Baroque concert program ready for issu

Music at Trinity Church presents

The North Carolina Baroque Orchestra Chamber Players 

4pm, Sunday, March 22nd, 2015 Trinity Church, 3000 North Kings Highway, Myrtle Beach, SC “Trinity Church exists to share the Gospel and make Christ-centered disciples.”

Music Notes By: Ashley Sosis Today’s program includes Pergolesi’s Stabat Mater, a Lenten masterpiece that is worth a moment of context so that you may fully enjoy it. The full Latin text to the 40 minute work is listed in the program with a poetic English translation for movements 1-8 from our very own Hymnal 1982.

The remaining translations are from Translations and Annotations of Choral Repertoire, by Ron Jeffers and a few of my own. If “40 minutes”, “Latin”, and “Lenten” make you want to run for the door, I will provide this quote that so beautifully sums up the import of the “Stabat Mater” prayer, “The Stabat Mater is universally recognized as the tenderest and most pathetic hymn of the Middle Ages. In simple and vivid language, which cannot always be reproduced in prose, it represents the mother of the Redeemer plunged in grief and weeping beneath the Cross on which Christ was suffering an unmerited and agonizing death. The historical event is narrated in the first, second, and fourth stanzas (movements 1-4, Allegro from Mvmt. 5, Mvmt. 6). The remaining strophes are made up of reflections, affections, petitions, and resolutions arising from the contemplation of Our Lord’s bitter sufferings and death”. –Rev. Matthew Britt, Hymns of the Breviary and Missal Thank you for attending today’s concert. May the beautiful music you hear this afternoon provide an even deeper context to the words printed in this program.

A few of the Orchestra’s period instruments.

Please see the back of the program for a personel list and biography of our featured performers.

1



-ProgramCanon in D -----------------------------------Johann Pachelbel (1653-1706) Sonata 1 in D Major-----------------------------Georg Muffat (1653-1704) Praeludium for Organ -----------------Dieterich Buxtehude (1637-1707) Intermission- George Jennings, Cello and Brian Jennings, Viola Strings Students from Carolina Forest High School Orchestra Directed by: Stephen Williams

Stabat Mater---------------------Giovanni Battista Pergolesi (1710-1736) Text included below, with a poetic translation from the Hymnal 1982, supplemented.

1. Stabat mater dolorosa (Grave, F minor, Duet) Stabat mater dolorosa Juxta crucem lacrymosa, Dum pendebat Filius.

At the cross her vigil keeping, stood the mournful mother weeping, where he hung, the dying Lord:

2. Cujus animam gementem (Andante, C minor, Soprano Aria) Cujus animam gementem, Contristatam et dolentem, Pertransivit gladius.

There she waited in her anguish, seeing Christ in torment languish, in her heart the piercing sword.

3. O quam tristis et afflicta (Larghetto, G minor, Duet) O quam tristis et afflicta Fuit illa benedicta Mater unigeniti!

With what pain and desolation, with what grief and resignation, Mary watched her dying son.

ď‚š2

4. Quae moerebat et dolebat (Allegro moderato, C minor, Alto Aria) Quae moerebat et dolebat, et tremebat, cum videbat Nati poenas inclyti.

Deep the woe of her affliction, when she saw the crucifixion of the sole begotten one.

5. Quis es homo qui non fleret (Largo, C minor, Duet) Quis es homo qui non fleret, Christi matrem si videret In tanto supplicio?

Quis non posset contristari, piam matrem contemplari Dolentem cum Filio? Quis? Quis?

Who, on Christ’s dear mother gazing, pierced by anguish so amazing, born of woman, would not weep?

Who, on Christ’s dear mother thinking, such a cup of sorrow drinking, would not share her sorrows deep? (Who? Who?)

-Pro peccatis suae gentis (Allegro) Pro peccatis suae gentis Vidit Jesum in tormentis, Et flagellis subditum.

Him she saw for our salvation mocked with cruel acclamation, scourged, and crowned with thorns entwined…

6. Vidit suum dulcem natum (Tempo giusto, F minor, Soprano Aria) Vidit suum dulcem natum Moriendo desolatum, Dum emisit spiritum. …Saw him then from judgment taken, and in death by all forsaken, till his spirit he resigned.

