent�eld 415.448.1100 Larkspur 415.945.6300

Turning Dreams IntoExtraordinary Realities

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Philharmonia Baroque presentsSunday, June 3 at 8 PM

Beethoven Songs & Haydn TriosNicholas McGegan, fortepiano Elizabeth Blumenstock, violinDominique Labelle, soprano Phoebe Carrai, violincello

Songs, trios, and solo piano works by Beethoven, Haydn, Mozart, Kotzwara, Monsigny, Boielieu, and Pleyel. Presented as part of the 2012 Berkeley Early Music Festival and Exhibition.

First Congregational Church, Berkeley Tickets start at $25!Call 510-642-9988 for tickets philharmonia.org

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Announcing Our 2012-2013 SeasonOctober 2012

Annual Gala - An Olympian Feast Saturday October 6 2012 5:00 pm - St. Stephen’s Church, BELVEDERE

December 2012

Gloria! - A Baroque Christmas with ABS with the San Francisco Girls Chorus & American Bach Choir

Vivaldi: Gloria ~ Handel: Laudate pueri Dominum Corelli: “Christmas Concerto” ~ Charpentier: In Nativitatem

Saturday December 15 2012 8:00 pm - St. Stephen’s Church, BELVEDERE Sunday December 16 2012 4:00 pm - Mondavi Center, DAVIS

Handel’s MessiahMary Wilson • Ian Howell • Wesley Rogers • Jesse Blumberg

Thursday December 20 2012 7:30 pm - Grace Cathedral, SAN FRANCISCO Friday December 21 2012 7:30 pm - Grace Cathedral, SAN FRANCISCO

Saturday December 22 2012 7:30 pm - Grace Cathedral, SAN FRANCISCO

January 2013

Bach’s St. John PassionClara Rottsolk • Derek Chester • Aaron Sheehan • Joshua Copeland • William Sharp

Friday January 25 2013 7:30 pm - St. Stephen’s Church, BELVEDERE Saturday January 26 2013 7:30 pm - First Congregational Church, BERKELEY

Sunday January 27 2013 4:00 pm - St. Mark’s Lutheran Church, SAN FRANCISCO Monday January 28 2013 7:00 pm - Davis Community Church, DAVIS

March 2013

Bach, Handel, & VivaldiHandel: Dixit Dominus ~ Vivaldi: Beatus vir

Bach: Concerto for Oboe d’amore ~ Vivaldi: Concerto for Viola d’amore Debra Nagy • Elizabeth Blumenstock • Kathryn Mueller

Danielle Reutter-Harrah • Robert Stafford Friday March 1 2013 8:00 pm - St. Stephen’s Church, BELVEDERE

Saturday March 2 2013 8:00 pm - First Congregational Church, BERKELEY Sunday March 3 2013 4:00 pm - St. Mark’s Lutheran Church, SAN FRANCISCO

Monday March 4 2013 7:00 pm - Davis Community Church, DAVIS

May 2013

Handel’s Apollo & Dafne Bach: Arias for Bass ~ Handel: Silete venti

Mary Wilson • Mischa Bouvier Friday May 3 2013 8:00 pm - St. Stephen’s Church, BELVEDERE

Saturday May 4 2013 8:00 pm - First Congregational Church, BERKELEY Sunday May 5 2013 4:00 pm - St. Mark’s Lutheran Church, SAN FRANCISCO

Monday May 6 2013 7:00 pm - Davis Community Church, DAVIS

New Subscriptions Available NowSingle Tickets Go On Sale July 1

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The Musicians and Their InstrumentsAMERICAN BACH SOLOISTS

Flute

Sandra Miller Roderick Cameron, Mendocino, CA, 1986; after Thomas Cahusac, London, 1740. Martin Wenner, Singen, Germany 2002; after Carlo Palanca, Turin, 1760.

ObOe

John Abberger H. A. Vas Dias, Decatur, GA; after Thomas Stanesby, Sr., London, circa 1700.

Debra Nagy Randall Cook, Basel, 2004; after Jonathan Bradbury, London, circa 1720.

Luke Conklin Randall Cook, Basel, 2010; after Jonathan Bradbury, London, circa 1720.

ObOe d’amOre

Debra Nagy Sand Dalton, Lopez Island, WA; after Johann Heinrich Eichentopf, Leipzig, circa 1720.

Luke Conklin Bosworth & Hammer, Acton, MA, 1990; after Johann Heinrich Eichentopf, Leipzig, circa 1720.

ObOe da caccia

John Abberger Bosworth and Hammer, Acton, MA, 1986; after J.H. Eichentopf, Leipzig, circa 1720.

recOrder

Debra Nagy von Huene Workshop, Boston, MA, 2002; after Thomas Stanesby, Jr., London, circa 1725.

John Abberger Levin & Silverstein, Greenpond, NJ, 1988; after Stanseby, London, circa 1700.

bassOOn

Kate van Orden Peter de Koningh, The Netherlands, 1986; copy of Thierriot Prudent, Paris, circa 1770.

Cornetto

Stephen Escher Matthew Jennejohn, Montreal, 2010; after 17th-century originals.

trOmbOne

Greg Ingles (alto) Ranier Egger, Basel, 2001; after Hieronimus Starck, Nuremberg, 1670.

Richard Cheetham (tenor) Ewald Meinl, Geretsried, 1998; after Anton Drewelwecz, 1595.

Douglas Thorley (bass) John Webb, Wiltshire, England, 1998; after Leohnard Ehe, Nuremberg, 1618.

trumpet

Kathryn James Adduci Rainer Egger, Basel, 2005; after Leonhard Ehe III, Nuremburg, 1748.

Nathan Botts Rainer Egger, Basel, 2007; after Johann Leonhard Ehe II, Nuremburg, 1664-1724.

William Harvey Keavy Vanryne, London, 2003; after Johann Wilhelm Haas, Nuremberg, circa 1710-1720.

timpani

Kent Reed Anonymous, England, circa 1840.

ViOlin

Tekla Cunningham (leader) Sanctus Seraphin, Venice, 1746.

Tatiana Chulochinikova Joseph Hollmayr, Freiburg, Germany, circa 1760.

Andrew Fouts Anonymous, Paris, 18th century.

Katherine Kyme (principal II) Johann Gottlob Pfretzichner, Mittenwald, 1791.

Maxine Nemerovski Timothy Johnson, Bloomington, IN, 1999; after Stradivari, Cremona, 17th century.

Noah Strick Celia Bridges, Cologne, 1988; after Bartolomeo Giuseppe Guarneri (del Gesù), Cremona, 1733.

ViOla

David Bowes Richard Duke, London, 1762.

Katherine Kyme (BWV 4) Anonymous, Germany, 18th century.

Jason Pyszkowski Jay Haide, El Cerrito, CA, 2008; after Giovanni Paolo Maggini, Brescia, circa 1580.

Aaron Westman Dmitry Badiarov, Brussels, 2003; after Antonio Bagatella, Padua, circa 1750.

ViOlOncellO

William Skeen (continuo) Anonymous, The Netherlands, circa 1680.

Shirley Edith Hunt Anonymous, Milanese, circa 1706.

ViOlOne grOssO

Steven Lehning (continuo) Hammond Ashley Luthiers, Seattle, WA, 1977; after 17th-century models.

