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MUSIC DIRECTOR

NOV–DEC

RICHARD EGARR

You’re Invited to the

Gala

2022

FRIDAY, FEBRUARY 4, 2022 San Francisco War Memorial Join us for an evening to support PBO’s artistic and education programs. Cocktail Party

Bryan Education Studio, Wilsey Center For Opera

Formal Dinner

The Green Room, San Francisco War Memorial

Performance

Herbst Theatre, San Francisco War Memorial

After Party

Bryan Education Studio, Wilsey Center For Opera

THIS is Richard

Gala Chair Melanie Peña and Board Vice President Mark Perry cordially invite you to an evening of celebration as we finally honor Music Director Richard Egarr’s first in-person season with Bach’s glorious Mass in B Minor! Don’t miss the spectacle of Richard, the Orchestra, and Chorale joining forces with star soloists and members of the esteemed Juilliard415 for a night of unforgettable music, dining, toasts, and togetherness!

For information and tickets, please visit philharmonia.org/gala or call 415-745-2591 Mary Bevan

Iestyn Davies Mary Bevan

M B

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE James Gilchrist

Roderick Williams

90.3 FM San Francisco, Marin and Oakland 104.9 FM Silicon Valley and San Jose 89.9 FM Sonoma and Napa Streaming at kdfc.com and on apps

2021-22 SEASON

2021–2022

Handel’s Messiah S E A S O N

in Grace Cathedral JEFFREY THOMAS music director

WEDNESDAY ~ THURSDAY ~ FRIDAY

GOLDA MARK ILKER MATTHIAS DECEMBER 14, 15, 16, 2016 at 7:30 P.M. SCHULTZ PADMORE ARCAYÜREK GOERNE Soprano

Tenor

Fri Jan 21 7:30pm Herbst Theatre

Piano

Songs by Clara Schumann, Emilie Mayer, Libby Larsen, Nadia Boulanger and Kathleen Tagg

ETHAN IVERSON Wed Mar 16 7:30pm Herbst Theatre

SIMON LEPPER Fri Apr 1 7:30pm Herbst Theatre

SEONG-JIN CHO Sat Apr 9 7:30pm Herbst Theatre

messiahingrace.org

415.392.2545

Songs of the Earth: SCHUBERT: “The Works by SCHUBERT, Path of Life” BARBER and others

Works by WAGNER and STRAUSS

(415) 621-7900 SFPERFORMANCES.ORG

BRAVO! DLA Piper proudly supports DLA Piper proudly supports Philharmonia Baroque Philharmonia Baroque Orchestra Orchestra & & Chorale Chorale theirnew magnificent 2016/17 season. and during welcomes Music Director Richard Egarr.

555 Mission Street Suite 2400 | San Francisco, California | dlapiper.com

CONTENTS From the Board President and Executive Director....................................... 6 Board of Directors and Staff.............................. 7 About the Orchestra & Chorale......................... 8 About Richard Egarr..........................................11

Something Old, Something New, Something Mad Overture............................................................. 12 Program.............................................................. 14 About the Artists................................................16 The Players and their Instruments..................20 Program Notes..................................................22 The No One’s Rose............................................28

Bach’s Christmas Oratorio Overture............................................................. 30 Program.............................................................. 32 About the Artists................................................34 The Orchestra and Chorale..............................38 Program Notes..................................................40 Texts & Translations..........................................46 A Fond Farewell ................................................62 Donor Recognition............................................64

From the President of the Board & Executive Director Dear Friends, It was wonderful to welcome back Richard and the Orchestra and to see so many of you in October. It felt like the good old days. We look forward to ushering in the holidays with gorgeous Baroque music in November and December. We’re very excited to welcome guest conductor Jonathan Cohen who makes his second appearance with Philharmonia and cello soloist Keiran Campbell, who first performed with PBO as a soloist in 2018. These two are making their mark on the early music scene, each a dynamic performer. The program features the crème de la crème of baroque composers and we’re honored to be cocommissioners with Australian Baroque Orchestra on a new work by Paul Stanhope, an interpretation on the musical form La Folia—a perfect complement to this program. We’d like to thank Gladyne Mitchell for her extraordinary support of our November concerts. Richard is back in December and he’s in his element with Bach’s Christmas Oratorio. And we can hardly wait to finally hear and see the award-winning Philharmonia Chorale. It’s been a very long time and it will be a thrill to finally hear their beautiful collective sound. Richard will also be introducing us to many new and wonderful soloists in this program along with some good friends who are returning. We wish you a joyful holiday season with friends and family. Let’s all take a moment to reflect on the importance of music in our lives and please know how grateful we are for all you do to keep the music going. With our warm wishes,

David Low Board President

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Courtney Beck Executive Director

Board of Directors & Staff BOARD OF DIRECTORS Officers David Low, President Mark Perry, Vice President Doug Tanner, Vice President Didier LeGall, Vice President Nicolas Elsishans, Vice President David Gross, Secretary Charlotte Gaylord, Treasurer Members Courtney Beck Martin Cohn Marie Bertillion Collins Richard Egarr Kay Sprinkel Grace Peter Hibbard Anne Katz Brian Kincaid Michael Marmor Fred Matteson Rebecca Moyle Paul Sugarman Davóne Tines Past Board Presidents Kay Sprinkel Grace (2017–2019) Dr. Ross E. Armstrong (2011–2017) Paul Sugarman (2008–2012) Martin Cohn (2005–2008) Nancy Kivelson (2002–2005) Fred Matteson (2000–2002) Christine Pallatto (1999–2000) Sherry Bartolucci (1997–1999) Grace Hoagland (1995–1997) Richard D. Maltzman (1993–1995) Dexter B. Dawes (1991–1993) Ann W. Vander Ende (1989–1991) Marie Bertillion Collins (1988–1989) Henry Mayer (1984–1988) Peter Strykers, MD (1982–1984)

Richard Egarr, Music Director Nicholas McGegan, Music Director Laureate Administrative Staff Courtney Beck, Executive Director Jacob Dassa, Marketing Associate Myles K. Glancy, General Manager Lisa Grodin, Director of Education Tisa Hamdani, Office Coordinator Michael Imbimbo, Development & Marketing Manager Naren Larson, Director of Operations & Patron Services William Norris, Marketing Strategist Jeffrey D. Phillips, Director of Artistic Planning Heli Roiha, Bookkeeper William Skeen, Music Librarian Paul Swatek, Director of Finance Sean Waugh, Director of Artistic Strategy & Innovation Concert Production E.J. Chavez, Stage Equipment Coordinator Michael Demeyer, Audio Engineer Kevin Korth, Chorale Accompanist Gabrielle Lochard, House Manager Arthur Omura, Keyboard Technician Phaedra Strecher, Program Book Designer Frank Wing, Concert Photographer

CONTACT US Philharmonia Baroque Orchestra & Chorale 414 Mason Street, Suite 400 | San Francisco, CA 94102 (415) 252-1288 | info@philharmonia.org | philharmonia.org

2021-22 SEASON

About Philharmonia Baroque Orchestra & Chorale

nder the musical direction of Richard Egarr in his second season as Music Director, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as “America’s leading historically informed ensemble” (The New York Times). Considered the most versatile ensemble of its kind, and performing on period instruments, PBO presents repertoire ranging from early Baroque to late Romantic, as well as new works and major operatic productions. The ensemble engages audiences through its signature Bay Area series, national and international tours, recordings, commissions, and education programs. Having celebrated its 40th anniversary last year, PBO was founded by Laurette Goldberg and led by Music Director Laureate Nicholas McGegan for the past 35 years. Philharmonia is the largest ensemble of its kind in the United States.

PBO’s musicians are leaders in historical performance and serve on the faculties of The Juilliard School, San Francisco Conservatory of Music, Harvard, and Stanford. It welcomes eminent guest artists including mezzosopranos Susan Graham and Anne Sofie von Otter, countertenors Anthony Roth Costanzo and Aryeh Nussbaum Cohen, violoncellist Steven Isserlis, and maestros Jonathan Cohen and Jeannette Sorrell. PBO enjoys longstanding artistic collaborations with The Juilliard School, the Mark Morris Dance Group, and the American Modern Opera Company (AMOC), and appears regularly at Disney Hall, Lincoln Center, Norfolk Chamber Festival and Tanglewood. In collaboration with Cal Performances in 2017, PBO produced a fully-staged period opera, Rameau’s Le Temple de la Gloire, and produced a fully-staged, reimagined production of Handel’s Aci, Galatea e Polifemo directed by Christopher Alden and featuring countertenor Anthony Roth Costanzo, bassbaritone Davóne Tines, and soprano Lauren Snouffer in eight sold out performances in January 2020. “Aci” was named Best Operatic Performance in the Bay Area by San Francisco Classical Voice in 2020. PBO also co-produced “Aci” with National Sawdust in

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Brooklyn, Cath Brittan and Anthony Roth Costanzo in 2017. Among the most recorded orchestras in the world, PBO boasts a discography of nearly 50 recordings, including a coveted archival performance of mezzostylistic language of the baroque soprano Lorraine Hunt direction of Richard Egarr matched that of Philharmonia Lieberson in Berlioz’s Les Nuits D’été, nder the musicalperiod since 2020, Philharmonia is recognized as Baroque Orchestra. Founded by John “America’s leading historically informed and a GRAMMY®-nominated recording ensemble” (The New York Times). Using authentic Butt, a baroque keyboardist and one of instruments and stylistic conventions from early of Haydn symphonies. The orchestra Baroque to late Romantic periods as well as thetheworld’s leading Bach scholars, the released the world premiere recording commissioned new works, orchestra engages audiences through its signature Bay Area series, Chorale led by Bruce Lamott from of the original version of Rameau’s Le national tours, recordings, commissions,was and education projects of the highest caliber. Founded 1997 toand2020. In 2019, Handel’s Saul was Temple de la Gloire with the unedited 41 years ago by Laurette Goldberg led by Nicholas McGegan for 35 years, the ensemble is Best of the Bay’s “Best Choral libretto by Voltaire in 2018. In 2020,the largest of its kind innamed the United States. by San Francisco PBO released three groundbreaking PBO’s musicians are Performance” leaders in historical performance and serve on the faculties of The Classical Voice. recordings: a full collection of Juilliard School, San Francisco Conservatory of Music, Harvard, and Stanford. PBO welcomes commissioned works by Pulitzer Prize Philharmonia is the only major winner Caroline Shaw, a selection orchestra in the United States with a of arias sung by rising star contralto permanent initiative dedicated to Jews & Avery Amereau, and Handel’s Saul with Music. The organization launched one of countertenor Aryeh Nussbaum Cohen. the most successful alternative concert

4 PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Philharmonia was the first orchestra in the San Francisco Bay Area to commission Caroline Shaw. Shaw wrote three works for Anne Sofie von Otter and the Orchestra, as well as a major choral work. The first work premiered at LA’s Disney Hall; the third at Lincoln Center. The award-winning Philharmonia Chorale is critically acclaimed for its brilliant sound, robust energy, and sensitive delivery of the text. Formed in 1995, the Chorale provides a vocal complement whose fluency in the

series in the country, “SESSIONS,” in 2015 with fully sold out performances, and launched “In the Office” in 2019 in partnership with the advertising agency Goodby, Silverstein & Partners. During the pandemic, the organization has presented more than 100 virtual programs, including the popular Live from Amsterdam with Music Director Richard Egarr, and “What’s New and H.I.P.” with Tarik O’Regan and Richard Egarr, focused on notions surrounding new music. 2021-22 SEASON

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

About Music Director Richard Egarr

ichard Egarr brings a joyful sense of adventure and a keen, inquiring mind to all his music-making— whether conducting, directing from the keyboard, giving recitals, playing chamber music, or indeed talking about music at every opportunity. After a successful career as Music Director of the Academy of Ancient Music for 15 years, where he succeeded founding director Christopher Hogwood, he joins Philharmonia Baroque Orchestra & Chorale as Music Director. Richard also holds responsibilities as Principal Guest Conductor of Residentie Orkest The Hague and Artistic Partner at The Saint Paul Chamber Orchestra in Minnesota, after having served as Associate Artist with the Scottish Chamber Orchestra. As a conductor, Richard straddles the worlds of historicallyinformed and modern symphonic performance, making him an ideal fit for PBO’s parallel commitments to early and new music. Richard is already well-known to the musicians and patrons of PBO, having guest conducted the orchestra four times since 2012 in both regular season offerings and the PBO SESSIONS series. In addition to his conducting genius, he is a brilliant harpsichordist and is equally skilled on the organ and fortepiano. Richard is a beloved teacher and has been on the faculty of The Juilliard School for eight years in their Historical Performance division, has conducted major symphonic orchestras such as London Symphony Orchestra, Lincoln Center Festival Orchestra, Seattle Symphony, and The Philadelphia Orchestra, and regularly gives solo harpsichord recitals at The Kennedy Center, Carnegie Hall, the Smithsonian, and elsewhere. Born in Lincoln, England, Richard trained as a choirboy at York Minster, was organ scholar at Clare College Cambridge, and later studied with Gustav and Marie Leonhardt in Amsterdam, where he makes his home.