3



7. Eja Mater, fons amoris (Allegro Moderato, C minor, Alto Aria) Eja Mater, fons amoris, Me sentire vim doloris Fac, ut tecum lugeam.

Jesus, may her deep devotion stir in me the same emotion, Fount of love, Redeemer kind…

8. Fac,

ut ardeat cor meum (Fuga , G minor, Duet) Fac, ut ardeat cor meum In amando Christum Deum, Ut sibi complaceam. …that my heart fresh ardor gaining, and a purer love attaining, may with thee acceptance find.

9. Sancta Mater,

istud agas (Tempo Giusto, C minor, Duet)

Sancta Mater, istud agas, Crucifixi fige plagas Cordi meo valide.

Tui nati vulnerati, Tam dignati pro me pati, Poenas mecum divide.

Fac me vere tecum flere, Crucifixo condolere, Donec ego vixero.

Juxta crucem tecum stare, Te libenter sociare In planctu desidero.

Virgo virginum praesclara, Mihi jam non sis amara, Fac me tecum plangere.

Holy Mother, may you do this: Fix the stripes of the Crucified Deeply into my heart.

Share with me the pains Of your wounded Son Who deigned to suffer so much for me.

Make me lovingly weep with you, To suffer with the Crucified So long as I shall live.

To stand with you beside the cross, And to join with you in deep lament: This I long for and desire.

O Virgin all virgins excelling, Be not inclement with me now; Cause me to mourn with you.

4

10. Fac, ut portem Christi mortem (Largo, G minor, Alto Aria) Fac, ut portem Christi mortem, Passionis fac consortem, Et plagas recolere.

Fac me plagis vulnerari, Cruce hac inebriari, Ob amorem Filii.

Grant that I may bear the death of Christ; Make me a sharer in His Passion And ever mindful of his wounds.

Let me be wounded by His wounds, Cause me to be inebriated by the Cross And the Blood of your Son.

11. Inflammatus et accensus (Allegro, G minor, Duet) Inflammatus et accensus Per te, Virgo, sim defensus In die judicii.

Fac me cruce custodiri Morte Christi praemuniri Confoveri gratia.

Lest I burn in flames enkindled, May I be defended on Judgement day.

May I be protected by the cross, fortified by the death of Christ, strengthened by grace.

12. Quando corpus morietur, (Largo, F minor, Duet) Quando corpus morietur, Fac, ut animae donetur Paradisi gloria. Amen.

When my body dies, May my soul be given the glory of paradise. Amen. 

All concert attendees are invited to attend a reception in Gravely Hall, including Hors’doeuvres and the Baroque-themed meal detailed in pages 7-10.

5



Trinity Church Invites you to experience: Holy Week 2015 Palm Sunday March 29th, 2015 The color of the day is red, the color of blood, symbolizing the Passion of Jesus. 8:00 – Rite I (Chapel) . 9:00 – Contemporary Worship with a palms procession. 11:00 – Traditional Worship will also include a procession with palms. Music will include “O Love, How Deep”, by Everett Titcomb and O Vos Omnes, by: Giovanni Croce.

Maundy Thursday April 2nd, 2015 7:00 pm – Holy Eucharist and Stripping of the Altar Choral pieces will include William Byrd’s Mass for Four Voices, “Christus Factus Est” by: Felice Anerio, and O Sacrum Convivium by: Thomas Wheelkes.

Good Friday April 3rd, 2015 12:15 pm – Good Friday Service In our traditional Good Friday mid-day service, the St. Augustine Choir will chant Lodovico Viadana’s setting of the Passion according to John and offer another passiontide masterpiece by Felice Anerio, “Crux Fidelis”.

This powerful service will be unaccompanied.

7:00 pm – Seven Last Words of Christ Service The seven last words of Christ provide a structure to a program that resembles a choral Lessons and Carols service. Prayers, readings and choral anthems are offered in response to each of the seven phrases. Most of the service will take place in darkness.