Organ

Corey Jamason (continuo) John Brombaugh & Associates, OR, 1980.

AMERICAN BACH CHOIR

sOpranO

Tonia D’Amelio

Julia Earl

Rita Lilly

Allison Z. Lloyd

altO

James Apgar

Dan Cromeenes

Kevin Fox

Amelia Triest

tenOr

Edward Betts

John Davey-Hatcher

Andrew Morgan

Sam Smith

bass

Hugh Davies

Jeffrey Fields

Raymond Martinez

Jefferson Packer

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Program

AMERICAN BACH SOLOISTSAMERICAN BACH CHOIR

Jeffrey Thomas, conductor

KathrynMueller,soprano•JudithMalafronte,altoJonLeeKeenan,tenor•TylerDuncan,baritone

EASTER ORATORIO & FAVORITE CANTATASJohann Sebastian Bach (1685-1750)

May 4 – May 7, 2012Belvedere•Berkeley•SanFrancisco•Davis

These performances are generously sponsored by a long-time friend of ABS.

•

Christ lag in Todes Banden, BWV 4

Ein feste Burg ist unser Gott, BWV 80

- Intermission -

Sinfonia from Wir danken dir, Gott, wir danken dir, BWV 29

Oster-Oratorium: Kommt, eilet und laufet, BWV 249

Nun ist das Heil und die Kraft, BWV 50

•

Our Next Performances

BACH: MOTETS & TRAUERODEA Tribute to Laurette Goldberg

ClaraRottsolk,soprano•IanHowell,countertenorDerekChester,tenor•RobertStafford,baritone

with the American Bach Choir

Friday June 8 2012 8:00 pm - First Congregational Church, BERKELEY

•

2012 ABS FESTIVAL & ACADEMYThursday July 12 – Sunday July 22 - San Francisco Conservatory of Music, SAN FRANCISCO

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Program NotesChrist lag in Todes Banden, BWV 4

Most Bach scholars are agreed that Bach’s cantata Christ lag in Todes Banden is one of his earliest surviving church compositions and the first to employ a chorale as the main source of its text and melodic material. Indeed, Bach later incorporated the work into his second cycle of Leipzig cantatas, the so-called chorale cycle. However, while the majority of these later cantatas only use the text and melody of a specific chorale directly for the opening and closing movements, Christ lag in Todes Banden preserves Martin Luther’s original text (and usually the melody too), presenting each verse in successive movements. Thus the piece sounds as one long variation form, within which Bach creates an astonishing variety of textures and moods.

The opening sinfonia sets the emotional scene by presenting both a version of the opening line of the chorale and by creating a solemn and almost mournful affect. To Luther, the joy of Easter is acquired only through the tragedy of Christ’s passion. Immediately noticeable is the constant repetition of melodic fragments, figures that act as the main substance of every movement to come. This is basically the style adopted by composers of the late seventeenth century, and it is easy to surmise that such incessant repetition of motives could be extremely tedious in the hands of a mediocre composer. Fortunately Bach is indeed one of the best composers, so he was able to use this technique to create a vibrant, intense, and extremely dramatic succession of movements. Furthermore, within the limitations of the variation form, Bach employs an astounding variety of musical treatments during the course of the piece: motet, ostinato bass, string concerto, and fugue. Nor does he ignore the local details of text setting, something which is especially evident in the bass solo, where death is represented by an astonishing leap of one and a half octaves and the word “strangler” is given a delightfully picturesque highlight.

Ein feste Burg ist unser Gott, BWV 80

Nowadays we tend to consider Bach’s cantatas to be fixed, discrete entities, the finely chiselled stones constituting the magnificent edifice of the Bach canon. However it is all too easy to overlook the fact that these works were written—often hurriedly—in direct response to the immediate demands of Bach’s liturgical environment. The composer frequently reused music written for earlier occasions and, when works were to be repeated, Bach adapted the text and instrumentation for new contingencies. Therefore it is often difficult to determine which version is the most perfect, or which Bach would have considered the most satisfactory. Modern editors tend to favor the latest version of a work, since, whenever he was reusing earlier music, Bach inevitably made small cosmetic improvements. However the problems can be compounded by gaps in the transmission of the work: manuscripts are sometimes lost and early copyists often give only an inaccurate picture of the scores that Bach actually wrote.

Cantata 80 is a typical example of these problems: the core of the work was first written circa 1715 when Bach was organist and concertmaster at the court of Weimar. Since the feast for which this was performed (Oculi Sunday) was not celebrated with figural music at Leipzig, Bach had to adapt the work for another occasion before it could be used again. Sometime in the late 1720s Bach performed the piece as Ein feste Burg for a Reformation feast (only a small fragment of the autograph score survives) and he repeated it in the 1730s, replacing the simple opening chorale with an elaborate chorus (the only surviving early score is in the hand of Bach’s son-in-law, J.C. Altnickol). This is not, however, the end of the story, for Bach’s eldest son, Wilhelm Friedemann, adapted two movements for his own use in a performance after Bach’s death. Not only did Friedemann substitute a new Latin text, but he also added the ornate trumpet and timpani parts to movements 1 and 5 that have since crept into several modern editions claiming to present the original text.

Bach’s celebrated Reformation cantata contains all four verses of Luther’s chorale and most of the remaining text is from Salomon Franck’s original libretto to this cantata, as sung in Weimar (Oculi, the third Sunday of Lent). The opening movement is arguably Bach’s most impressive chorale-based movement, the imitative motet style punctuated with a canon on the chorale between oboes and continuo instruments. Both the technique (the word “canon” also meaning “rule” or “law”) and the instrumentation using the highest and deepest instruments (high oboes and low contrabass notes intoning the chorale melody), were doubtless designed to show the all-encompassing power of God.

The remaining movements show the vivid and more concise style of Bach’s Weimar cantatas, with their use of a small repertory of incisive figures pervading virtually every measure. The chorale movement “Und wenn die Welt voll Teufel wär” employs a festive instrumental ritornello, which like many movements in the Brandenburg concertos, seems paradoxically both dense in its texture and lucid in its voice-leading and harmonic direction. The final duet “Wie selig sind doch die” shows just that combination of features that render Bach outstanding among his contemporaries: while the musical lines and motivic ideas are designed to span the entire structure, local details are not forsaken (the evocative melismas on the words “Glauben” and “schlagen”).

— John Butt

Sinfonia from Wir danken dir, Gott, wir danken dir, BWV 29

Bach composed the cantata Wir danken dir, Gott, wir danken dir in 1731 for the inauguration of the Leipzig town council. As with so many other works, Bach borrowed music from one of his other compositions—in this case, the first movement of the Partita in E major for solo violin—to provide material for the Sinfonia. Festive orchestration transforms the starker virtuosity of the Partita into a musical introduction of sufficient pomp for the civic

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Program Notesoccasion. In this setting the organist must act as virtuoso, accompanied and reinforced by the strings and oboes, while the brass and timpani add intermittent punctuation and a ceremonial weight to the opening and final cadence.