2021-22 SEASON

Overture Pre-Concert Conversations Three Cellists Walk Into the Hall… PBO cellist and Music Librarian William Skeen, conductor Jonathan Cohen, and soloist Keiran Campbell take the stage 45 minutes before each concert for an in-depth chat about the historical cello and the program’s wild repertoire; join them to learn “something new”!

Performance at a Glance Something Old, Something New, Something Mad If anything unites the music played in this concert—beyond its common provenance in 18th-century Europe (with a guest spot from one 21st-century Australian)—it’s the idea of a community of musicians. Locatelli, Handel, Mozart, Geminiani, Vivaldi and Bach junior all travelled Europe exchanging ideas, influences and even tunes. When they weren’t travelling themselves, the burgeoning publishing industry was ensuring their music was. The very idea of a community of musicians gave rise to the Concerto Grosso—a particular form of orchestral piece in which the soloists are also the ensemble; in which exchange, conversation and sharing are as important as demonstrating individual skill. Grosso scores were pioneered by a composer who binds together much of this concerto’s music, Arcangelo Corelli. He may not be on the playbill, but we will hear from Corelli himself today…eventually. 12

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

NOV 10–14

Paul Stanhope

Keiran Campbell

Something Old, Something New, Something Mad

Jonathan Cohen

LOCATELLI Concerto Grosso in E-flat major, Op. 7, No. 6, Il pianto d’Arianna JS BACH Contrapunctus Nos. 1 and 4 from The Art of Fugue HANDEL Concerto Grosso in A minor, Op. 6, No. 4 MOZART Fugue No. 2 in E-flat major, K. 405 (after Bach’s BWV 876) VIVALDI Concerto for Strings in G minor, RV 156 JS BACH Contrapunctus No. 7 from The Art of Fugue CPE BACH Concerto for Violoncello in A major, Wq.172 JS BACH Contrapunctus No. 9 from The Art of Fugue PAUL STANHOPE Giving Ground *world premiere* GEMINIANI Concerto Grosso in D minor, H.143, La Folia Jonathan Cohen, conductor Keiran Campbell, violoncello

2021-2022 • 41st Season

Something Old, Something New, Something Mad Jonathan Cohen, conductor and harpsichord Keiran Campbell, violoncello Philharmonia Baroque Orchestra PROGRAM Pietro Locatelli (1695–1764) Concerto grosso in E-flat major, Op. 7, No. 6, Il pianto d’Arianna Andante—Allegro—Adagio— Andante—Allegro Largo—Largo andante Grave Allegro Largo

Johann Sebastian Bach (1685–1750) Contrapunctus 1 and 4 from The Art of Fugue, BWV 1080

George Frideric Handel (1685–1759) Concerto Grosso in A minor, Op. 6, No. 4, HWV 322 Larghetto affetuoso Allegro Largo e piano Allegro olfgang Amadeus Mozart (1756–1791) Fugue No. 2 in E-flat major, K. 405 W After Fugue No. 7 from J. S. Bach’s Well-Tempered Clavier, BWV 876

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Antonio Vivaldi (1678–1741) Concerto for Strings in G minor, RV 156 Allegro Adagio Allegro INTERMISSION J. S. Bach Contrapunctus 7 from The Art of Fugue, BWV 1080 arl Philipp Emanuel Bach (1714–1788) Cello Concerto in A major, Wq.172 C Allegro Largo con sordini, mesto Allegro assai Keiran Campbell, violoncello J. S. Bach Contrapunctus 9 from The Art of Fugue, BWV 1080

Paul Stanhope (b. 1969) Giving Ground (world premiere) *

Francesco Geminiani (1687–1762) Concerto Grosso in D minor No. 12, H.143, “La Folia” After Op. 5, No. 12 by Arcangelo Corelli * Commissioned by Philharmonia Baroque Orchestra & Chorale and Australian Chamber Orchestra

The November concerts are made possible with generous support from

Gladyne Kenderdine Mitchell

Wednesday, November 10, 7:30 PM First United Methodist Church, Palo Alto Friday, November 12, 8:00 PM

Herbst Theatre, San Francisco

Saturday, November 13, 8:00 PM

First Congregational Church, Berkeley

Sunday, November 14, 4:00 PM

First Congregational Church, Berkeley

Length of performance is approximately two hours. Latecomers will be seated during suitable intervals in the program. The use of cameras or recording devices of any kind is strictly prohibited. Please turn off your cellular telephone or other noisemaking devices before the performance begins. Masks must be worn properly at all times.

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Jonathan Cohen conductor and harpsichord

onathan Cohen has forged a remarkable career as a conductor, cellist and keyboardist. Well known for his passion and commitment to chamber music Jonathan is equally at home in such diverse activities as baroque opera and the classical symphonic repertoire. He is Artistic Director of Arcangelo, Music Director of Les Violons du Roy, Artistic Director of Tetbury Festival and Artistic Partner of The Saint Paul Chamber Orchestra.

The 21-22 season sees Jonathan direct a number of baroque masterpieces: Messiah with Rotterdam Philharmonic and Les Violons du Roy and St Matthew Passion with Arcangelo (BBC Proms) and with Netherlands Philharmonic Orchestra. He returns to Glyndebourne Festival Opera for Alcina and to Budapest Festival Orchestra for a programme of Scarlatti, Vivaldi and Handel. In the USA, he returns to conduct Handel and Haydn Society and Philharmonia Baroque. With Les Violons du Roy, he directs projects with Avi Avital and an all-Mozart programme with Sandrine Piau. Jonathan founded Arcangelo in 2010, who strive to perform high quality and specially created projects. He has toured with them to exceptional halls and festivals including Wigmore Hall London, Philharmonie Berlin, Kölner Philharmonie, Vienna Musikverein, Salzburg Festival and Carnegie Hall New York. They made their Proms debut at the Sam Wanamaker Playhouse in 2016 and returned to the Proms in 2018 to present Theodora to a sold-out Royal Albert Hall. Their recent recordings of Magnificats by members of the Bach family and Charpentier’s Leçons de ténèbres, both attracted critical acclaim. Their latest release for Alpha Classics is Handel’s Brockes Passion.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Keiran Campbell violoncello

eiran Campbell was drawn to the cello after he stumbled across one in his grandmother’s basement and was baffled by its size. Once he turned 8, he began taking lessons—on a much smaller cello—in his native Greensboro, North Carolina. After studying extensively with Leonid Zilper, former solo cellist of the Bolshoi Ballet, he received his Bachelor’s and Master’s at The Juilliard School, working with Darrett Adkins, Timothy Eddy, and Phoebe Carrai. Keiran also spent several springs in Cornwall, England, studying with Steven Isserlis and Ralph Kirshbaum at Prussia Cove. Now based in Toronto, Keiran is principal cello of Tafelmusik Baroque Orchestra. Keiran has performed with orchestras including The English Concert, NYBI, Philharmonia Baroque, The Boston Early Music Festival Orchestra, and Mercury Baroque. He recently performed with Le Concert Des Nations under Jordi Savall, touring Europe performing Beethoven Symphonies before recording them on Savall’s new Beethoven CD. During the summer, Keiran plays in NYC with Teatro Nuovo, an opera company dedicated to performing bel canto opera on period instruments, and he also performs at Lakes Area Music Festival in Minnesota. Keiran has given lectures and masterclasses at UNC Chapel Hill, RNCM Manchester, Western University, and the National Academy Orchestra of Canada. Concerto appearances this season include performances with Tafelmusik and Philharmonia Baroque Orchestra. Keiran is also fascinated by instrument making, which he studies with the maker of his cello, Timothy Johnson.

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Paul Stanhope composer

aul Stanhope is a Sydney-based composer, conductor and educator. His compositions have had prominent performances in the UK, Europe, Asia as well as North and South America. After studies with Andrew Ford, Andrew Schultz and Peter Sculthorpe in Australia, Paul was awarded the Charles Mackerras Scholarship which enabled him to study at the Guildhall School of Music in London in 2000. In May 2004 Paul’s international standing was confirmed when he was awarded first place in the prestigious Toru Takemitsu Composition Prize. He has been awarded four APRA/Australian Music Centre Art awards in Instrumental, Orchestral, Choral and Vocal music categories and was also the first composer to receive a Sidney Myer Creative Fellowship in 2013 and 2014. In 2010 Paul was Musica Viva Australia’s featured composer, receiving nation-wide performances by the Pavel Haas Quartet, the Choir of Trinity College, Cambridge and the Atos Piano Trio from Berlin. Paul’s music has also been featured at the Vale of Glamorgan Festival (Wales) in 2009, The City of London Festival in 2011 and at the Australian Festival of Chamber Music in 2016. In 2018 a new Piano Trio was premiered by eight competing trios from around the world as part of the Melbourne International Chamber Music Competition. 2014 saw the premiere of Jandamarra: Sing for the Country, a music-drama based on the life of the Western Australian Indigenous resistance hero in collaboration with librettist Steve Hawke and members of the Bunuba nation in North Western Australia. Written for large choral and orchestral forces as well as singers, actors and dancers from the Bunuba Community, it was premiered by the Sydney Symphony Orchestra (SSO) and Gondwana Choirs and has since had a return performance in October 2019, presented by the Sydney Conservatorium of Music. Jandamarra has been recognized as a ‘milestone in Australian composition’ (The Australian). Paul’s Piccolo Concerto was featured in performances by the Melbourne, Adelaide and Tasmanian Symphony Orchestras in 2013 and was released on an ABC Classics recording the following year. This work was followed by a Cello Concerto ‘Dawn and Darkness’ composed in 2016 for the Sydney Symphony and an award-winning Trombone Concerto premiered by the West Australian Symphony Orchestra in 2017. In 2021, Paul’s new Requiem, written for Sydney Chamber Choir, was premiered to great acclaim with the Sydney Morning Herald describing it as a ‘major contribution to Australian choral music.’ Paul Stanhope is an Associate Professor of Composition at the Sydney Conservatorium of Music, The University of Sydney and Artistic Chair of the Australia Ensemble, University of New South Wales.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Q&A with composer How did this project begin? The Australian Chamber Orchestra (ACO) asked me to write a piece as a companion work to the Geminiani ‘La Folia’ and to add a bit of ‘spice’ to an all Baroque program. Philharmonia Baroque agreed to co-commission the piece, which I am thrilled about. My home town of Sydney has been in lockdown since June 2021, and a regional tour by the ACO in which the La Folia program was supposed to feature was cancelled. So I’m very pleased that the premiere will now be in San Fransisco—a city which has a similar vibe to Sydney, I think! What is the most exciting part of this project? I find the idea of relating a new piece to an old one very appealing. I’ve used this sort of territory often before and it was a joy to explore its potential again. That and composing for amazing players, of course! What does the title “Giving Ground” mean to you? It has a few meanings, which drew me to it. Firstly, it relates to the fact that in the piece one texture gives way (gives ground) to another one in a series of shifts that I’ve tried to make seamless. Giving Ground is also an act of ceding something, giving in or giving an idea away. Covid has forced realities upon us that we have had to cede freedoms, for example, to get on top of a pandemic. And there are frictions there with people who don’t want to give up individual freedoms—there’s tension there! I guess the last one is a wry look at marriage: in the end you don’t always get your own way. Giving ground is an inevitability for a long and happy relationship. Wow—a lot to unpack there!

Paul Stanhope What do you hope for listeners to take away from this composition? I’d like them to take or leave what they want! I’ve tried to explore the potential of the ‘La Folia’ chord progression through a series of textures and episodes in a way which relates to the original but takes the material into some more other-worldly atmospheres. I’d like the audience to consider its playful elements. Who are your biggest influences? In the early part of my career, my teachers Peter Sculthorpe and Andrew Schultz were a big influence, along with Ross Edwards whose music I studied in detail in my Master’s degree. Since then, the music of Scottish composer James MacMillan has also been influential. Early music composers such as John Dowland and Claudio Monteverdi find their way into my music in significant ways as well. What kind of processes do you use when composing? A boring, 9-5 business-like approach where I force myself into the process on a daily basis. This is the way I manage creative flow. I also like to put a new piece aside for a few weeks once a draft is completed and come back to it. I tend to hear it afresh when I do this and I become more objective and critical in order to refine the ideas to their final stage. Ultimately, the first rehearsals and performances are the test as to whether all that speculation works! I start with pencil and paper and thereafter will go over to music notation software to do more detailed drafts. There’s nothing exciting or romantic about the process at all. Just grinding hard work. The fun happens in the rehearsal process, as far as I’m concerned!