Easter Day April 5th, 2015 8:00 – Rite I (Chapel), 9:00 – Contemporary Worship 11:00 – Traditional Worship The 11am service will feature the St. Augustine choir, Trinity’s St. Gregory Youth Choir and St. Cecilia Children’s Choir accompanied by the Canterbury Bells Handbell Choir and the High Tide Brass Quintet. A host of joyous Easter morning anthems will include a movement from a Bach Cantata as well as festive concertato arrangements of beloved congregational hymns.

6

After the concert, enjoy a Baroque Meal: Food from 1600-1750ish…

All the cuisine served tonight comes from Cookbooks printed or (handwritten) in England between 1615 and 1764. If you are interested in reading these entire cookbooks, you may find them at Project Gutenburg, www.gutenburg.org. The text below and on the following pages is lifted directly from Project Gutenburg’s transcriptions, which leaves the “olde English” intact. Enjoy! -Ashley Sosis

From London, 1615 COOKBOOK: John Murrell: A new booke of Cookerie DISH: Friday Pie “A Fridayes Pye, without eyther Flesh or Fish. Wash greene Beetes cleane, picke out the middle string, and chop them small with two or three well relisht ripe Apples. Season it with Pepper, Salt, and Ginger: then take a good handfull of Razins of the Sunne, and put all in a Coffin of fine Paste, with a piece of sweet Butter, and so bake it: but before you serue it in, cut it vp, and wring in the iuyce of an Orenge, and Sugar.”

From London, 1672 COOKBOOK: Hannah Wolley: The Queen-like Closet DISH: Plague Water “2. The Plague-Water which was most esteemed of in the late great Visitation. Take three Pints of Muskadine, boil therein one handful of Sage, and one handful of Rue until a Pint be wasted, then NOTE: OUR MODERNIZATION DOES NOT CONTAIN ALCOHOL. 7



strain it out, and set it over the Fire again. Put thereto a Penniworth of Long Pepper, half an Ounce of Ginger, and a quarter of an Ounce of Nutmegs, all beaten together, boil them together a little while close covered, then put to it one penniworth of Mithridate, two penniworth of Venice Treacle, one quarter of a Pint of hot Angelica Water. Take one Spoonful at a time, morning and evening always warm, if you be already diseased; if not, once a day is sufficient all the Plague time. It is most excellent Medicine, and never faileth, if taken before the heart be utterly mortified with the Disease, it is also good for the Small Pox, Measles, or Surfets.”

From London, 1683 COOKBOOK: G. Markham: The English Huswife DISH: Salad “Of compound Sallet. Your compound Sallets, are first the young buds and Knots of all manner of wholesome Herbs at their first springing; as red Sage, Mint, Lettuce, Violets, Marigold, Spinage, and many other mixed together and then served up to the Table with Vinegar, Sallet-Oyl, and Sugar.”

From England, 1720 COOKBOOK: Ed. Kidder: Receipts of Pastry and Cookery for the Use of his Scholars DISH: Pie Crust “Past for a Pasty. Lay down a peck of flower work it up with 6 pounds of butter, 4 eggs, cold water.”

8

From England, c. 1750 COOKBOOK: A Family manuscript recipe book in several hands, kept by Edwards family of Henlow. 1747-1850s DISH: Chess Pie “A Nothing Pudding. Half a pound of single refined sugar beaten, half a pound of butter melted, six eggs, some nutmeg, and a spoonful of orange flower water, mix it all together, lay a good crust at the bottom of your dish, when you put it in, cut a small apple fine, and sprinkle upon it, half an hour will bake it. -Mrs Portuce”

From London, 1764 COOKBOOK: Elizabeth Moxon: English Housewifry Exemplified DISH: Hodge Podge (Beef Stew) “453. To make HOTCH-POTCH. Take five or six pounds of fresh beef, put it in a kettle with six quarts of soft water, and an onion; set it on a slow fire, and let it boil til your beef is almost enough; then put in the scrag of a neck of mutton, and let them boil together till the broth be very good; put in two or three handfuls of breadcrumbs, two or three carrots and turnips cut small, (but boil the carrots in water before you put them in, else they will give your broth a taste) with half a peck of shill'd pease, but take up the meat before you put them in, when you put in the pease take the other part of your mutton and cut it in chops, (for it will take no more boiling than the pease) and put it in with a few sweet herbs shred very small, and salt to your taste. You must send up the mutton chops in the dish with the hotch-potch. When there are no pease to be had, you may put in the heads of asparagus, and if there be neither of these to be had, you may shred in a green savoy cabbage.