— Kristi Brown-Montesano

Oster-Oratorium: Kommt, eilet und laufet, BWV 249

Only three works by Bach ever acquired the composer’s designation of “Oratorium” (the Christmas Oratorio BWV 248, the Ascension Oratorio BWV 11, and the Easter Oratorio BWV 249). And in Leipzig, the Feast of Easter—certainly one of the three main Feasts in the Christian liturgical year, along with Whitsun (Pentecost) and Christmas—was celebrated over the course of three days: Feria I Paschatos (Easter Sunday), Feria II Paschatos (“Angel’s Monday”), and Feria III Paschatos (Tuesday). So an interesting play on the number three begins already. Going one step further, we find that the original music for the Easter Oratorio underwent three substantial revisions. But like a great deal of Bach’s sacred music, the first version of the music was composed for a secular occasion.

Bach exploited his ability to recycle his compositions most often in applying parody to secular pieces. However, there is no evidence of a sacred cantata ever being transformed into a secular one. In fact, Bach’s liturgical works are so often reworkings of originally secular compositions that some listeners try to question the authenticity of the well-crafted pietism evidenced in his sacred music. Adaptations or not, Bach’s sacred works display nothing short of the composer’s unparalleled talent for joining words to music, and occasion to rhetoric. The success of Bach’s dual-purpose music in both forums—sacred and profane—is a testimony to his supreme craftsmanship.

The music of the Easter Oratorio was originally composed as a celebratory (secular) cantata for the birthday festivities of Duke Christian of Saxony-Weissenfels on February 23, 1725. Barely five weeks later, Bach transformed it into a sacred cantata for Easter Day. The original characters (Doris, Sylvia, Menalcas and Damoetas) became Maria Jacobi, Maria Magdalena, Petrus and Johannes. But in August of the following year, the original secular version was performed again, this time to celebrate the birthday of Count Joachim Friedrich von Flemming (the military governor of Pleissenburg in Leipzig). No alterations were made to the original, supporting the notion that once a secular work was consecrated as a secular one, its material was never recast again as a new secular piece. Not seeming the worse for wear, however, the music was refashioned into its fourth manifestation, reclaiming the solo characters’ liturgical roles (but this time without names), and acquiring Bach’s sanctioned title of “Oratorio” for a performance sometime around 1735. Still one more minor revision was to take place around 1740. It was this final reworking that generated the opening chorus (the movement had so far been principally a duet; the middle section still remains so).

Scarcely a Bach sacred cantata exists in which one cannot find movements borrowed from the dance or concerto grosso styles. The Easter Oratorio has both. The opening sinfonia (Allegro-Adagio) might very well have had its origins in one of the many instrumental concertos written at Cöthen. And the ensuing first chorus could certainly have come from the final allegro movement of a concerto as well. Four sets of recitative and aria follow (the fourth set concludes with a chorus). Each aria is based on a dance form. The aria given to Maria Jacobi (Mary, Mother of James) is based on a minuet, and scored delicately for flute and basso continuo. Peter’s aria, which lulls his previous fear of death into slumber through the tranquilizing sounds of muted strings and recorders, is technically a bourrée, although its pace is quite a bit slower than the tempo we usually associate with that dance. Mary Magdalen sings her text of eagerness and anticipation to a gavotte. And the final chorus of praise and thanks begins as a romping gigue. But even the smallest movements of the cantata—the recitatives—have fascinating qualities of their own. In the first three, Bach employs the jarring device of double-recitative, an odd-sounding technique wherein two voices sing uniquely angular parts at the same time, either one of which could stand alone with the underlying bass accompaniment. Indeed, hearing only one voice of the two at any one time can be more easily decipherable. The vocal lines of recitative are rarely melodic, and this double jeopardy of sorts must have intrigued Bach as much (and as effortlessly, no doubt) as his fascination with canons (in the Musical Offering) and fugues. In the final recitative—no duet, this time—as John sings the text “We rejoice”, Bach exactly quotes a recognizable figure from the recitatives of Jesus in the St. John Passion.

— Jeffrey Thomas

Nun ist das Heil und die Kraft, BWV 50

This bulky double chorus is probably the torso of a larger work celebrating the feast of St. Michael (perhaps the cantata for the first Leipzig cycle, in 1723); most likely this was the most useful part of the cantata outside the original context of the Leipzig liturgy of Bach’s time, so the later copyists probably discarded the other movements (and no score survives from Bach’s own time). It is one of the most impressive examples of Bach’s “permutation fugue” design, where each voice proceeds with a whole succession of subjects and countersubjects which work interchangeably with one another. However, as it stands, the work probably reflects the adaptations of later hands, since several small compositional anomalies are apparent. Certainly some of the vocal writing lacks the refinement of other double-chorus pieces, specifically the motet “Singet dem Herrn,” so, as is the case for several of Bach’s large-scale choral movements, it is likely that it was originally conceived for fewer voices, possibly a five-part chorus (a format which is found most in the first cycle of Leipzig cantatas).

— John Butt

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Texts & TranslationsChrist lag in Todes Banden, BWV 4 Soprano, Alto, Tenor, Bass, Chorus, Cornetto, Trombone I-III, Strings (Violin I-II, Viola I-II), Basso continuo

SINFONIA - Strings, Basso continuo

Verse I CHORUS - Soprano, Alto, Tenor, Bass, Cornetto, Trombone I-III, Strings, Basso continuo Christ lag in Todes Banden Für unsre Sünd gegeben, Er ist wieder erstanden Und hat uns bracht das Leben; Des wir sollen fröhlich sein, Gott loben und ihm dankbar sein Und singen halleluja, Halleluja!

Christ lay bound into death, given for our sin: he arose and brought us true life; for this we shall be joyful, give God praise and gratitude and sing hallelujah, hallelujah!

Verse II DUET - Soprano, Alto, Cornetto, Trombone I, Basso continuo Den Tod niemand zwingen kunnt Bei allen Menschenkindern, Das macht’ alles unsre Sünd, Kein Unschuld war zu finden. Davon kam der Tod so bald Und nahm über uns Gewalt, Hielt uns in seinem Reich gefangen. Halleluja!

No one could subdue death among all mankind’s children; this all was caused by our sin, no innocence was found then. From this came death so quick and seized power over us, held us in his realm as captives. Hallelujah!

Verse III ARIA - Tenor, Violin I-II, Basso continuo Jesus Christus, Gottes Sohn, An unser Statt ist kommen Und hat die Sünde weggetan, Damit dem Tod genommen All sein Recht und sein Gewalt, Da bleibet nichts denn Tods Gestalt, Den Stachel hat er verloren, Halleluja!

Jesus Christ, God’s Son, came in our place and set aside all sin for us, thus taking from death all his rule and power: so nothing is left but death’s mere form, his sting he lost, hallelujah!

Verse IV CHORUS - Soprano, Alto, Tenor, Bass, Basso continuo Es war ein wunderlicher Krieg, Da Tod und Leben rungen, Das Leben (da) behielt den Sieg, Es hat den Tod verschlungen. Die Schrift hat verkündiget das, Wie ein Tod den andern fraß, Ein Spott aus dem Tod is worden. Halleluja!

It was a strange war, when death and life did wrestle: life won the victory, it devoured death. The Scripture foretold how one death ate the other, now death is given to scorn. Hallelujah!