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Players & Instruments Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

Keiran Campbell, violoncello

Giovanni Grancino, Milan, Italy, 1707 Generously lent by Christophe Landon

VIOLIN

VIOLA

Carla Moore, concertmaster

Jessica Troy *

Karen Dekker

Maria Ionia Caswell

Leopold Widhalm, Germany, 1792

Anonymous, Mittenwald, Germany, c. 1800

Jolianne von Einem

Stephen Goist

Johann Georg Thir, Vienna, Austria, 1754 Egon & Joan von Kaschnitz Concertmaster Chair

Mathias Knilling, Mittenwald, 1835

Lisa Grodin

Paulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736

Chloe Kim

Anonymous Anglo-Saxon make, Germany, late 19th century

Timothy Johnson, Hewitt, Texas, 2006; after Andrea Guarneri, Cremona, Italy c. 1676

André Mehler, Leipzig, Germany, 2018; after Matteo Goffriller, Venice, Italy, 1720

Ellie Nishi

Anonymous, Germany, 18th Century

VIOLONCELLO

Katherine Kyme †

William Skeen bc

Tyler Lewis

Paul Hale

Carlo Antonio Testore, Milan, Italy, 1720 Anonymous, Italy, c. 1800

Anthony Martin

Thomas Oliver Croen, Walnut Creek, California, 2005; after F. Gobetti, Venice, Italy, 1717

Maxine Nemerovski

David Tecchler, Rome, Italy, 1733

Anonymous, Northern Italy, ca. 1680 Dominik Zuchowicz, Ottawa, Canada, 1997; after Montagnana Osher Cello Chair Endowment

Ezra Seltzer

Jason Viseltear, New York, New York, 2010; after Giuseppe Giovanni Battista Guarneri, Cremona, 1697 Zheng Cao Memorial Cello Chair

Noah Strick

Celia Bridges, Cologne, Germany, 1988

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Players & Instruments

DOUBLE BASS Anthony Manzo bc

Tom Wolf, 2007; after Carlo Fernando Landolfi, Tanegia, 1766

THEORBO David Tayler bc

Andreas von Holst, Munich, Germany, 2004; after Magno Tieffenbrucker, Venice, Italy, 1610

HARPSICHORD Hanneke van Proosdij bc

John Phillips, Berkeley, 2010; after Johann Heinrich Gräbner, Dresden, 1722 Generously lent by Peter & Cynthia Hibbard

ORGAN Jonathan Cohen bc

Gerrit C. Klop, Holland, 1990 * Principal † Principal 2nd Violin bc Continuo

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Program Notes Pietro Locatelli (1695-1764)

Johann Sebastian Bach (1685-1750)

Concerto grosso in E-flat major, Op. 7, No. 6

Contrapunctus 1 and 4 from The Art of Fugue, BWV 1080

Pietro Locatelli was born in Bergamo, studied in Rome, worked at the Court in Mantua and eventually settled outside Italy, in Amsterdam. He was a violinist whose lifetime saw the flowering of instrumental virtuosity, on stringed instruments in particular. He was also a shrewd businessman who benefited from printing’s rapid rise in Holland. Nobody quite knows whether Locatelli studied with the great pioneer of the baroque Concerto Grosso, Arcangelo Corelli. It’s more likely he received instruction from Corelli’s pupil Giuseppe Valentini. Either way, Corelli’s pioneering of the Grosso rubbed off on Locatelli, from whose pen three Grosso sets survive. The Concerto Grosso capitalized on a new trend for virtuosity, but in a broader setting. The premise was to have instruments or instrumental groups emerge as soloists from within a variegated orchestral texture—a texture with which they would continue to converse and participate in. One of Locatelli’s best-known Grossos comes with a narrative attached. Published as part of the composer’s Op 7 set in 1741, Il pianto d’Arianna uses the fragment of a lost Monteverdi opera of the same name telling of Theseus’s abandonment of Ariadne. A solo violin, probably written by Locatelli for himself to play, sobs on Ariadne’s behalf in the undulating Andante, with cello, additional violin and the string ensemble for accompaniment. The lamenting continues across the five movements of what could be described as a miniature opera for strings. The fasterpaced Allegro movement is filled with the rage that comes with loss. The final Largo, strewn with silences, eventually twists into the hopeful smile of a major key. 22

Johann Sebastian Bach’s intellectual development of harmony laid the foundations for centuries of subsequent music, from Mozart to ABBA. In particular, Bach mastered counterpoint—the braiding of different but complementary musical voices. The highest manifestation of counterpoint is fugue: the introduction and subsequent discussion of a single theme or ‘subject,’ at staggered intervals and different pitches, by otherwise independent voices. Those voices might be individual instruments or the autonomous fingers of a keyboard player. Bach didn’t specify which instrument (or instruments) should relay his culminating contrapuntal manifesto, The Art of Fugue. In this collection, started at as early as 1742 but collated later into a fully comprehensive set, the composer sought to create a unified but diverse encyclopaedia of fugal techniques. He did so mostly using the same melody or ‘subject,’ based on a simple D minor triad (a definitive three-note chord). As always, Bach’s rigorous logic leads to music both exuberant and profound. Bach labelled each of the set’s fugues ‘Contrapunctus,’ followed by a number. Contrapunctus 1 is a clear-headed presentation of the subject itself—the twelve notes heard right at the start beginning and ending on a D. Bach’s whole exercise in The Art of Fugue can be defined as his proving what he could do with this single, cleverly-chosen tune. Here, the subject is followed by an equally lucid fugal elaboration, with dramatic pauses to end. Contrapunctus 4 is where the collection starts to get really interesting. This fugue was evidently added later, towards the

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Program Notes end of Bach’s life. Here, the composer allows the fugue subject to ‘modulate’ or change key—thus bringing a greater feeling of spatial and harmonic freedom to the music. We also hear the fugue subject inverted for the first time, or flipped upside down (the twelve notes heard right at the start). This is the first time in the set we are hearing the subject viewed from wholly different angles. George Frideric Handel (1685-1759) Concerto Grosso in A minor, Op. 6, No. 4, HWV 322 Ten years Locatelli’s senior, Handel was the baroque era’s master impresario. Both his musical genius and his monetary success lay in his ability to absorb ideas from the likes of Corelli without simply copying them (he had the advantage of having lived in Italy, though the two composers got friendly in London).

ingeniously up-cycled to a faster speed and whole new, determinedly agitated mood. Wolfgang Amadeus Mozart (1756-1791) Fugue No. 2 in E-flat major, K. 405 In Mozart’s day, a reference to ‘Bach’ would have meant Carl Philipp Emanuel Bach— Johann Sebastian’s second son, whose melodic, elegant but clear-headed music proved immensely popular in the late 18th century. Mozart, however, became interested in JS Bach in Vienna—partly from curiosity, partly as he sensed what he could learn from the old master. Principally, Mozart saw that he could sharpen his contrapuntal skills. He hoped to fast-track them by transcribing five fugues from Bach’s Well Tempered Clavier, originally for piano, for the four strings of a quartet (Mozart also took a serious interest in The Art of Fugue).

Handel was riding high in the autumn of 1739, when he wrote a celebrated Grosso set labeled Opus 6. Corelli’s own Opus 6 set provided the model; Handel’s use of the same opus number was intended to lure Corelli fans to Handel’s works. The layout also matched Corelli’s, with a solo group of two violins and a cello stepping out from the larger ensemble.

It was an astute move, which utterly transformed Mozart’s quartet writing. Mozart’s take on Bach’s Fugue in E-flat major, with its long fugue subject, demonstrates the extent to which Bach’s music somehow fits any instrument or combination of them.

Handel’s Grossos feel rooted in the Italian tradition, while at the same time containing levels of invention and imagination that are all the composer’s own. The first movement combines gallant politeness with wild unpredictability. The second is a broad and exhilarating fugue. The third drapes a dreamy ‘sarabande’ (a three-step dance) over a walking bass.

Antonio Vivaldi (1678-1741)

It’s Handel’s last movement, however, that proves his adeptness at borrowing from himself. Its main theme is lifted from the aria ‘È si vaga del tuo bene’ from the composer’s own opera Imeneo—

Concerto for Strings in G minor, RV 156 Antonio Vivaldi is often considered the father of the modern day ‘concerto.’ Like Corelli, Vivaldi knew that the word itself simply implied dynamism and contrast: a musical dialogue founded on competition and rivalry as well as concord and common purpose. Vivaldi wrote over forty string concertos known as ‘concerti a quattro’ throughout his career, none of which are easy to date (though most were written after 2021-22 SEASON

Program Notes 1703). They don’t call for specific solo contributions and are probably best considered forerunners to the symphony (or the Grosso) more than to the solo concerto. These pieces adapt and develop musical material, discussing it in two fast movements either side of a slow interlude. Vivaldi’s string concerto in the stormy key of G minor brims over with the fury and angularity that are characteristic of the composer. In the opening movement, the rhythmically emphatic violins sing passionately over a bass line that descends boldly and alluringly through semitones or ‘half-notes’. After a reflective Adagio, the music of the final movement surges energetically upwards. Johann Sebastian Bach (1685-1750) Contrapunctus 7 from The Art of Fugue, BWV 1080 In Contrapunctus 4 we heard Bach’s fugue subject upside down and travelling to different keys. Contrapunctus 7 introduces the concepts of ‘augmentation and diminution’—the theme (or its upside-down ‘inverted’ version) played at half speed or double speed. The difference in speed gives the tune an entirely different sense of weight and gravitas. Here, Bach starts with a standard (but slightly ornamented) version of the fugue subject, answered by an upside-down version at half speed (with double the note values). In the intricate conversation that follows, that simple concept is steadily expanded to the point of high complexity.

studies in Frankfurt and a stint in the service of the Prussian court in Berlin, Emanuel saw off fierce competition to succeed Georg Philipp Telemann as Music Director of the churches of Hamburg. Emanuel’s time in Berlin coincided with a shift in musical taste, ‘a new period’ according to the composer in which delicacy and clarity came to occupy pride of place. This was also the period, specifically the years 1750-53, in which Emanuel produced his three celebrated cello concertos. Vivaldi’s concertos may be the formal model for Emanuel’s. But their equality of soloist and ensemble, and the sophistication of their conversation, can surely be traced back to the Italian Grosso tradition. The A major concerto is one of Emanuel’s best-known works, a piece that somehow reconciles the period’s insistence on ‘unity of affect’ with a huge variety of expression. As one cellist has said, each movement tells its story in a single swoop; every gesture feels like a consequence of that which went before. There is virtuosity in this concerto too, particularly in the exuberant outer movements (the latter subtly reinvents what we think of as a ‘gigue’). More remarkable still is the economy of gesture, but huge emotional effect, of the slow central movement. Here, the music’s yearning tensions are rooted in strings dampened by mutes, but instructed to play both loudly and quietly all the same. Johann Sebastian Bach (1685-1750)

Carl Philipp Emanuel Bach (1714-1788) Cello Concerto in A major, Wq.172 From the age of 15, Bach’s second surviving son regularly took part in his father’s church performances in Leipzig. After

Contrapunctus 9 from The Art of Fugue, BWV 1080 Contrapunctus 9 is one of The Art of Fugue’s more exuberant numbers. Here, the most obvious complicating factor is the introduction of a new subject that

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Program Notes is discussed alongside the now-familiar subject (a ‘double fugue’) in four voices, whose playful demeanour develops into an unstoppable tour de force. Just to prove his prowess, Bach writes a magnificent example of ‘double counterpoint’—a technique in which the upper and lower voices switch places, mid-flight. Paul Stanhope (b. 1969) Giving Ground (world premiere) Paul Stanhope is a multi award-winning Australian composer and Associate Professor of Composition at the Sydney Conservatory of Music. Giving Ground was finished in 2021 to a commission by the Australian Chamber Orchestra for a companion piece to the work by Geminiani we hear next. Both works use the Iberian dance tune ‘La Folia’, popular in the eighteenth century. Stanhope’s also uses a Grosso structure, in which various soloists emerge from a conversational texture. Here, however, they often use playing techniques that would have been unrecognizable to Geminiani. Giving Ground uses the same ground bass as Geminiani’s concerto (the looping bass line that gives the work its harmonic shape), but otherwise uses incremental shifts in key to ratchet up musical tension as the music ascends in register. The title also refers to a structural feature that sees ‘one musical texture slowly “give ground” to the next incoming wave,’ according to the composer. ‘To me life seems to be about working out what ground you are prepared to give away and what you are willing to fight for,’ he says; ‘there are sorrowful elements suggested in this ceding but also new elements of energy and direction in the determination and grit of holding on with dear life.’