This is a proper dish instead of soop.”

NOTE: OUR MODERNIZATION DOES NOT USE M UTTON. 9



... Continued from English Houswifry Exemplified : “DISH: 60. FRENCH BREAD. To half a peck of flour, put a full jill of new yeast, and a little salt, make it with new milk (warmer than from the cow) first put the flour and barm together, then pour in the milk, make it a little stiffer than a seed-cake, dust it and your hands well with flour, pull it in little pieces, and mould it with flour very quick; put it in the dishes, and cover them with a warm cloth (if the weather requires it) and let them rise till they are half up, then set them in the oven, (not in the dishes, but turn them with tops down upon the peel;) when baked rasp them.

DISH: 39. A Rich White PLUMB-CAKE. Take four pounds of flour dry'd, two pounds of butter, one pound and a half of double refin'd sugar beat and searc'd, beat the butter to cream, then put in the sugar and beat it well together; sixteen eggs leaving out four yolks; a pint of new yeast; five jills of good cream, and one ounce of mace shred; beat the eggs well and mix them with the butter and sugar; put the mace in the flour; warm the cream, mix it with the yeast, and run it thro' a hair sieve, mix all these into a paste; then add one pound of almonds blanch'd and cut small, and six pounds of currans well wash'd, pick'd and dry'd; when the oven is ready, stir in the currans, with one pound of citron, lemon or orange; then butter the hoop and put it in. This cake will require two hours and a half baking in a quick oven.

Presented with many thanks for our recipe testers, bakers and cooks: Melissa Ciarvella, Sheila Cunningham, Janet Haigh, Susan LozadaHernandez, Carolyn Jones, Caroline McKee, Betty Anne Mills, George Sanderson, Carolyn Vereen, Donna Wiggin, Larry Wilson, Tracy Winters

Want to talk about the music or the meal you just enjoyed?

E-mail the music program director Ashley Sosis at music.trinity.church@gmail.com Thank you!

ď‚š 10

The North Carolina Baroque Orchestra Chamber Players: David Wilson & Martha Perry- baroque violins Joey O'Donnell- baroque viola Barbara Blaker Krumdieck- baroque cello Shawn Alger- violone Daniel Pyle- organ with guests: Leila Lazenby- soprano & Tamsin Simmill- alto About the North Carolina Baroque Orchestra

The North Carolina Baroque Orchestra was founded in August 2011 by sisters and musical colleagues, Frances Blaker and Barbara Blaker Krumdieck. Ms Blaker , who is a virtuoso recorder player as well as the conductor of the San Francisco based Bay Area Baroque Orchestra, is NCBO’s conductor and artistic director.

Ms Blaker Krumdieck, a baroque cellist and resident of Davidson, NC is the executive director and principal cellist. NCBO has performed throughout North Carolina and their winter 2012 schedule included performances at Wingate University, The Bechtler Modern Art Museum, The Music at St. Alban’s Concert Series in Davidson, and at McElvey Theater in York, SC., as well as a live radio broadcast on WDAV Classical Radio and a recording project with The Firebird Alliance. Spring of 2013 included a performance of Bach’s St. John Passion at UNC Wilmington as well as an all Bach concert at Centenary UMC in Winston Salem, NC. In collaboration with The Piedmont Baroque Consortium, the orchestra recently completed a recording and performance project featuring the modern day premiere of Antonio Lotti’s “Gloria” which had been lost for 300 years. The spring of 2014 brought performances of Bach’s Easter Oratorio, as well as instrumental concerts in the NC mountain community of Brasstown and in Davidson and Charlotte. The orchestra consists of 20-30 professional period instrument players.