Verse V ARIA - Bass, Strings, Basso continuo Hier ist das rechte Osterlamm, Davon Gott hat geboten, Das ist hoch an des Kreuzes Stamm In heißer Lieb gebraten, Das Blut zeichnet unsre Tür, Das hält der Glaub dem Tode für, Der Würger kann uns nicht mehr schaden. Halleluja!

Here is the real Easter lamb which God has offered, high up on the cross it was burned in ardent love: the blood signs our door, the faith sets this against the death, the strangler can harm us no more. Hallelujah!

Verse VI DUET - Soprano, Tenor, Basso continuo So feiern wir das hohe Fest Mit Herzensfreud und Wonne, Das uns der Herr erscheinen läßt, Er ist selber die Sonne, Der durch seiner Gnaden Glanz Erleuchtet unsre Herzen ganz, Der Sünden Nacht ist verschwunden. Halleluja!

So we commemorate the high feast with heartfelt joy and pleasure, which the Lord makes shine on us: he himself is the sun who through his shining grace fills all our hearts with light, the sin-fllled night has vanished. Hallelujah!

Verse VII CHORALE - Soprano, Alto, Tenor, Bass, Cornetto, Trombone I-III, Strings, Basso continuo Wir essen und leben wohl In rechten Osterfladen, Der alte Sauerteig nicht soll Sein bei dem Wort der Gnaden, Christus will die Koste sein Und speisen die Seel allein, Der Glaub will keins andern leben. Halleluja!

We eat and live well on this true bread of Easter: the old leaven shall not bide with the word of grace, Christ wants to be our nourishment and feed the soul alone, faith won’t live on anything else. Hallelujah!

Translation by Vera Lucia Calabria

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Ein feste Burg ist unser Gott, BWV 80 Soprano, Alto, Tenor, Bass, Chorus, Oboe I-III, Oboe d’amore I-II, Taille, Oboe da caccia, Strings (Violin I-II, Viola), Basso continuo

CHORUS - Soprano, Alto, Tenor, Bass, Oboe I-II, Strings, Basso continuo Ein feste Burg ist unser Gott, Ein gute Wehr und Waffen; Er hilft uns frei aus aller Not, Die uns itzt hat betroffen. Der alte böse Feind, Mit Ernst er’s jetzt meint, Groß Macht und viel List Sein grausam Rüstung ist, Auf Erd ist nicht seinsgleichen.

A strong fortress is our God, a sure defense and armor; he helps to free us from all our need and suffering. The old, evil foe is here, grim is his intent, and with his cruel weapons, his enormous power and deceit, there is no one equal to him on earth.

ARIA & CHORALE - Bass, Soprano, Oboe, Strings, Basso continuo Alles, was von Gott geboren, Ist zum Siegen auserkoren. Mit unsrer Macht ist nichts getan, Wir sind gar bald verloren. Es streit’ vor uns der rechte Mann, Den Gott selbst hat erkoren. Wer bei Christi Blutpanier In der Taufe Treu geschworen, Siegt im Geiste für und für. Fragst du, wer er ist? Er heißt Jesus Christ, Der Herre Zebaoth, Und ist kein andrer Gott, Das Feld muß er behalten. Alles, was von Gott geboren, Ist zum Siegen auserkoren.

All born from God is intended for victory. Our power alone will achieve nothing and we are soon lost. Let the right man, chosen by God, lead us in our fight. Who at his baptism swore allegiance at Christ’s own bloodstained flag wins in spirit more and more. You ask who he is? His name is Jesus Christ, the Lord of Sabaoth, there is no other god, the field is his forever. All born from God is intended for victory.

RECITATIVE - Bass, Basso continuo Erwäge doch, Kind Gottes, die so große Liebe, Da Jesus sich Mit seinem Blute dir verschriebe, Wormit er dich Zum Kriege wider Satans Heer und wider Welt und Sünde Geworben hat! Gib nicht in deiner Seele Dem Satan und den Lastern statt! Laß nicht dein Herz, Den Himmel Gottes auf der Erden, Zur Wüste werden! Bereue deine Schuld mit Schmerz, Daß Christi Geist mit dir sich fest verbinde!

Consider, child of God, this love so great which made Jesus offer his blood for you: by this he won you for the war against Satan’s host, the world and sin. Don’t yield in your soul to Satan and his viciousness! Don’t let your heart, God’s heaven on earth, become a wasteland! Repent of your guilt with pain, so that Christ’s spirit may be united to yours!

ARIA - Soprano, Basso continuo Komm in mein Herzenshaus, Herr Jesu, mein Verlangen! Treib Welt und Satan aus Und laß dein Bild in mir erneuert prangen! Weg, schnöder Sündengraus!

Come in my heart’s abode, Lord Jesus, my longing! Drive world and Satan out and let your image shine in me renewed! Away with all those horrible sins!

CHORALE - Soprano, Alto, Tenor, Bass, Oboe d’amore I-II, Taille, Strings, Basso continuo Und wenn die Welt voll Teufel wär Und wollten uns verschlingen, So fürchten wir uns nicht so sehr, Es soll uns doch gelingen. Der Fürst dieser Welt, Wie saur er sich stellt, Tut er uns doch nicht, Das macht, er ist gericht’, Ein Wörtlein kann ihn fällen.

And were the world filled with devils intending to devour us, our fear would not be great, for we will win the victory. The prince of this world, how grim he may be, can’t harm us, that is, he is condemned, one little word can fell him.

RECITATIVE - Tenor, Basso continuo So stehe denn bei Christi blutgefärbten Fahne, O Seele, fest Und glaube, daß dein Haupt dich nicht verläßt, Ja, daß sein Sieg Auch dir den Weg zu deiner Krone bahne! Tritt freudig an den Krieg! Wirst du nur Gottes Wort So hören als bewahren, So wird der Feind gezwungen auszufahren, Dein Heiland bleibt dein Hort!

So stand then firm under Christ’s own bloodstained flag, o soul, and trust that your head won’t betray you, and that his victory will prepare the way to your own crown, too. Go gladly on to war! If you just listen to God’s word and obey it as well, the foe will be forced to leave; your Savior is your shield!

DUET - Alto, Tenor, Oboe da caccia, Violin, Basso continuo Wie selig sind doch die, die Gott im Munde tragen, Doch selger ist das Herz, das ihn im Glauben trägt! Es bleibet unbesiegt und kann die Feinde schlagen Und wird zuletzt gekrönt, wenn es den Tod erlegt.

How blessed are those who hold God in their voices, more blessed still is the heart which holds him in faith. It remains unconquered, can beat the enemies and will at last in death be crowned.

Texts & Translations

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CHORALE - Soprano, Alto, Tenor, Bass, Oboe I-II, Taille, Strings, Basso continuo Das Wort sie sollen lassen stahn Und kein’ Dank dazu haben. Er ist bei uns wohl auf dem Plan Mit seinem Geist und Gaben. Nehmen sie uns den Leib, Gut, Ehr, Kind und Weib, Laß fahren dahin, Sie habens kein’ Gewinn; Das Reich muß uns doch bleiben.

They must allow the word to stand and not be thanked for it. He is well with us, with his gifts and Spirit. Let them take our body, wealth, rank, child and wife, let them all be lost. They still cannot win; his realm stays ours.