Francesco Geminiani (1687-1762) Concerto Grosso in D minor No. 12, H.143, “La Folia” If you’ve been wondering if and when we’re actually going to hear from Arcangelo Corelli, then here he is…sort of. Francesco Geminiani was Corelli’s star pupil and took a lot from his master when it came to Concerto Grosso design. Unfortunately Geminiani’s career was blighted by a flair for disorganization. He was dismissed from his violinist post in Rome for ‘frequent absences,’ and spent much of the rest of his career in London, attempting to organize concerts while the likes of Handel easily overtook him. Still, Geminiani remained a respected and significant figure. He wrote a series of Grosso scores in London from 1726-27, based more than loosely on his teacher’s set of Opus 5 sonatas for violin. When he came to arrange the final ‘theme and variations’ movement of Corelli’s D minor Sonata, Geminiani added a second violin part. The idea was to more fully exploit the inherent contrasts and gameplay of the original violin line while leaving it almost entirely unchanged. Geminiani succeeds in that objective, with flair. The twenty-five variations take as their theme ‘La Folia’, a then popular Iberian dance tune that infiltrated the work of numerous composers. La Folia La Folia is arguably history’s most enduring tune. It’s thought the distinctive melody used by Geminiani emerged in Portugal in the 1400s, where it was the soundtrack to village dancing and celebration. Because of that—and the alcohol that surely accompanied it—the tune attracted the title La Folia. The word suggested madness or folly, reflecting the frenzied, circular dancing it encouraged. 2021-22 SEASON

Program Notes True enough, there is a certain degree of hypnosis and disorientation built into the tune, which locks into a repeating pattern and gives the illusion of having shifted its tonal basis (technically, it doesn’t). By the 1650s, the tune had been standardized (and slowed down) into the form we know today. It had long since seeped into Spain, while Spain’s strong influence on Italy saw it travel there. This was about the time composers started feasting on La Folia. Bach used the tune in one of his cantatas, Handel used it, and in later epochs Beethoven, Berlioz, Brahms and Liszt all used it. These days, film and TV composers, in particular, are still spellbound by the tune. There are good reasons for that. La Folia is simple and memorably. But it’s also fertile—well displaced for ‘variation’ treatment. In other words, it’s relatively easy for composers to keep the tune recognizable and present while transforming its context or harmony. That’s why baroque composers cleaved to the tune, each showing what they could do with it. But it’s also the reason today’s film directors and composers have found such good use for it: a fertile tune like this is excellent for establishing continuity. Program notes by Andrew Mellor © 2021

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Glossary of Terms ALLEGRO A speed indication, often used as a movement title. Literally translates from the Italian as ‘cheerfully’ or ‘with life,’, usually manifested by a speed of between 120 and 150 beats per minute. LARGO A speed indication, often used as a movement title. Literally translates from the Italian as ‘broadly’ but understood as ‘slowly.’ Usually manifested by a speed of between 40 and 60 beats per minute. OPUS NUMBER A number applied to a particular musical work, by a publisher or composer, for cataloguing purposes. Opus numbers often track the chronology of a composer’s creative output but frequently do not. Sometimes, a composer will retrospectively bestow the title ‘Opus 1’ upon a piece they would like to be considered as their first mature or characteristic work.

SINFONIA The Italian word for ‘symphony,’ often used in the Baroque and Classical eras to indicate a purely instrumental section or interlude in an otherwise bigger work involving other forces (voices, for example). In the Baroque era, the word could be used to describe what we would understand as an Overture. GIGUE A lively dance, formally adopted in the baroque era from the English folk dance, the jig. Often uses a strutting ‘dotted rhythm’ (see above).

VIOLA DA GAMBA A bowed instrument, of between 5 and 7 strings and of various registers, played between the legs. The viola da gamba preceded the modern cello and became obsolete with the rise of the violin family in the late 1700s. With gut strings, frets, and a subtly different playing technique, the instrument produces a softer, more tender sound than any from the violin family.

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The No One’s Rose This past August, PBO presented The No One’s Rose, a project in the making for more than five years. Co-produced by the American Modern Opera Company (AMOC), this dramatic work combined music, theater, dance, and poetry. Co-commissioned by PBO and Stanford Live, the poignant work reflected on themes of recovery and resilience, loosely mirroring the structure of The Canterbury Tales: a series of stories, portraits in time, danced, sung, and played by the artists of AMOC all navigating through a shared circumstance—our actual circumstance—of processing the catastrophe of the last few years. The piece featured a new score by MacArthur Genius Grant recipient Matthew Aucoin, set to the words of the prolific poet Paul Celan, alongside music by Bach, Berlioz, Schubert, Sam Cooke, and Paul Simon. The work was directed by Zack Winokur and featured new choreography by Bobbi Jene Smith. The production featured soprano Julia Bullock, countertenor Anthony Roth Costanzo, tenor Paul Appleby, bass-baritone Davóne Tines, dancers Julia Eichten, Yiannis Logothetis, Or Schraiber and Bobbi Jene Smith, violinist Keir GoGwilt, cellist Coleman Itzkoff, and percussionist Jonny Allen. The No One’s Rose began as a conversation between Matt Aucoin and PBO on 20th century poet Paul Celan, Bach and the possibility of composing for period instruments. The production’s original world premiere was scheduled for October 2020 but was cancelled due to the pandemic. The project evolved over the past few years as the artists grappled with some of the most urgent issues of our time—from pandemic-induced isolation to the ravages of climate change.

Matthew Aucoin, composer & conductor

Zack Winokur, director

We were thrilled to finally see this life-affirming production come to life. Philharmonia is deeply grateful to Carol and Douglas Tanner for their generous support and Lead Sponsorship of these performances. We are also grateful for additional support from the Stanford Live Commissions and Programming Fund, The Koret Foundation, and The Ross E. Armstrong and Jonas (Jay) K. Stern Jews & Music Fund. We thank all of you for sharing this experience with us and for looking forward as we create more beautiful art with extraordinary partners.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Bobbi Jene Smith. choreographer & dancer

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Overture Pre-Concert Conversations with the Philharmonia Chorale

Join members of the Chorale 45 minutes before each concert for conversations on the joyous experience of returning to singing and working with Music Director Richard Egarr.

Performance at a Glance Bach’s tidy mind was naturally drawn to large forms neatly divisible into modular parts—structures whose individual sections could stand alone, but would resonate more when brought together or treated as a single cycle or journey. In 1734, Bach turned his mind to one such project. He designed an oratorio in six parts, the performance of which would span the two weeks from Christmas to Epiphany. So, Bach’s so-called Christmas Oratorio, rather like Wagner’s Der Ring des Nibelungen—would not originally have been heard in one sitting. Its opening chapter was performed on Christmas Day, 1734, with Parts 2 and 3 following on the 26th and 27th of December. Part 4 was performed on New Year’s Day, Part 5 on the following Sunday, and Part 6 on the Feast of the Epiphany (6 January).

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Avery Amereau

Lydia Teusc

her

DEC 9–12

Ashley Riches Gwilym Bowen

Bach’s Christmas Oratorio BACH Christmas Oratorio, BWV 248 Richard Egarr, conductor Lydia Teuscher, soprano Avery Amereau, contralto Gwilym Bowen, tenor Ashley Riches, bass-baritone Philharmonia Baroque Orchestra & Chorale

2021-2022 • 41st Season

Bach’s Christmas Oratorio Richard Egarr, conductor Lydia Teuscher, soprano Avery Amereau, contralto Gwilym Bowen, tenor Ashley Riches, bass-baritone Philharmonia Baroque Orchestra & Chorale

PROGRAM

Johann Sebastian Bach (1685–1750) Weihnachts-Oratorium, BWV 248

Part I – Cantata for the First Day of Christmas Jauchzet, frohlocket! Auf, preiset die Tage

Part II – Cantata for the Second Day of Christmas Und es waren Hirten in derselben Gegend Part III – Cantata for the Third Day of Christmas Herrscher des Himmels, erhöre das Lallen

INTERMISSION

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Part IV – Cantata for New Year’s Day Fallt mit Danken, fallt mit Loben Tonia d’Amelio, echo

Part V – Cantata for the First Sunday in the New Year Ehre sei dir, Gott, gesungen

Part VI – Cantata for the Feast of the Epiphany Herr, wenn die stolzen Feinde schnauben

The December concerts are dedicated to the memory of beloved patron and former PBO board member William Criss

Thursday, December 9, 7:00 PM

Herbst Theatre, San Francisco

Friday, December 10, 7:30 PM

Bing Concert Hall, Stanford University

Saturday, December 11, 7:00 PM

First Congregational Church, Berkeley

Sunday, December 12, 4:00 PM

First Congregational Church, Berkeley

Length of performance is approximately three hours. Latecomers will be seated during suitable intervals in the program. The use of cameras or recording devices of any kind is strictly prohibited. Please turn off your cellular telephone or other noisemaking devices before the performance begins. Masks must be worn properly at all times.

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Lydia Teuscher soprano

ydia Teuscher was born in Freiburg, Germany and studied at the Welsh College of Music and Drama and at the Hochschule für Musik in Mannheim.

Recent highlights include Ännchen Der Freischütz for the Opernhaus Zurich, Eurydice in Gluck’s Orfeo with the Orchestra of the Age of Enlightenment/Laurence Cummings, Caliste in Telemann’s Pastorelle en musique with Ensemble 1700, Brahms’ Ein Deutsches Requiem with the Robert-Schumann-Philharmonie/Guillermo García Calvo, Mozart’s Requiem in the Wiener Konzerthaus with the Tonkünstler-Orchester Niederösterreich/Heinz Ferlesch and Fauré’s Requiem with the Los Angeles Philharmonic/Bernard Labadie. In opera, Lydia has sung Pamina Die Zauberflöte at the Salzburg Mozartwoche, Festival d’Aix-en-Provence, the Bolshoi, the Bayerische Staatsoper, Munich and Deutsche Staatsoper, Berlin; Susanna Le nozze di Figaro at the Glyndebourne Festival, Dresdner Semperoper, Staatstheater Karlsruhe, at the Hyogo Performing Arts Center in Japan and in concert with the Tokyo Symphony Orchestra and Jonathan Nott; Hero Béatrice et Bénédict at the Saito Kinen Festival in Japan; Zerlina Don Giovanni for the Bolshoi and Gretel Hänsel und Gretel for the Glyndebourne Festival, Dresdner Semperoper and Saito Kinen Festival. She collaborates regularly with conductors such as René Jacobs, Jonathan Cohen, Emmanuelle Haïm, Sir Roger Norrington, Helmuth Rilling, Markus Stenz and Bernard Labadie and recent highlights have included Schönberg’s Pierrot Lunaire with the Ensemble of the Bayerische Staatsoper; Mahler’s Symphony No. 4 with the London Symphony Orchestra and Daniel Harding; Mozart’s Mass in C Minor with the Deutsche Kammerphilharmonie Bremen and Sylvain Cambreling and Handel’s Messiah with the Orchestre National de Lille and Jan Willem de Vriend.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Avery Amereau contralto

native of Jupiter, Florida, Avery Amereau studied at Mannes College of Music and The Juilliard School, where she was the proud recipient of a Kovner Fellowship and the Shoshana Foundation 2017 Richard F Gold Career Grant. She made her Metropolitan Opera debut in 2016 as the Madrigal Singer in Puccini’s Manon Lescaut. The New York Times praised her performance as “captivating…. [Amereau] stood out for the unusually rich, saturated auburn timbre of her voice.”

She has since made her house and role debut for the Hannover Staatsoper (Alcina/Bradamante), and appeared at Glyndebourne Festival (Dryad/Ariadne), Santa Fe Opera (Olga/Eugene Onegin), Seattle Opera (Ursula/Beatrice et Benedict), Opera Columbus (Carmen), Grand Théâtre de Genève (Cherubino/Nozze di Figaro), the Salzburg Festival (Page/Salome), as well as her house and role debut as Eduige/Rodelinda at Opera de Lille, reprising the role for Opera de Lyon. Exceptional in baroque repertoire, whilst at Juilliard she performed with the school’s historical performance department under such conductors as William Christie and Maasaki Suzuki, and sang at the Bachfest Leipzig and the Boston Early Music Festival. Recent concerts include the world premiere of The Listeners by Caroline Shaw on a US concert tour with the Philharmonia Baroque Orchestra, the Messiah with Bernard Labadie and the National Arts Centre Orchestra, her debut with the Early Opera Company in Dido and Aeneas at Het Concertgebouw Amsterdam, Vivaldi arias with the Orchestra of St Luke’s in New York, Mozart’s Requiem with the Rhode Island Philharmonic under Bramwell Tovey, and Bach’s St John Passion and Duruflé’s Requiem with the Voices of Ascension, New York. Among her many Messiah performances are the Phoenix Symphony, Nashville Symphony, University Musical Society of the University of Michigan in Ann Arbor, St. Paul Chamber Orchestra, and the Saint Thomas Church Choir. Elsewhere, she has sung Berlioz Les Nuits D’été and Brahms Alto Rhapsody with the American Classical Orchestra under Thomas Crawford, and concerts of Handel and Vivaldi with the Santa Fe Pro Musica. Avery’s debut solo album of Handel arias with the Philharmonia Baroque Orchestra & Nicholas McGegan was released in 2020 to huge critical acclaim.