•INTERMISSION•

Sinfonia from Wir danken dir, Gott, wir danken dir, BWV 29 Organ obligato; Trumpet I-III, Timpani, Oboe I-II, Strings (Violin I-II, Viola), Basso continuo

Oster-Oratorium: Kommt, eilet und laufet, BWV 249 Soprano, Alto, Tenor, Bass, Chorus, Trumpet I-III, Timpani, Flute, Oboe I-II, Oboe d’amore, Recorder I-II, Bassoon, Strings (Violin I-II, Viola), Basso continuo

SINFONIA - Trumpets I-III, Timpani, Oboe I-II, Bassoon, Strings, Basso continuo

CHORUS & DUET - Soprano, Alto, Tenor, Bass, Trumpet I-III, Timpani, Oboe I-II, Strings, Basso continuo Kommt, eilet und laufet, ihr flüchtigen Füße, Errichet die Höhle, die Jesum bedeckt!

Come, rush and run, you hasty feet, reach the cave that conceals our Lord!

Petrus & Johannes: Lachen und Scherzen Begleitet die Herzen, Denn unser Heil ist auferweckt.

Laughter and joviality fill our hearts, our Saviour is risen.

RECITATIVE - Soprano, Alto, Tenor, Bass, Basso continuo Maria Magdalena: O kalter Männer Sinn! Wo ist die Liebe hin, Die ihr dem Heiland schuldig seid?

O cold mind of men! Where is the love you owe our Redeemer?

Maria Jacobi: Ein schwaches Weib muß euch beschämen!

A weak woman puts you to shame!

Petrus: Ach, ein betrübtes Grämen

Alas, distraught grief

Johannes: Und banges Herzeleid

And anxious heartache

Petrus & Johannes: Hat mit gesalznen Tränen Und wehmutsvollem Sehnen Ihm eine Salbung zugedacht,

Mingled with tears of salt and woeful longing has wanted an unction for Him,

Maria Jacobi & Maria Magdalena: Die ihr, wie wir, umsonst gemacht.

Which you, like us, have made in vain.

ARIA - Soprano, Flute, Basso continuo Maria Jacobi: Seele, deine Spezereien Sollen nicht mehr Myrrhen sein. Denn allein Mit dem Lorbeerkranze prangen, Stillt dein ängstliches Verlangen.

My soul, your balm shall no longer be myrrh. For only the glory of the laurel crown can still your anxious desires.

RECITATIVE - Alto, Tenor, Bass, Basso continuo Petrus: Hier ist die Gruft

Here is the cave,

Johannes: Und hier der Stein, Der solche zugedeckt; Wo aber wird mein Heiland sein?

And here the stone that sealed it; but where is my Saviour?

Maria Magdalena: Er ist vom Tode auferweckt! Wir trafen einen Engel an, Der hat uns solches kundgetan.

He has risen from the dead! We met an angel who told us all.

Petrus: Hier seh ich mit Vergnügen Das Schweißtuch abgewickelt liegen.

With joy I see here the linen clothes unwound.

ARIA - Tenor, Recorder I-II, Strings, Basso continuo Petrus: Sanfte soll mein Todeskummer Nur ein Schlummer, Jesu, durch dein Schweißtuch sein. Ja, das wird mich dort erfrishen Und die Zähren meiner Pein Von den Wangen tröstlich wischen.

Gentle shall my sorrow be Just a slumber, Jesus, through your shroud. Yes, that will refresh me, Comfort me and wipe from my cheeks The tears of pain.

Texts & Translations

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RECITATIVE - Soprano, Alto, Basso continuo Maria Jacobi & Maria Magdalena: Indessen seufzen wir Mit brennender Begier: Ach, könnt es doch nur bald geschehen, Den Heiland selbst zu sehen!

Meanwhile we suffer With burning desire: Oh, could it just happen soon That we might see our Saviour!

ARIA - Alto, Oboe d’amore, Strings, Basso continuo Maria Magdalena: Saget, saget mir geschwinde, Saget, wo ich Jesum finde, Welchen meine Seele liebt! Komm doch, komm, umfasse mich, Denn mein Herz ist ohne dich Ganz verwaiset und betrübt.

Tell me, tell me quickly, Tell me where I can find Jesus, Whom my soul adores! Come then, come and embrace me, For without you my heart Is lonely and cast down.

RECITATIVE - Bass, Basso continuo Johannes: Wir sind erfreut, Daß unser Jesus wieder lebt, Und unser Herz, So erst in Traurigkeit zerflossen und geschwebt, Vergißt den Schmerz Und sinnt auf Freudenlieder; Denn unser Heiland lebet wieder.

We are full of joy That our Jesus lives again, And our hearts, At first overcome with sadness, Forget the pain, And think of songs of joy, For our Saviour lives again.

CHORUS - Soprano, Alto, Tenor, Bass, Trumpet I-III, Timpani, Oboe I-II, Strings, Basso continuo

Preis und Dank Bleibe, Herr, dein Lobgesang! Höll und Teufel sind bezwungen, Ihre Pforten sind zerstört; Jauchzet, ihr erlösten Zungen, Daß man es im Himmel hört! Eröffnet, ihr Himmel, die prächtigen Bogen, Der Löwe von Juda kömmt siegend gezogen!

Praise and thanks Be forever, Lord, your hymn of glory! Hell and Devil are defeated, Their portals are destroyed; Rejoice, you ransomed tongues, So you may be heard in Heaven! Open, oh Heavens, the glorious arches, The Lion of Judah advances in triumph!

Translation by Vera Lucia Calabria

Nun is das Heil und die Kraft, BWV 50 Double Chorus (SATB/SATB), Trumpet I-III, Timpani, Oboe I-III, Strings (Violin I-II, Viola), Basso continuo

CHORUS - Tutti Nun ist das Heil und die Kraft und das Reich und die Macht unsers Gottes seines Christus worden, weil der verworfen ist, der sie verklagete Tag und Nacht vor Gott. (Revelation 12:10)

Now is the salvation and the power and the kingdom and the might of our God and of His Christ come, since he is cast down who accused them day and night before God.

Texts & Translations

Beethoven and the BridgeWorld Premiere: Chrysopylae (kris-sop’-i-lee) Golden Gate Bridge Opus Commission byRob Kapilow, plusBeethoven Symphony No. 9

Alasdair Neale, conductor Featuring the Marin Symphony Chorus and vocal soloists

Sun. May 6, 2012 at 3:00pm Tues. May 8, 2012 at 7:30pm

Get tickets: call 415.499.6800 or purchase in person at the Marin Center Box Office 10 Avenue of the Flags, San Rafael

Fresh. Local. Music.

www.marinsymphony.org415.479.8100 | greatmusic@marinsymphony.org

www.facebook.com/marinsymphony | www.facebook.com/goldengateopus

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Music Director Jeffrey ThomasJEFFREY THOMAS has brought thoughtful, meaningful, and informed perspectives to his performances as Artistic and Music Director of the American Bach Soloists for more than two decades. 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. He has directed and conducted recordings of more than 25 cantatas, the Mass in B Minor, Brandenburg Concertos, St. Matthew Passion, various concertos, and works by Schütz, Pergolesi, Vivaldi, Haydn, and Beethoven. Fanfare magazine has praised his series of Bach recordings, stating that “Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach performance.”

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. Mr. Thomas is an avid exponent of contemporary music, and has conducted the premieres of new operas, including David Conte’s Gift of the Magi and Firebird Motel, and premiered song cycles of several composers, including two cycles written especially for him. He has performed lieder recitals at the Smithsonian, song recitals at various universities, and appeared with his own vocal chamber music ensemble, L’Aria Viva.

He has appeared with the Baltimore, Berkeley, Boston, Detroit, Houston, National, Rochester, Minnesota, and San Francisco symphony orchestras; with the Vienna Symphony and the New Japan Philharmonic; with virtually every American baroque orchestra; and in Austria, England, Germany, Italy, Japan, and Mexico. He has performed at the Santa Fe Chamber Music Festival, Spoleto USA Festival, Ravinia Festival, Saratoga Performing Arts Center, Berkeley Festival and Exhibition, Boston Early Music Festival, Bethlehem Bach Festival, Göttingen Festival, Tage Alte Musik Festival in Regensburg, E. Nakamichi Baroque Festival in Los Angeles, the Smithsonian Institution, and at the Brooklyn Academy of Music’s “Next Wave Festival,” and he has collaborated on several occasions as conductor with the Mark Morris Dance Group.

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) and director of choral ensembles in the Department of Music at UC Davis. 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.” Mr. Thomas serves on the board of Early Music America and hosts two public radio programs on Classical KDFC.

San Francisco Renaissance Voices

Todd Jolly, Music Director

CONCERT from the COURT of KHANGXI Berkeley Festival & Exhibition of Early Music

June 3 – 10, 2012 We’ll be joining early music colleagues from across the bay

area & the world to participate in this year’s festival focusing on cross-cultural influences in early music. We’re

restaging our popular concert featuring Charles D’Ambleville’s (c1597-1637) “Mass of the Bejing Jesuits”

performed alternatim style with traditional Chinese instruments & music, as well as a lion dance to start the

concert. Watch our website for the announcement of the specific date we will present this concert at the Festival!

The RENAISSANCE ZOO FAMILY CONCERT July 14 – 4:00 pm

We present our first-ever Family Concert! Designed to be enjoyed by everyone, this concert will especially delight

audience members ages 7-11 with music by owls, dogs, cats & other animals of the Renaissance including opportunities

for you to sing & play along! A special price as well – just $10 per ticket!

Our 2012-13 Season “Other Renaissance Voices”

Will be announced soon – watch our website for details!

www.SFRV.org

“Best Classical Music 2010” – SFWeekly

“Thomas united enlightened historical performance practice with native musical intelligence.”

San Francisco Examiner

“Under the dexterous leadership of Music Director Jeffrey Thomas, the choir produced sounds of remarkable transparency and body.”

San Francisco Chronicle

“Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach performance.”

Fanfare Magazine

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KATHRYN MUELLER (soprano), praised for her “soaring soprano” and “flights of stratospheric brilliance” (Arizona Daily Star, Miami Herald), is a versatile performer with specialties in early music and contemporary works. She has appeared as a soloist with the Washington Bach Consort, Santa Fe Pro Musica, Tucson Symphony Orchestra, New Trinity Baroque (Atlanta), Bach Collegium San Diego, and Chicago’s Ars Antigua. Solo works performed include Bach’s St. Matthew Passion, St. John Passion, and Magnificat, Barber’s Knoxville: Summer of 1915, Mozart’s Requiem and C Minor Mass, Handel’s Messiah and L’Allegro, il Penseroso, ed il Moderato, and Stravinksy’s Pribaoutki. She has sung the operatic roles of Amy in Little Women, Monica in the The Medium, and Miss Pinkerton in The Old Maid and the Thief with companies including Arizona Opera and the Seattle Academy of Baroque Opera. Ms. Mueller gave the world premiere of Ananda Sukarlan’s song cycle Love and Variations, commissioned for her vocal-piano ensemble, the Swara Sonora Trio. She has recorded extensively with New Trinity Baroque on the Edition Lilac label, and is also featured as a soloist on recordings by the Santa Fe Desert Chorale, Seraphic Fire, and Tucson Chamber Artists. An accomplished choral musician as well as a soloist, she has sung with some of the finest choral ensembles in the United States, including the Handel and Haydn Society, Seraphic Fire, and the Santa Fe Desert Chorale. She also sings with the internationally acclaimed medieval group LIBER, and with soprano Kristen Watson in the soprano duo Les Sirènes. Ms. Mueller made her international debut in 2009 on an Indonesian concert tour with the Swara Sonora Trio, closely followed by concerts in Central Mexico with the period orchestra Capella Guanajuatensis. During the summer of 2011, she was a Fellow in the Carmel Bach Festival’s prestigious Virginia Best Adams Vocal Master Class.

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 & Aeneas with Mark Morris 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 17th-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.

Artist Profiles

KATHRYNMUELLER

JUDITHMALAFRONTE

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JON LEE KEENAN (tenor) currently resides in Los Angeles where he is pursuing a DMA in Vocal Arts at the University of Southern California Thornton School of Music. Mr. Keenan is currently in his fifth season with the LA Master Chorale, where he has been featured as a soloist in Haydn’s Maria Theresa Mass, Bach’s St. Matthew Passion, and this past December in the Mozart re-orchestration of Handel’s Messiah where he was called “a tenor to watch” by the LA Times. He earned three undergraduate degrees from the University of Nevada, Las Vegas: in vocal music education, vocal performance, and in jazz studies, and he earned a MM in Vocal Arts from University of Southern California in 2009. Recent operatic engagements include the role of Il Podesta in Mozart’s La Finta Giardiniera, Male Chorus in Britten’s The Rape of Lucretia, and Antonio in Wagner’s Das Liebesverbot with the Thornton Opera at USC. This season’s engagements include the role of Don Ottavio in Mozart’s Don Giovanni with the Pacific Opera Project and engagements as soloist at the LA Bach Festival and with the LA Master Chorale in Handel’s Messiah. Mr. Keenan was a member of the American Bach Soloists 2011 Academy.

TYLER DUNCAN (baritone) enjoys international renown for bringing consummate musicianship, vocal beauty and interpretive insight to recital, concert, and operatic literature. An exceptional oratorio singer performing a remarkable range of repertoire, Mr. Duncan’s concerts include Haydn’s Die Schöpfung; Beethoven’s Ninth Symphony; Haydn’s Die Jahreszeiten; Händel’s Messiah with Boston’s Handel and Haydn Society, San Francisco’s Philharmonia Baroque and Portland Baroque; Handel’s La Resurrezione at Germany’s Halle Händel Festival and the Vancouver Early Music Festival; Bach’s St. Matthew Passion with the Munich Bach Choir; and Bach’s Ich habe genug and Christmas Oratorio with Tafelmusik. He has sung the title role of Mendelssohn’s Elijah in Munich, Elgar’s The Dream of Gerontius at Canada’s Elora Festival; and made an extensive North American tour of Monteverdi’s 1610 Vespers with Tragicomedia and Concerto Palatino. Mr. Duncan’s considerable gifts in the realm of art song have earned him prizes from the Naumburg, Wigmore Hall (London) and ARD (Munich) Competitions. He has given acclaimed recitals in New York, Boston, Paris and Montreal, as well as throughout Canada, Germany, Sweden, France and South Africa. He was also winner of the 2010 Joy in Singing Auditions in New York, the 2008 New York Oratorio Society Competition, 2007 Prix International Pro Musicis and the Bernard Diamant Prize from the Canada Council for the Arts. He holds music degrees from the University of British Columbia; Germany’s Hochschule für Musik (Augsburg) and Hochschule für Musik und Theater (Munich). He is a founding member on the faculty of the Vancouver International Song Institute. He has performed the roles of Dandini in Rossini’s La Cenerentola, Demetrius in Britten’s A Midsummer Night’s Dream, Papageno in Mozart’s Die Zauberflöte, the title role of Mozart’s Le nozze di Figaro, roles in Lully’s Armide, Purcell’s The Faerie Queen and King Arthur with Early Music Vancouver; and the High Priest in the Richard-Strauss adaptation of Mozart’s Idomeneo at the Strauss Festival in Bavaria. Recently released on the CPO label is his Boston Early Music Festival recording of the title role of John Blow’s Venus and Adonis. Forthcoming recordings are Bach’s St. John Passion with Portland Baroque and a DVD recording with CBC television of Handel’s Messiah with the Montreal Symphony.