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Gwilym Bowen tenor

cclaimed for the clarity and beauty of his singing and dynamic stage presence, British tenor Gwilym Bowen performs internationally with orchestras and ensembles of the highest calibre. The years 2020-21 being somewhat disrupted, his most recent engagements include James MacMillan’s All the Hills and Vales Along at the Edinburgh Festival; Dussek’s Messe Solemnelle with the Academy of Ancient Music; a Purcell programme, ‘Gabriel – An Entertainment with Trumpet’ with The English Concert, Alison Balsom and Harry Bicket at Barbican, Messiah with the Royal Liverphool Philharmonic Orchestra and Queensland Symphony Orchestra conducted by Stephen Layton and Bach’s Christmas Oratorio with the Oslo Philharmonic under François Leleux. With repertoire ranging from the Baroque to the contemporary, with a specialist interest in Bach, Monteverdi and Handel his operatic highlights include Valletto L’incoronazione di Poppea for Angers-Nantes Opéra; Eurimaco/Giove Il ritorno d’Ulisse in Patria at The Grange Festival; Damon Acis and Galatea and multiple roles in Poppea and Ulisse with Academy of Ancient Music at the Barbican, the Ateneul Roman in Bucharest and Scuola Grande di San Rocco in Venice; Sylph in Rameau Zaïs with the Orchestra of the Age of Enlightenment at Queen Elizabeth Hall and Father in Hasse’s Piramo e Tisbe with The Mozartists. Opera roles have also included Tom Rakewell The Rake’s Progress and Pelléas Pelléas et Mélisande; forthcoming engagements include debuts at Opera de Lille, L’atelier lyrique de Tourcoing and Opéra de Montréal, and a return to The Grange Festival as Snout A Midsummer Night’s Dream In concert, Gwilym has sung Evangelist in the St. John Passion with John Butt and BBC National Orchestra of Wales, and the St. Matthew Passion for De Nederlandse Bachvereniging and Auckland Philharmonia, Bach cantatas with Masaaki Suzuki at Lincoln Center; Monteverdi and Schütz with the Dunedin Consort; Christmas Oratorio across Australia with Richard Tognetti and the Australian Chamber Orchestra, and with the Orchestra of the Age of Enlightenment; Das Lied von der Erde with the City of London Sinfonia; Ernst Wilhelm Wolf’s Passionsoratorium with Die Kölner Akademie; Messiah with the Seattle Symphony Orchestra, West Australian Symphony Orchestra, Adelaide Symphony Orchestra, Hanover Band and the City of Birmingham Symphony Orchestra; and Bach Mass in B Minor with the OAE at St John’s, Smith Square. His recordings include the St. John Passion arias with De Nederlandse Bachvereniging and in a world-first Welsh language translation, Mass in B Minor with the Choir of Trinity College, Cambridge and OAE for Hyperion, Petrus in Handel’s Brockes-passion with AAM and Concerto Copenhagen, and the world premiere recording of Dussek’s Messe solemnelle. Born in Hereford, Gwilym was a choral scholar at Trinity College, Cambridge, graduating with double-First class honours in Music, before studying at the Royal Academy of Music.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Ashley Riches bass-baritone

ritish bass-baritone Ashley Riches studied English at the University of Cambridge where he was a member of the King’s College Choir under Stephen Cleobury. He studied at the Guildhall School of Music and Drama.

A former Jette Parker Young Artist, his roles for the Royal Opera House include Morales Carmen, Mandarin Turandot, Baron Douphol La Traviata and Officer Les Dialogues des Carmelites. For the English National Opera, he has sung Escamillo Carmen, Count Almaviva Le nozze di Figaro, Schaunard La Bohème and the Pirate King The Pirates of Penzance. Elsewhere, he has appeared as Brander Le damnation de Faust for the Glyndebourne Festival under Robin Ticciati; Claudio Agrippina at the Grange Festival; Don Giovanni, Harasta The Cunning Little Vixen, and Ibn-Hakia Iolanta for Opera Holland Park; Simon Peter in Schubert’s Lazarus in a new Frederic Wake-Walker production at the Potsdamer Winteroper; and Count Almaviva in Tokyo. Highlights on the concert platform include Bernardino Benvenuto Cellini, Berlioz Lelio and Verdi’s Requiem with the Monteverdi Choir and Orchestra under Sir John Eliot Gardiner; The Silver Tassie with the BBC Symphony Orchestra and Ryan Wigglesworth; Bernstein’s Wonderful Town with the London Symphony Orchestra and Sir Simon Rattle recorded for LSO Live; a European tour of Giulio Cesare & Agrippina under Christophe Rousset with Les Talens Lyriques; recordings and tours of The Fairy Queen and King Arthur with the Gabrieli Consort under Paul McCreesh; Aeneas Dido & Aeneas and King Arthur with the Academy of Ancient Music under Richard Egarr; Schumann’s Requiem (also Egarr), Handel’s Solomon and Israel in Egypt with the Scottish Chamber Orchestra and Peter Dijkstra; Brahms’ Requiem and Mahler’s Lieder eines fahrenden Gesellen with the BBC Symphony Orchestra; Sonmus/ Cadmus Semele with the Orchestra of the Age of Enlightenment under Rousset; and Handel’s Messiah with the Freiburg Baroque Orchestra under Trevor Pinnock. In the 2021/22 season Ashley sings Tippet’s Midsummer Marriage with the London Philharmonic Orchestra and Edward Gardner, Haydn’s Creation with the Academy of Ancient Music and Laurence Cummings, Purcell’s Dido and Aeneas with the Helsinki Baroque Orchestra, a US tour of Bach’s Christmas Oratorio with the Philharmonia Baroque Orchestra and Egarr, a European tour of Handel’s Messiah with the Basel Chamber Orchestra and McCreesh, Handel’s Solomon with the Netherlands Radio Philharmonic Orchestra, and Bach’s St John Passion with The Royal Concertgebouw Orchestra in Amsterdam under Trevor Pinnock. A keen recitalist, and former BBC New Generation Artist 20162018, Ashley has collaborated with pianists including Graham Johnson, Iain Burnside, Julius Drake, Joseph Middleton, Anna Tilbrook, James Baillieu, Simon Lepper, Gary Matthewman and Sholto Kynoch. Ashley has a fast-growing discography including the BBC Music Magazine 2020 Recording of the Year, Purcell’s King Arthur with Gabrieli and Wonderful Town with the LSO and Sir Simon Rattle. Last season he released his debut solo-disc for Chandos, Musical Zoo.

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Players & Instruments Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

VIOLIN

VIOLONCELLO

Elizabeth Blumenstock, concertmaster

Phoebe Carrai bc

Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust Egon & Joan von Kaschnitz Concertmaster Chair

Jolianne von Einem

Mathias Knilling, Mittenwald, 1835

Lisa Grodin

Paulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736

Chloe Kim

Anonymous Anglo-Saxon make, Germany, late 19th century

Anonymous, Italy, c. 1690

Paul Hale

Dominik Zuchowicz, Ottawa, Canada, 1997; after Montagnana Osher Cello Chair Endowment

William Skeen

Anonymous, Northern Italy, ca. 1680 Zheng Cao Memorial Cello Chair

DOUBLE BASS Farley Pearce

Katherine Kyme

Abraham Prescott, Concord, New Hampshire, 1830

Tyler Lewis

FLUTE

Carlo Antonio Testore, Milan, Italy, 1720 Anonymous, Italy, c. 1800

Anthony Martin

Thomas Oliver Croen, Walnut Creek, California, 2005; after F. Gobetti, Venice, Italy, 1717

Stephen Schultz *

Martin Wenner, Singen, Germany, 2012; after Carlo Palanca, Turin, Italy, c. 1750

Mindy Rosenfeld

Carla Moore †

Martin Wenner, Singen, Germany, 2011; after Carlo Palanca, Turin, Italy, c.1750

Maxine Nemerovski

OBOE

Johann Georg Thir, Vienna, Austria, 1754 David Tecchler, Rome, Italy, 1733

Noah Strick

Celia Bridges, Cologne, Germany, 1988

VIOLA Jessica Troy *

Timothy Johnson, Hewitt, Texas, 2006; after Andrea Guarneri, Cremona, Italy c. 1676

Maria Ionia Caswell

Anonymous, Mittenwald, Germany, c. 1800

Ellie Nishi

Gonzalo X. Ruiz *

Joel Robinson, New York, 1990; after Saxon Principal Oboe Chair in Memory of Clare Frieman Kivelson and Irene Valente Angstadt

Marc Schachman

H. A. Vas Dias, Decatur, Georgia, 2001; after T. Stanesby, England, c. 1710

OBOE D’AMORE Gonzalo X. Ruiz

Sand Dalton, Lopez, Washington, 1990; after J. H. Eichentopf, Leipzig, 1725

Anonymous, Germany, 18th Century

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Players & Instruments Marc Schachman

H. A. vas Dias, Decatur, Georgia; after J. H. Eichentopf, c. 1730

OBOE DA CACCIA David Dickey

Joel Robinson & Stephen Hammer, 2012; after J. H. Eichentopf, Germany, 18th century

Stephen Bard

Richard Earle, London, 2004; after J. H. Eichentopf, Leipzig, c. 1724

BASSOON Andrew Schwartz bc

Guntram Wolf, Kronach, Germany, 2008; after J. H. Eichentopf

HORN John Manganaro *

Richard Seraphinoff, 2005; after Leichnamschneider, Vienna, c. 1720

Sara Cyrus

Richard Seraphinoff; after Christopher Hofmaster, c. 1760

TRUMPET John Thiessen *

Rainer Egger, Basel, Switzerland, 2003; after Ehe, 1746

Kathryn Adduci

Rainer Egger, Basel, Switzerland, 2006; after L. Ehe, Nuremburg, Germany, 1748

Dominic Favia

Rainer Egger, Basel, Switzerland, 2015; after Johann Leonhard Ehe II, Nuremberg, Germany, 1724

TIMPANI

ORGAN David Belkovski bc

Noorlander Orgels, Barneveld, Netherlands, 2020 * Principal † Principal 2nd Violin bc Continuo

PHILHARMONIA CHORALE

Philharmonia Baroque Orchestra & Chorale Community Endowed Fund for Choral Music

SOPRANO Angela Arnold Jennifer Ashworth Radoslava Biancalana Cheryl Cain Tonia d’Amelio Christa Pfeiffer Helene Zindarsian ALTO Natasha Hoehn Katherine McKee Casie Walker Heidi Waterman Jacque Wilson Celeste Winant TENOR Kevin Gibbs Corey Head Ryan Matos Mark Mueller Jonathan Smucker BASS Paul Boyce Jeffrey Fields John-Elliott Kirk James Monios Chad Runyon

Allen Biggs *

England, c. 1847

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Program Notes Johann Sebastian Bach (1685-1750) Christmas Oratorio, BWV 248 In 1723, Johann Sebastian Bach took the job that would come to define his career: Cantor at St Thomas’s Church in Leipzig. The post handed him overall responsibility for the music not just in that church, but in all the Saxon city’s major churches. Bach would remain in the job for 27 years. It was a productive and transformative if not entirely happy arrangement. But then, Bach was a natural dissident—impatient in the face of bureaucracy and philistinism, driven by a creative ambition that frequently outstretched the resources available to him, despite his occasional pragmatism. Still, Bach was determined to make the very best of those resources. In Leipzig, he hit the ground running and set out his stall from the start. From 30 May 1723—which that year formed the First Sunday of Trinity in the Lutheran church’s calendar— he started writing a series of bespoke cantatas for each Sunday and Feast Day of the ecclesiastical year, tailored to St Thomas’s Church’s musicians. Later in the 1720s, the project would be complemented by a further cycle and by musical settings of the Passion—the story of Christ’s final days on earth. Bach often considered his daily work at St Thomas’s an uphill struggle, and just as often complained of a lack of support. The more frustrated he became with the limitations and leadership attitudes at St Thomas’s Church, the more he sought stimulation elsewhere. He involved himself in a student music society in Leipzig that allowed him to write plenty of secular and purely instrumental music. By the 1730s, no longer feeling the pressure to write weekly cantatas for St Thomas’s (those he had written already could simply be re-used), Bach started to think on a bigger scale. Prompted partly by his work on the Passions, he considered the creation of grand new works, on a large scale, that could incorporate and refine music he had already written. Bach’s tidy mind was naturally drawn to large forms neatly divisible into modular parts—structures whose individual sections could stand alone, but would resonate more when brought together or treated as a single cycle or journey. In 1734, Bach turned his mind to one such project. He designed an oratorio in six parts, the performance of which would span the two weeks from Christmas to Epiphany. So, Bach’s so-called Christmas Oratorio, rather like Wagner’s Der Ring des Nibelungen—would not originally have been heard in one sitting. Its opening chapter was performed on Christmas Day, 1734, with Parts 2 and 3 following on the 26 and 27

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Program Notes December. Part 4 was performed on New Year’s Day, Part 5 on the following Sunday, and Part 6 on the Feast of the Epiphany (6 January). In narrative terms, the schedule presents a journey from the birth of Christ, continuing through the adoration of the baby Jesus by shepherds, his circumcision and naming, the journeying of the Magi from the East and to the eventual arrival of the Magi with their gifts. Such a cycle demanded a great deal of music. But it was always Bach’s intention, according to his new modus operandi, to re-use music he had already written. A year earlier, in 1733, Bach had composed secular cantatas to celebrate the birthday of Prince Friedrich of Saxony (Lasst uns sorgen, BWV213) and Maria Josepha, later Electress of Saxony (Tönet ihr Pauken!, BWV214). The texts for both these works were weak. But the music was good, and if it wasn’t reused, it would never be heard again. In total, eleven of the Christmas Oratorio’s movements are lifted straight from these cantatas. Some musicologists have proposed that the oratorio’s Part 6 is based entirely on a lost ‘Michaelmas Cantata’ dating from September 1734. What’s certain is that all the oratorio’s text was entirely new—specially fashioned in 1734 by Christian Friedrich Henrici, the poet known simply as ‘Picander.’ Bach’s handling of that text would borrow a device from his own John and Matthew Passion settings of the previous decade, in which a tenor takes narrative responsibility. Thus the story of the birth of Christ, as recounted in the Gospels according to Luke and Matthew, is recounted by a tenor voice in a role roughly equivalent to that of the ‘evangelist’ in Bach’s Passions. When the tenor is simply relaying elements of the story in the Christmas Oratorio, the accompaniment is dry (‘secco’) recitative: speech-song with a bare accompaniment rooted on keyboard or cello. Unlike the Passions, there is little acting-out here and almost no character interaction. The six cantatas are more abstract and meditative—part of Bach’s broader reflection on the life of Christ that itself forms a trilogy with the Easter and Ascension Oratorios that would follow in 1735. The Christmas Oratorio contains plenteous symbolism and theological observation, but is otherwise a work of joyful optimism conceived as a life-enhancing, joy-giving musical experience (Bach even stops short, in his recounting of Herod’s role in events, of covering the massacre of the innocents). Each cantata is different and self-contained, standing effectively on its own. And yet Bach still manages to bind all six together,

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Program Notes conceiving a broad scheme across the whole cycle in which the basic key starts and finishes in D major, journeying satisfyingly to G, D, F and A in between. Chorale tunes that would have been familiar to Bach’s congregation in Leipzig are deployed in each part, with the same chorale featuring in Part 1 as in Part 6. This, in fact, is a chorale familiar from Bach’s St Matthew Passion—a unifying motto for Bach’s listeners, and a subtle reminder that Jesus’s human life on earth was destined to end in suffering. Musicologists are often drawn to the particular quality of the chorales in the Christmas Oratorio. Despite recycling plenty of music elsewhere, Bach dresses these known and much-used tunes in entirely new harmonic clothing. As a result, chorales that feel richer and more imaginative but at the same time clearer and more direct. According to the conductor John Eliot Gardiner, the Christmas Oratorio’s chorales ‘emerge more naturally from the intersection of voices…and have an even stronger sense of just proportion and balance.’ Bach’s judgment when it came to re-using his own music was impeccable. That much is evident right from the start of the Christmas Oratorio’s opening cantata, a frolicking chorus in D major cut-and-pasted straight from the cantata for Maria Josepha. The rhythmic choral outbursts that once proclaimed Tönet, ihr pauken! (‘resound, you drums’) now exhort us to Jauchzet, frohlocket! (‘shout, rejoice’). The drums remain in place but don’t feel at all incongruous. Similarly, the ensuing aria that calls on the faithful to prepare themselves ‘with tender affection’ (Bereite dich Zion) is reworked from a moment in the secular ‘Hercules Cantata’ BWV213, in which Hercules denounces lust. Bach biographer Nicholas Kenyon has written of the composer’s knowing irony in transferring the aria for trumpet and bass voice, Grosser Herr. In its original BWV214 setting, the music proclaimed the glory of Maria Josepha; here it describes a ‘dearest savior’ who ‘cares little for the glories of earth.’ Bach wouldn’t have seen a contradiction. According to Lutheran teaching, earthbound rulers were vessels for sacred authority, while the glory of God was readily apparent in the mostly humble of creations—a flower, an act of benevolence, a newborn baby. The ‘Pastoral Symphony’ that opens Part 2 is a conscious reference on Bach’s behalf to the Italian tradition for ‘Christmas concertos’ propagated by the likes of Corelli and Manfredini. Bach’s response, laced with the beautiful, mellow sound of a pair of oboes da caccia, sets the scene

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Program Notes for the coming view of shepherds tending their flocks (as recounted by the tenor evangelist). The lilting alto aria ‘Schlafe, mein Liebster’—another movement drawn from a secular forbear—sees the infant Jesus rocked to sleep, a solo flute fluttering above the voice almost like a pacifying mobile above an infant’s cot. The chorus of rejoicing angels that follows, ‘Ehre sei Gott in der Hohe’, justifies Gardiner’s comment that the composer’s ‘angelic choir would appear to consist entirely of expert contrapuntists.’ The reference is to music of complex, agile moving parts. Part 3 tells of the shepherd’s journey to Bethlehem. It launches with what was originally the final chorus of BWV214—another bright, contrapuntal weaving of voices that here praise the ‘Herrscher des Himmels’ (‘Lord of Heaven’). The rest of the music is notably for its focus on the abstract concept of faith. A rustic duet for soprano and bass, with two oboes for company, reminds the congregations that God’s mercy and forgiveness has set them free; the darker aria for also and violin then uses the rush of Mary’s first experience of motherhood as an instruction to the faithful to ‘keep this miracle safe within.’ Trumpets feature in Parts 1, 3 and 6 but Part 4 introduces horns with an opening chorus in the hunting style derived from the opening of BWV213. This more down-to-earth musical style with obvious vernacular connections reflects the cantata’s focus on the baby Jesus (and his circumcision), rather than the deity in heaven. When the child is named, the sopranos of the choir weave a chorale around speechsong statements from the bass soloist—an enchanting and unusual structure. Later comes the celebrated ‘echo aria’ for soprano and oboe (also drawn from BWV213). It is a meeting of the simple and the complex typical of Bach. A chorus, representing humanity, responds to the soprano’s confusion of feelings and questions at the arrival of Christ with reassuringly direct statements of ‘yes’ and ‘no’. And yet, the relationship between the music’s three elements (voice, oboe and chorus) is never predictable. The tenor needs extreme agility for his aria with two violins, ‘Ich will nur dir zu Ehren leben,’ built on a leaping octave and strings of repeated notes with little apparent room to take a breath. The exhilarating chorus that opens Part 5—ecstatically and joyously greeting the new born child with tripping rhythms—was specially written by Bach. The ensuing cantata tells of the appearance of the three wise men and

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Program Notes their enquiries as to the location of the newborn. After a bass aria lightly personifying one of the wise men, we hear a trio for soprano, alto, tenor and violin solo described by Kenyon as ‘the nearest Bach ever came to a serious operatic ensemble.’ In apparent conversation, the soprano and tenor ask when the messiah will appear, only for the alto to respond in half-interruption that ‘he is already here.’ The Feast of the Epiphany marks the arrival of the wise men and the revelation of Jesus as God incarnate. With this summation of the Christmas story, Bach lifts his oratorio onto a new level of grandeur and exuberance for its sixth and final cantata. But there’s a seam of darkness, mystery and caution in this last installment in the sequence. The opening chorus veers into minor keys, before the soprano’s recitative and aria obliquely reference Herod’s interrogation of the wise men—a position taken up later by the tenor. A special four-voiced recitative leads to the proclamation of the Passion chorale heard in Part 1, here adorned with swirling trumpets and spirited by decorative and imitative wind and strings. The message of Christ avenging death unites the most joyous elements of Christmas and Easter. And so ended the ‘season of celebration’ that took place in Leipzig for fourteen days straddling 1734 and 1735. Bach had taken his congregation in the city on an exceptional journey in words and sounds; in an age before recording and broadcasting, this would likely have been the only sophisticated music they heard all through the festive season. Whether or not the Christmas Oratorio was ever heard again in Bach’s lifetime remains a mystery. Program notes by Andrew Mellor © 2021

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Glossary of Terms CANTATA A concert or liturgical work for voices, usually accompanied by an instrumental group and often divided into individual movements or sections. ORATORIO A large-scale musical work, for vocal and instrumental forces, on a sacred or devotional theme. An oratorio will often use biblical texts. In Bach’s case, an oratorio might constitute a compendium of cantatas (as in the Christmas Oratorio). CANTOR In a Lutheran church, the Cantor is responsible for directing the singing during worship—both of the designated choir and of the assembled congregation. Bach’s post of Cantor in Leipzig was equivalent to that of Director of Music or Master of the Choristers. RECITATIVE A form of speech-song that emerged in the Baroque era, in which text (usually explanatory prose or conversational patter) is sung at a natural rhythm approximating speech over a bare harmonic chassis provided by one or more instruments. CHORALE Typically, a steady melody with a vertical, chordbased accompaniment, rather like a church hymn. In the context of Bach’s Germany, a chorale was a congregational hymn of multiple verses used in Lutheran worship, whose melody would have been familiar.

BASIC KEY The tonal rooting of a particular passage, movement or piece of music according to the conventions of western harmony. A piece ‘in the key of C major’ may visit other keys, but will be rooted in the named key to the extent that ear may subconsciously recognize that key as home territory. CONTRAPUNTIST Someone adept at writing, playing or singing contrapuntal music (music that combines a number of interwoven musical lines, each maintaining its autonomy while the whole produces particular harmonies). OCTAVE The interval between a particular musical pitch and the pitch produced by twice or half its frequency. An octave is the point at which the same note recurs at a higher or lower pitch. Men’s and women’s voices singing the same tune in unison will usually be singing an octave or two apart. OBOE DA CACCIA A precursor to the modern oboe. Oboes da caccia (the name literally refers to a ‘hunting oboe’) may have a curved tube and brass bell, and are known for a sound more direct, creamy and substantial than that of other baroque oboes (they also play at a lower pitch). Bach employed the instrument extensively in his cantatas and oratorios, particularly in pairs.

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Texts & Translations Weihnachts-Oratorium (Christmas Oratorio), BWV 248

[text by Christian Friedrich Henrici, “Picander” (1700–1764), unless otherwise noted] PART I Cantata for the First Day of Christmas 1. Chorus Jauchzet, frohlocket, auf, preiset die Tage, Rühmet, was heute der Höchste getan! Lasset das Zagen, verbannet die Klage, Stimmet voll Jauchzen und Fröhlichkeit an! Dienet dem Höchsten mit herrlichen Chören, Laßt uns den Namen des Herrschers verehren!

1. Chorus Celebrate, rejoice, rise up and praise these days, glorify what the Highest has done today! Abandon despair, banish laments, sound forth full of delight and happiness! Serve the Highest with glorious choruses, let us honor the name of the Supreme Ruler!

2. Recitative Evangelist (Tenor) Es begab sich aber zu der Zeit, daß ein Gebot von dem Kaiser Augusto ausging, daß alle Welt geschätzet würde. Und jedermann ging, daß er sich schätzen ließe, ein jeglicher in seine Stadt. Da machte sich auch auf Joseph aus Galiläa, aus der Stadt Nazareth, in das jüdische Land zur Stadt David, die da heißet Bethlehem; darum, daß er von dem Hause und Geschlechte David war: auf daß er sich schätzen ließe mit Maria, seinem vertrauten Weibe, die war schwanger. Und als sie daselbst waren, kam die Zeit, daß sie gebären sollte.

2. Recitative Evangelist (Tenor) It came to pass at that time, however, that a decree went out from Caesar Augustus that the whole world should be appraised. And everyone went to be appraised, each to his own city. So Joseph also went out of Galilee, out of the city of Nazareth, into the Jewish territory to the city of David, which was called Bethlehem; since he was of the house and race of David; so that he might be appraised with Mary, his betrothed wife, who was pregnant. And while they were there, the time came for her to deliver.

3. Accompagnato Alto Nun wird mein liebster Bräutigam, Nun wird der Held aus Davids Stamm Zum Trost, zum Heil der Erden Einmal geboren werden. Nun wird der Stern aus Jakob scheinen, Sein Strahl bricht schon hervor. Auf, Zion, und verlasse nun das Weinen, Dein Wohl steigt hoch empor!

3. Accompagnato Alto Now my dearest Bridegroom, now the hero from David’s branch, for the comfort, for the salvation of the earth, will be born at last. Now the Star out of Jacob will shine, its light already breaks forth. Arise, Zion, and give up your weeping now, your happiness rises high above you!

[Luke 2:1, 3–6]

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Texts & Translations 4. Aria Alto Bereite dich, Zion, mit zärtlichen Trieben, Den Schönsten, den Liebsten bald bei dir zu sehn! Deine Wangen Müssen heut viel schöner prangen, Eile, den Bräutigam sehnlichst zu lieben!

4. Aria Alto Prepare yourself, Zion, with tender efforts, to behold your lovely one, your beloved, near you soon! Your cheeks must now glow much more radiantly, hurry to love the Bridegroom with passion!

5. Chorale Wie soll ich dich empfangen Und wie begegn’ ich dir? O aller Welt Verlangen, O meiner Seelen Zier! O Jesu, Jesu, setze Mir selbst die Fackel bei, Damit, was dich ergötze, Mir kund und wissend sei!

5. Chorale How shall I embrace You, and how encounter You? O desire of the whole world, O adornment of my soul! O Jesus, Jesus, place the torch near me Yourself, so that what gives You pleasure be known and familiar to me!

6. Recitative Evangelist (Tenor) Und sie gebar ihren ersten Sohn und wickelte ihn in Windeln und legte ihn in eine Krippen, denn sie hatten sonst keinen Raum in der Herberge.

6. Recitative Evangelist (Tenor) And she bore her first son, and wrapped Him in swaddling clothes and laid Him in a manger, since there was no other room in the inn.