Artist Profiles

JON LEEKEENAN

TYLERDUNCAN

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Contributors & AcknowledgmentsThe American Bach Soloists gratefully acknowledge the generous support received from

This list represents contributions received between April 20, 2011 and April 20, 2012. We sincerely regret any errors or omissions.

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-$19,999AnonymousCharles Hosmer Morse Foundation

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

$2,500-$4,999Citi Private BankMichael J. Weller Trust

Up to $2,499AXA Foundation Matching Gifts ProgramMechanics BankWells-Fargo Bank

CORPORATE, GOVERNMENT, AND FOUNDATION SUPPORT

Benefactor ($20,000 and above)AnonymousHugh Davies & Kaneez MunjeeJan GoldbergPatricia & George Locke

Royal Patrons ($10,000-$19,999)AnonymousJose & Carol AlonsoKwei & Michele Ü

Bach Family Circle ($5,000-$9,999)Richard & Sharon BoyerJudith FlynnChristopher J. Damon HaigAngela Hilt & Blake ReinhardtMarie Hogan & Douglas LutgenKim & Judith MaxwellJames Meehan

Patron ($2,500-$4,999)David Cates & Cheryl SumsionMilton & Carol HollenbergJim & Jennifer Steelquist

Capellmeister ($1,500-$2,499)John & Lois CroweKevin & Peggy HarringtonJohn F. HeilNorman T. LarsonLamar LelandMartin & Elizabeth SeckerPeter & Asiye Sonnen

Cantor ($1,000-$1,499)Anonymous (2)Peter BrodiganPeter & Claudia BrownJohn & Jane BuffingtonLisa CapaldiniDon Scott Carpenter

Eunice ChildsCynthia CooperJoseph & Judy CraigSilvia DavidsonRichard G. FabianThomas & Phyllis FarverRobert & Kathleen KaiserJames & Joan KellyThe John Lee FundSteve LehningJeanette & Olaf LeifsonFraser & Helen MuirheadPaul & Sandra OgdenFrank PajerskiDavid & Mary RaubRobert Ripps & Steven SpectorJeffrey ThomasEdward TowneGeerat & Edith VermeijRichard & Shipley Walters

SOLOISTS CIRCLE

Bay Area News GroupKDFC

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MEDIA SUPPORT

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Contributors & AcknowledgmentsINDIVIDUAL SUPPORT

Chorister ($500-$999)AnonymousEdward Betts & Elena SnegovaGretchen BrosiusDonna ChazenUni CordobaJacqueline DesoerTom Flesher & Adam VerretAyame FlintPhilip & Ruth HicksKathryn HobartKen HoffmanDavid KashevaroffSusan & Stafford KeeginBlair MartinKrista Muirhead & Barry

GrossmanPaul NettelmanMichael & Elfrieda O’NeillCharles Quesenberry, Jr.Colby & Katherine RobertsGary Schilling & Stefan HastrupDelia Voitoff-Bauman & Steve

BaumanThomas & Ann WatrousMichael WestonCharles & Elizabeth Wilts

Stadtpfeifer ($250-$499)Cheryl Arnold & John FrykmanBorden & Betty BloomLynne CarmichaelGarniss CurtisIan & Natalie Davis-TremayneMag DimondLester DropkinBob & Margaret EldredBarbara Thomas FexaRichard FordeDavid & Dorli HanchetteConnie Harden & Chuck O’NeillDonna HeinleIngeborg HendersonMary KimballNorman & Rae LeaperWilliam LokkeMalcolm & Natalie MackenziePierre MartinJo Maxon & Karl RuppenthalJohn McKnightDebra NagySteven Peterson & Peter JaretSam PriceNancy Quinn & Tom DriscollHarvey & Nancy RogersBenjamin C SanchezJudd & Sherry SmithScott SocharMichael & Karen TraynorRobert Walker & Ernie Feeney

Steward ($100 - $249)Anonymous (3)Mr. Robert AllgeyerMark & Sheila AndrusJudith Barker & Linda MittenessJohanna & Tom BaruchPhil BeffreyMerry & Mark BenardRobert BermanAl BernsteinErnst & Hannah BibersteinJesse Blumberg & Rita DonahueMatthew BobinskiWendy BuchenBarbara Casey & Richard SigginsGary ChockRichard & Evelyn ClairRoy & Margaret ClarkeJulie CoffinMendel Cohen & Julia VestalEric Collier & Joseph NewellRobert CooteRichard CroninTekla Cunningham & David

SawyerChauncey & Emily DiLauraNancy DuboisSteven EdwardsNorma FeldmanThomas & Mary FooteCynthia FosterLowell & Nancy FrokerMargaret FuerstHinda GilbertJim & Laura GregoryDarrow & Gwen HaagensenAllen HackettMargaret HardingDaniel HershBob Isaacson & Virginia StearnsPeter JensenDavid G. King, M.D.Andrew KivesThomas KosterRonald & Sharon KraussNorman La ForceWilliam & Emily LeiderJohn & Kathleen LeonesManjari & Michael LewisMalcom Litwiller & Teri DowlingDeana Logan & Joseph C.