7. Chorale and Recitative Soprano Er ist auf Erden kommen arm...

7. Chorale and Recitative Soprano He came to earth poor...

Bass Wer will die Liebe recht erhöhn, Die unser Heiland vor uns hegt?

Bass Who can rightly exalt this love, that our Savior harbors for us?

Soprano Daß er unser sich erbarm...

Soprano So that He might have sympathy for us...

Bass Ja, wer vermag es einzusehen, Wie ihn der Menschen Leid bewegt?

Bass Indeed, who could possibly have predicted how the sorrow of humanity moved Him?

Soprano Und in dem Himmel mache reich...

Soprano and make us rich in heaven...

Bass Des Höchsten Sohn kömmt in die Welt, Weil ihm ihr Heil so wohl gefällt,

Bass The Son of the Highest came into the world, since its salvation pleased Him so much,

[text by Paul Gerhardt (1607–1676)]

[Luke 2:7]

[text by Paul Gerhardt (1607–1676)]

[Luke 2:7]

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Texts & Translations Soprano Und seinen lieben Engeln gleich.

Soprano and like His dear angels.

Bass So will er selbst als Mensch geboren werden.

Bass thus He Himself will be born a human.

Soprano Kyrieleis!

Soprano Lord, have mercy!

[Soprano text by Martin Luther (1483–1546)]

8. Aria Bass Großer Herr, o starker König, Liebster Heiland, o wie wenig Achtest du der Erden Pracht! Der die ganze Welt erhält, Ihre Pracht und Zier erschaffen, Muß in harten Krippen schlafen.

8. Aria Bass Great Lord, o powerful King, dearest Savior, o how little you care about the glories of the earth! He who sustains the entire world, who created its magnificence and beauty, must sleep in a harsh manger.

9. Chorale Ach mein herzliebes Jesulein, Mach dir ein rein sanft Bettelein, Zu ruhn in meines Herzens Schrein, Daß ich nimmer vergesse dein!

9. Chorale Ah, my heart’s beloved little Jesus, make Yourself a pure, soft little bed within my heart’s chamber in which to rest, so that I never forget You!

[text by Luther]

PART II Cantata for the Second Day of Christmas 10. Sinfonia

10. Sinfonia

11. Recitative Evangelist (Tenor) Und es waren Hirten in derselben Gegend auf dem Felde bei den Hürden, die hüteten des Nachts ihre Herde. Und siehe, des Herren Engel trat zu ihnen, und die Klarheit des Herren leuchtet um sie, und sie furchten sich sehr.

11. Recitative Evangelist (Tenor) And there were shepherds in the same region in the fields near the sheepfolds, who guarded their flock at night. And behold, the angel of the Lord approached them, and the brilliance of the Lord shone around them and they were very afraid.

12. Chorale Brich an, o schönes Morgenlicht, Und laß den Himmel tagen! Du Hirtenvolk, erschrecke nicht, Weil dir die Engel sagen, Daß dieses schwache Knäbelein Soll unser Trost und Freude sein,

12. Chorale Break forth, o lovely light of morning, and let heaven dawn! You shepherd-folk, do not fear, for the angel tells you that this weak little boy shall be our comfort and joy,

[Luke 2:8–9]

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Texts & Translations Dazu den Satan zwingen Und letztlich Friede bringen!

compelling Satan as well and bringing peace at last!

13. Recitative Evangelist (Tenor) Und der Engel sprach zu ihnen:

13. Recitative Evangelist (Tenor) And the angel said to them:

Soprano Fürchtet euch nicht, siehe, ich verkündige euch große Freude, die allem Volke widerfahren wird. Denn euch ist heute der Heiland geboren, welcher ist Christus, der Herr, in der Stadt David.

Soprano Do not be afraid; behold, I proclaim great joy for you, which will occur for all people. For today the Savior is born for you, which is Christ, the Lord, in the city of David.

14. Recitative Bass Was Gott dem Abraham verheißen, Das läßt er nun dem Hirtenchor Erfüllt erweisen. Ein Hirt hat alles das zuvor Von Gott erfahren müssen. Und nun muß auch ein Hirt die Tat, Was er damals versprochen hat, Zuerst erfüllet wissen.

14. Recitative Bass What God promised to Abraham, now, fulfilled, He has had announced to the group of shepherds. A shepherd, then, first of all, had experience of God. And now, also, a shepherd is first of all to know the fulfillment of what once was promised.

15. Aria Tenor Frohe Hirten, eilt, ach eilet, Eh ihr euch zu lang verweilet, Eilt, das holde Kind zu sehn! Geht, die Freude heißt zu schön, Sucht die Anmut zu gewinnen, Geht und labet Herz und Sinnen!

15. Aria Tenor Happy shepherds, hurry, ah hurry, before you delay too long, hurry to see the lovely Child! Go, this joy is so exquisite, seek to achieve this loveliness, go and delight heart and senses!

16. Recitative Evangelist (Tenor) Und das habt zum Zeichen: Ihr werdet finden das Kind in Windeln gewickelt und in einer Krippe liegen.

16. Recitative Evangelist (Tenor) And you will have this as a sign: you will find the Child wrapped in swaddling clothes and lying in a manger.

17. Chorale Schaut hin, dort liegt im finstern Stall, Des Herrschaft gehet überall! Da Speise vormals sucht ein Rind, Da ruhet itzt der Jungfrau’n Kind.

17. Chorale Look there, there He lies in a dark stall, whose majesty encompasses everything! Where once an ox searched for food, now the Child of the Virgin rests.

[text by Johann Rist (1607–1667)]

[Luke 2:10–11]

[Luke 2:12]

[text by Gerhardt]

[text by Johann Rist (1607–1667)]

[Luke 2:10–11]

[Luke 2:12]

[text by Gerhardt]

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Texts & Translations 18. Recitative Bass So geht denn hin, ihr Hirten, geht, Daß ihr das Wunder seht: Und findet ihr des Höchsten Sohn Un einer harten Krippe liegen, So singet ihm bei seiner Wiegen Aus einem süßen Ton Und mit gesamtem Chor Dies Lied zur Ruhe vor!

18. Recitative Bass Then go there, you shepherds, go, so that you see the miracle: and when you find the Son of the Highest lying in a harsh manger, then sing to Him by His cradle in a sweet tone and with full chorus this lullaby!

19. Aria Alto Schlafe, mein Liebster, genieße der Ruh, Wach nach diesem vor aller Gedeihen! Labe die Brust, Empfinde die Lust, Wo wir unser Herz erfreuen!

19. Aria Alto Sleep, my beloved, enjoy Your rest, and awaken after it for all the fortunate! Let your heart delight, experience the joy that rejoices our hearts!

20. Recitative Evangelist (Tenor) Und alsobald war da bei dem Engel die Menge der himmlischen Heerscharen, die lobten Gott und sprachen:

20. Recitative Evangelist (Tenor) And immediately, with the angel, there was a throng of the heavenly hosts, who praised God and said:

21. Chorus Ehre sei Gott in der Höhe und Friede auf Erden und den Menschen ein Wohlgefallen.

21. Chorus Glory be to God in the highest and peace on earth and a happy occurrence for humanity.

22. Recitative Bass So recht, ihr Engel, jauchzt und singet, Daß es uns heut so schön gelinget! Auf denn! Wir stimmen mit euch ein, Uns kann es so wie euch erfreun.

22. Recitative Bass Thus rightly, you angels, rejoice and sing, that it works out so beautifully for us today! Up then! We play along with you; we can celebrate just as you do.

23. Chorale Wir singen dir in deinem Heer Aus aller Kraft Lob, Preis und Ehr, Daß du, o lang gewünschter Gast, Dich nunmehr eingestellet hast.

23. Chorale We sing to You in Your host with all our might praise, glory and honor, since You, o long-awaited guest, from now on have become present.

[Luke 2:13]

[Luke 2:14]

[Luke 2:13]

[Luke 2:14]

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Texts & Translations PART III Cantata for the Third Day of Christmas 24. Chorale Herrscher des Himmels, erhöre das Lallen, Laß dir die matten Gesänge gefallen, Wenn dich dein Zion mit Psalmen erhöht! Höre der Herzen frohlockendes Preisen, Wenn wir dir itzo die Ehrfurcht erweisen, Weil unsre Wohlfahrt befestiget steht!

24. Chorale Ruler of Heaven, hear the murmur, let the dull songs be pleasing to You, when Your Zion exalts You with psalms! Hear the delightful praises of our hearts, when we acknowledge our present awe of You, since our pilgrimage has been confirmed!

25. Recitative Evangelist (Tenor) Und da die Engel von ihnen gen Himmel fuhren, sprachen die Hirten untereinander:

25. Recitative Evangelist (Tenor) And when the angels went away from them towards heaven, the shepherds said to one another:

[Luke 2:15a]

26. Chorus Shepherds Lasset uns nun gehen gen Bethlehem und die Geschichte sehen, die da geschehen ist, die uns der Herr kundgetan hat.

26. Chorus Shepherds Let us go now towards Bethlehem and see this thing that has happened there, which the Lord has announced to us.

27. Recitative Bass Er hat sein Volk getröst’, Er hat sein Israel erlöst, Die Hülf aus Zion hergesendet Und unser Leid geendet. Seht, Hirten, dies hat er getan; Geht, dieses trefft ihr an!

27. Recitative Bass He has comforted His people, He has rescued His Israel, sending help out of Zion and ending our sorrow. Look, shepherds, He has done this; go, this is what awaits you!

28. Chorale Dies hat er alles uns getan, Sein groß Lieb zu zeigen an; Des freu sich alle Christenheit Und dank ihm des in Ewigkeit. Kyrieleis!

28. Chorale All this He has done for us, to indicate His great love; for this all Christianity rejoices and thanks Him for it in eternity. Kyrie eleison!

[Luke 2:15b]

[text by Luther]

29. Aria (Duet) Soprano, Bass Herr, dein Mittleid, dein Erbarmen Tröstet uns und macht uns frei. Deine holde Gunst und Liebe, Deine wundersamen Triebe Machen deine Vatertreu Wieder neu.

[Luke 2:15b]

[text by Luther]

29. Aria (Duet) Soprano, Bass Lord, your compassion, your mercy comforts us and makes us free. Your gracious favor and love, Your miraculous doings make Your fatherly devotion renewed again. 2021-22 SEASON

Texts & Translations 30. Recitative Evangelist (Tenor) Und sie kamen eilend und funden beide, Mariam und Joseph, dazu das Kind in der Krippe liegen. Da sie es aber gesehen hatten, breiteten sie das Wort aus, welches zu ihnen von diesem Kind gesaget war. Und alle, für die es kam, wunderten sich der Rede, die ihnen dir Hirten gesaget hatten. Maria aber behielt alle diese Worte und bewegte sie in ihrem Herzen.

30. Recitative Evangelist (Tenor) And they came hastily and found both Mary and Joseph, along with the child lying in the manger. When they had seen it, however, they spread the word around, that had been spoken about this child. And everyone to whom it came marveled at the sayings that the shepherds had told them. Mary however kept all these words and pondered them in her heart.

31. Aria Alto Schließe, mein Herze, dies selige Wunder Fest in deinem Glauben ein! Lasse dies Wunder, die göttlichen Werke, Immer zur Stärke Deines schwachen Glaubens sein!

31. Aria Alto Enclose, my heart, these blessed miracles fast within your faith! Let these wonders, these divine works, forever be the reinforcement of your weak faith!

32. Recitative Alto Ja, ja, mein Herz soll es bewahren, Was es an dieser holden Zeit Zu seiner Seligkeit Für sicheren Beweis erfahren.

32. Recitative Alto Yes, yes, my heart shall cherish this, what it has experienced at this glorious time for its blessedness as a sure revelation.

33. Chorale Ich will dich mit Fleiß bewahren, Ich will dir Leben hier, Dir will ich abfahren, Mit dir will ich endlich schweben Voller Freud Ohne Zeit Dort im andern Leben.

33. Chorale I will cherish You assiduously, I will live for You here, to You will I depart, with You, at last, I will float full of joy, endlessly, there in the other life.

34. Recitative Evangelist (Tenor) Und die Hirten kehrten wieder um, preiseten und lobten Gott um alles, das sie gesehen und gehöret hatten, wie denn zu ihnen gesaget war.

34. Recitative Evangelist (Tenor) And the shepherds went back again, praising and glorifying God for everything that they had seen and heard, as it had been spoken to them.

[Luke 2:16–19]

[text by Gerhardt]

[Luke 2:20]

[Luke 2:16–19]

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

[text by Gerhardt]

[Luke 2:20]

Texts & Translations 35. Chorale Seid froh, dieweil, Das euer Heil Ist hie ein Gott und auch ein Mensch geboren, Der, welcher ist Der Herr und Christ In Davids Stadt, von vielen auserkoren.

35. Chorale Meanwhile, be happy, for your salvation is born here a God and also a person, He, who is the Lord and Christ in David’s city, chosen out of many.

Chorale Herrscher des Himmels, erhöre das Lallen, Laß dir die matten Gesänge gefallen, Wenn dich dein Zion mit Psalmen erhöht! Höre der Herzen frohlockendes Preisen, Wenn wir dir itzo die Ehrfurcht erweisen, Weil unsre Wohlfahrt befestiget steht!