NajpaverBennett Markel & Karen StellaNoreen MazelisChris McCrum & Liz VelardeLee & Hannelore McCrumbRay & Mary McDevittSharon MenkeMarian MetsonSue MillironCarol MowbrayTom NordMary Belle O’Brien & Georgia

Heid

Virginia PattersonKay PepitoneMark & Katherine PerlPatrizian PollastriniPenelope Rink & Frederick TothMr. & Mrs. Ned RoweWalter & Ellen SanfordCynthia SawtellJanine SchiessWilliam Senecal & Karen RoselandEllen ShermanEdith SimonsonAline SoulesBob & Betsy StaffordDavid Stein & William StewartMariana SteinbergGerald & Sandra SwaffordKenneth TaylorKarl & Marianne ThonRick TrautnerRob & Susan VannemanKurt Von MeierMr. Curtis VoseDebra & Donald WanamakerEffie WesterveltRichard WhiteMuriel F. WilsonBernard WishyJerri WittFoster & Betty WrightCarolyn Yee & Bill L. LeeRick Yoshimoto & Tamara Trussell

Friend ($25-$99)Anonymous (4)Albert & Julie AldenMary AndersonWayne AndersonAlan M. & Helen C. ApplefordAdrienne Austin-ShapiroRoger BarlowCharles BeadleBeverly BenedumJohn BergRobert BlumenRenee BoecheAnne Marie BorchMary BostFelix BraendelIrving & Karen BroidoMs. Deborah BrownLeslie BrownLori Ellen BrownAnn ChengWilliam CraigMary CutchinHubert & Genevieve DreyfusJudith Ets HokinMarcella FassoJulia FaucettElliott & Laurel FeigenbaumCassandra ForthShellie Garrett

Judge & Mrs. Ronald M. GeorgeAlfred & Irene M. GlassgoldRobyn GreeneDavid HammerCarol HandelmanWilliam HartrickDavid HeppnerJohn Karl HirtenElizaabeth HoelterNed HopkinsCharles M. & Nellie HungerfordPeter HusonLaurence JacobsCary & Elaine JamesJulie JeffryAnn JensenHerbert JeongElaine JohnsonMargaret JohnsonKarl & Carol KeenerCarolyn KennedyIsik KizilyalliJoseph & Jeanne KlemsGeorge KnudsonGretchen LeavittDavid LecountRobert LevinLirong LiJay LindermanGeorge LundbergGeorge MarchandBonnie & Gene MartzHugh & Katherine McLeanSusan MeisterKurt & Suzanne MelchiorMinako MiyazakiHildegard M. MohrBarbara MolloyMichael & Jennifer MoranChristopher MotleyOwen MulhollandDiane & John MusgraveJune NadlerAlan B. Newman, M.DEleanor NorrisJoan NortonCrystal OlsonClaire PerryJ. William PezickLinda & Nelson PolsbyLawrence & Erica PosnerNancy RaneyJanet ReiderCarolyn RevelleMaria Reyes & Thomas PlumbMeredith RiekseGail Riley & Moira LittleRebecca RishellWendy RobertsonDavid RobinsonLewis RobinsonJay RussellJulius Otto Schindler

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Marcelle SchollLawrence SeverinoDouglas ShakerNina ShoebatterSteve SiegelmanHarold Skilbred & Rochelle

MatonichAlan SmithRichard SoehrenRobert & Ellen SpaethlingCenter For Learning In

RetirementLisa SpencerDan StanleyJudith StanleyMason & Sandra StoberLorelei TanjiChristine TelleenApril TillesRobert VisserMary WildavskyNorman WilliamsRon & Marlene WizelmanKurt Wootton & Ken Fulk

Bach Kids Sharon & 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 & 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 Phyllis & Thomas Baer, in honor of Katherine McKee

RobertsSharon & Richard Boyer, in memory of Mamie F. Vercelli in memory of Edward T.

Smithburn in memory of Rosemary

PollastriniJoan Intrator in memory of Pat Wolf

Janice Masterton, in honor of Jim & 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.

OgdenTia Pollastrini in appreciation of Mom SherLibby & Gene Renkin, in honor of Harriet & Bill LovittRobert Ripps & Steven Spector, in honor of Don Scott

CarpenterColby & Katherine Roberts, in memory of Patricia WolfKaren & Michael Traynor in honor of Dr. Garniss H.

Curtiss

IN-KIND SUPPORTBusinesses and OrganizationsAmerican Conservatory TheaterAnchor Brewing CompanyBallanico Restaurant & Wine BarBanana Blossom ThaiBerkeley Repertory Theatre Bistro Ginolina Chabot Space & Science CenterClaremont Hotel & Spade Luna JewelryDelicious! CateringGrgich Hills EstateHeart O’ The Mountain WineryKermit Lynch Wine MerchantLark TheaterLeft Bank BrasserieMarin SymphonyMarin TheatreMarzano on ParkMeeker VineyardMerola Opera ProgramMusica PacificaMusical OfferingOakland A’sPezzi King VineyardsRock Wall WinesSam’s Anchor CafeSan Francisco GiantsSan Francisco Opera Smith-Rafael Film CenterStone Tree CellarsTrumer Brauerei

Community IndividualsCarol AlonsoSharon BoyerChristine Brandes

Jonathan DimmockCynthia FosterMarilyn GreenblatBenjamin & Lynette HartPhil & Ruth HicksKen HoffmanElfrieda LangemannJudith LinsenbergRaymond MartinezAndrew MorganPaul MorinDavid MorrisHelen Drake MuirheadKaneez MunjeeKatherine Roberts PerlDiana PrayNancy Quinn & Tom DriscollColby RobertsHarvey RogersDavid Taylor & Hanneke van

ProosdijMillicent TomkinsTanya TomkinsMichele ÜHeidi WatermanDavid WilsonRick Yoshimoto

USHERSBelvedereSheila BrookeDavid HanchetteSteve HeathJoy MassaLinda McCannMarta Marie OsterlohMary OsterlohValerie TaylorJim Turner

BerkeleyGretchen BrosiusThalia BroudyLoren ChuseRobyn DonderoKevin DowningSara FruchtSandra GreeneCarole KalousMadlena MaximovaKaren StellaRuth UngarMargriet WetherwaxBu WirthRon WizelmanMarlene WizelmanPaul Wren

DavisChristine AdamsJoe BurnsRuth Coleman

Mike ColemanBetty HolomanLee RiggsCarrie RockeJoan Witmer

San Francisco Anne AverillElaine BeckerLarry BeckerMilt BeckerRhoda BeckerAl BernsteinJohanna BronkNatalie CarducciEric ConroeAnne ConwayKevin DowningSusan FordKaren GierlachPaul GierlachJen KeirnanAlice KoWilliam LangleyKathy LautzWendy MoseleyDeena OppenheimElizabeth RoodBill SinnSusan ShermanJulia TaylorDan Yelen

ACKNOWLEDGMENTSSt. Stephen’s Episcopal Church

Vestry, Staff, and Parishioners:The Rev. Robert Gieselmann,

Rector; John Karl Hirten, Organist

Instrument LoansUC Davis Department of Music

Housing and HospitalitySteve & Heidi Botts Richard & Jeannine FoutsJan Goldberg & Ken HoffmanFraser & Helen MuirheadAndrew Luchansky & Elisabeth

ReedWilliam & Ray RiessPaul & Sandra OgdenKen & Marjorie SauerMillicet TomkinsKwei & Michele Ü

Contributors & Acknowledgments

Tonight’s musiconABS CDs

Christ lag in Todes Banden, Cantata 4from Cantata Series Volume IV “Early Cantatas”

Judith Nelson, sopranoDaniel Taylor, countertenorBenjamin Butterfield, tenorKurt-Owen Richards, bass

Ein feste Burg, Cantata 80from Cantata Series Volume VI “Favorite Cantatas”

Catherine Bott, sopranoDaniel Taylor, countertenor

Jeffrey Thomas, tenorWilliam Sharp, bass

More from our Cantata Series ...

“ABS promises an exciting exploration of a rich pocket of the baroque literature…The spontaneity of the musicians, who manifestly enjoy making this music, is

palpable and infectious.” SAN FRANCISCO EXAMINER

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