Chorale Ruler of Heaven, hear the murmur, let the dull songs be pleasing to You, when Your Zion exalts You with psalms! Hear the delightful praises of our hearts, when we acknowledge our present awe of you, since our pilgrimage has been confirmed!

[text by Christoph Runge (1619–1681)]

PART IV Cantata for New Year’s Day

[text by Christoph Runge (1619–1681)]

36. Chorus Fallt mit Danken, fallt mit Loben Vor des Höchsten Gnadenthron! Gottes Sohn Will der Erden Heiland und Erlöser werden, Gottes Sohn Dämpft der Feinde Wut und Toben.

36. Chorus With gratitude, with praise, fall before the Almighty’s throne of grace! God’s Son desires to become the Savior and Redeemer of the world, God’s Son suppresses the rage and fury of the enemy.

37. Recitative Evangelist (Tenor) Und da acht Tage um waren, daß das Kind beschnitten würde, da ward sein Name genennet Jesus, welcher genennet war von dem Engel, ehe denn er im Mutterleibe empfangen ward.

37. Recitative Evangelist (Tenor) And when eight days had passed, when the child would be circumcised, He was given the name of Jesus, which was proposed for Him by the angel, while He was still confined in His mother’s womb.

38. Recitative and Chorale Bass Immanuel, o süßes Wort! Mein Jesus heißt mein Hort, Mein Jesus heißt mein Leben. Mein Jesus hat sich mir ergeben, Mein Jesus soll mir immerfort Vor meinen Augen schweben. Mein Jesus heißet meine Lust, Mein Jesus labet Herz und Brust.

38. Recitative and Chorale Bass Emmanuel, O sweet word! My Jesus is my refuge, My Jesus is my life, My Jesus has given himself to me, My Jesus shall constantly hover before my eyes. My Jesus is my delight, My Jesus refreshes heart and breast.

[Luke 2:21]

2021-22 SEASON

Texts & Translations Soprano Jesus, du mein liebstes Leben, Meiner Seelen Bräutigam...

Soprano Jesus, o my dearest life, bridegroom of my soul...

Bass Komm! Ich will dich mit Lust umfassen, Mein Herze soll dich nimmer lassen,

Bass Come! I will embrace You with joy, my heart shall never leave You,

Soprano Der du dich vor mich gegeben An des bittern Kreuzes Stamm!

Soprano You who have given Yourself for me on the bitter staff of the cross!

Bass Ach! So nimm mich zu dir! Auch in dem Sterben sollst du mir Das Allerliebste sein; In Not, Gefahr und Ungemach Seh ich dir sehnlichst nach. Was jagte mir zuletzt der Tod für Grauen ein? Mein Jesus! Wenn ich sterbe, So weiß ich, daß ich nicht verderbe. Dein Name steht in mir geschrieben, Der hat des Todes Furcht vertrieben.

Bass Ah! Then take me to You! Even in death you shall be to me my most beloved; in suffering, danger, and hardship I look to You longingly. How, then, can death pursue me with fear? My Jesus! When I die, I know that I will not perish. Your name stands written within me, which has driven out the fear of death.

39. Aria Soprano with Echo Flößt, mein Heiland, flößt dein Namen Auch den allerkleinsten Samen Jenes strengen Schreckens ein? Nein, du sagst ja selber nein. (Nein!). Sollt ich nun das Sterben scheuen? Nein dein süßes Wort ist da! Oder sollt ich mich erfreuen? Ja, du Heiland sprichst selbst ja. (Ja!)

39. Aria Soprano with Echo O my Savior, does your name instill even the very tiniest seed of that powerful terror? No, You Yourself say no. (No!) Shall I shun death now? No, Your sweet word is there! Or shall I rejoice? Yes, o Savior, You Yourself say yes. (Yes!)

40. Recitative and Chorale Bass Wohlan, dein Name soll allein In meinem Herzen sein!

40. Recitative and Chorale Bass Well then, Your name alone shall be in my heart!

Soprano Jesu, meine Freud und Wonne, Meine Hoffnung, Schatz und Teil...

Soprano Jesus, my joy and delight, my hope, treasure and portion…

Bass So will ich dich entzücket nennen, Wenn Brust und Herz zu dir vor Liebe brennen.

Bass Thus I shall call you enchanting, since breast and heart are enflamed with love for You.

[Soprano text by Johann Rist (1607–1667)]

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Texts & Translations Soprano Mein Erlösung, Schmuck und Heil…

Soprano My redemption, adornment, and salvation...

Bass Doch, Liebster, sage mir: Wie rühm ich dich, wie dank ich dir?

Bass Yet, beloved, tell me: how shall I praise You, how thank You?

Soprano Hirt und König, Licht und Sonne, Ach! Wie soll ich würdiglich, Mein Herr Jesu, preisen dich?

Soprano Shepherd and King, light and sun, ah! How shall I worthily praise You, my Jesus?

41. Aria Tenor Ich will nur dir zu Ehren leben, Mein Heiland, gib mir Kraft und Mut, Daß es mein Herz recht eifrig tut! Stärke mich, Deine Gnade würdiglich Und mit Danken zu erheben!

41. Aria Tenor I will live only for Your honor, my Savior, give me strength and courage, so that my heart can do it eagerly! Strengthen me to exalt Your mercy worthily and with gratitude!

42. Chorale Jesus richte mein Beginnen, Jesus bleibe stets bei mir, Jesus zäume mir die Sinnen, Jesus sei nur mein Begier, Jesus sei mir in Gedanken, Jesu, lasse mich nicht wanken!

42. Chorale May Jesus order my beginning, may Jesus remain always with me, may Jesus restrain my thoughts, may Jesus only be my delight, may Jesus be with me in my thoughts, Jesus, do not let me waver!

[Soprano text by Rist]

[text by Rist]

[Soprano text by Rist]

[text by Rist]

PART V Cantata for First Sunday in the New Year 43. Chorale Ehre sei dir, Gott, gesungen, Dir sei Lob und Dank bereit’. Dich erhebet alle Welt, Weil dir unser Wohl gefällt, Weil anheut Unser aller Wunsch gelungen, Weil uns dein Segen so herrlich erfreut.

43. Chorale Let honor be sung to You, o God, praise and thanks be prepared for You. All the world exalts You, since our well-being was Your pleasure, since today all our wishes have come to pass, since Your blessing so gloriously delights us.

44. Recitative Evangelist (Tenor) Da Jesus geboren war zu Bethlehem im jüdischen Lande zur Zeit des Königes Herodis, siehe, da kamen die Weisen vom Morgenlande gen Jerusalem und sprachen:

44. Recitative Evangelist (Tenor) When Jesus was born in Bethlehem in the Jewish lands at the time of King Herod, behold, there came sages from the east towards Jerusalem and said:

[Matthew 2:1]

2021-22 SEASON

Texts & Translations 45. Chorus and Recitative Wise Men Wo ist der neugeborne König der Jüden?

45. Chorus and Recitative Wise Men Where is the new-born King of the Jews?

Alto Sucht ihn in meiner Brust, Hier wohnt er, mir und ihm zur Lust!

Alto Seek Him within my breast, He lives here, to His and my delight!

Wise Men Wir haben seinen Stern gesehen im Morgenlande und sind kommen, ihn anzubeten.

Wise Men We have seen His star in the east and have come to make our devotions to Him.

Alto Wohl euch, die ihr dies Licht gesehen, Es ist zu eurem Heil geschehen! Mein Heiland, du, du bist das Licht, Das auch den Heiden scheinen sollen, Und sie, sie kennen dich noch nicht, Als sie dich schon verehren wollen. Wie hell, wie klar muß nicht dein Schein, Geliebter Jesu, sein!

Alto Happy are you, who have seen this light, it has appeared for your salvation! My Savior, You, You are the light, that shall shine also for the heathens, and they, they do not yet know You, yet they already wish to honor You. How bright, how clear must your radiance be, beloved Jesus!

46. Chorale Dein Glanz all Finsternis verzehrt, Die trübe Nacht in Licht verkehrt. Leit uns auf deinen Wegen, Daß dein Gesicht Und herrlichs Licht Wir ewig schauen mögen!

46. Chorale Your radiance destroys all darkness, the troubled night is transfigured with light. Lead us on Your paths, so that Your face and glorious light might always be visible to us!

47. Aria Bass Erleucht auch meine finstre Sinnen, Erleuchte mein Herze Durch der Strahlen klaren Schein! Dein Wort soll mir die hellste Kerze In allen meinen Werken sein; Dies lässet die Seele nichts Böses beginnen.

47. Aria Bass Illumine my dark thoughts as well, illumine my heart through the rays of your clear brilliance! Your word shall be the brightest candle for me in all my doings; this will never let my soul initiate evil.

48. Recitative Evangelist (Tenor) Da das der König Herodes hörte, erschrak er und mit ihm das ganze Jerusalem.

48. Recitative Evangelist (Tenor) When King Herod heard this, he was frightened, and with him all of Jerusalem.

[Wise Men text: Matthew 2:2]

[text by Georg Weissel (1590–1635)]

[Matthew 2:3]

[Wise Men text: Matthew 2:2]

[text by Georg Weissel (1590–1635)]

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

[Matthew 2:3]

Texts & Translations 49. Recitative Alto Warum wollt ihr erschrecken? Kann meines Jesu Gegenwart euch solch Furcht erwecken? O! Solltet ihr euch nicht Vielmehr darüber freuen, Weil er dadurch verspricht, Der Menschen Wohlfahrt zu verneuen.

49. Recitative Alto Why are you afraid? Can the presence of my Jesus awaken such fear in you? O! Should you not rather much more rejoice over this, since He has promised through this to renew the happy destiny of humanity.

50. Recitative Evangelist (Tenor) Und ließ versammlen alle Hohepriester und Schriftgelehrten unter dem Volk und erforschete von ihnen, wo Christus sollte geboren werden. Und sie sagten ihm: Zu Bethlehem im jüdischen Lande: denn also stehet geschrieben durch den Propheten: Und du Bethlehem im jüdischen Lande bist mitnichten die kleinest unter den Fürsten Juda; denn aus dir soll mir kommen der Herzog, der über mein Volk Israel ein Herr sei.

50. Recitative Evangelist (Tenor) And he had all the high priests and interpreters of Scripture among the people gathered together, and inquired of them where Christ was supposed to be born. And they answered him: In Bethlehem in the Jewish lands: for thus it is written through the Prophets: and you, Bethlehem, in the Jewish lands, are by no means the least among the princes of Judah; for out of you shall come the leader to me, who shall be a Lord over my people Israel.

51. Aria Soprano, Alto, Tenor Ach, wenn wird die Zeit erscheinen? Ach, wenn kömmt der Trost der Seinen? —Schweigt, er ist schon würklich hier!— Jesu, ach so komm zu mir!

51. Aria Soprano, Alto, Tenor Ah, when will the time appear? Ah, when will the comfort of the faithful come? —Hush, He is truly already here!— Jesus, ah, then come to me!

52. Recitative Alto Mein Liebster herrschet schon. Ein Herz, das seine Herrschaft liebet Und sich ihm ganz zu eigen gibet, Ist meines Jesu Thron.

52. Recitative Alto My beloved already reigns. A heart that loves His governance and gives itself utterly to Him as His own, is my Jesus’ throne.

53. Chorale Zwar ist solch Herzensstube Wohl kein schöner Fürstensaal, Sondern eine finstre Grube; Doch, sobald dein Gnadenstrahl In denselben nur wird blinken, Wird es voller Sonnen dünken.

53. Chorale Indeed such a heart’s closet may be no ornate princely chamber, rather a dark pit; yet, as soon as Your beams of grace only peep within it, it seems to be full of sunshine.

[Matthew 2:4–6]

[text by Johann Franck (1618–1677)]

[Matthew 2:4–6]

[text by Johann Franck (1618–1677)]

2021-22 SEASON

Texts & Translations PART VI Cantata for the Feast of the Epiphany 54. Chorale Herr, wenn die stolzen Feinde schnauben, So gib, daß wir im festen Glauben Nach deiner Macht und Hülfe sehn! Wir wollen dir allein vertrauen, So können wir den scharfen Klauen Des Feindes unversehrt entgehn.

54. Chorale Lord, when our proud enemies snarl, then grant that, in firm faith, we can look for Your help and strength! We will trust in You alone, thus we can escape the sharp claws of the enemy unscathed.

55. Recitative Evangelist (Tenor) Da berief Herodes die Weisen heimlich und erlernet mit Fleiß von ihnen, wenn der Stern erschienen wäre. Und weiset sie gen Bethlehem und sprach:

55. Recitative Evangelist (Tenor) Then Herod summoned the sages secretly and cleverly discovered from them when the star had appeared. And he directed them towards Bethlehem and said:

Herod (Bass) Ziehet hin und forschet fleißig nach dem Kindlein, und wenn ihr’s findet, sagt mir’s wieder, daß ich auch komme und es anbete.

Herod (Bass) Go there and seek diligently for the infant, and when you find it, report to me, so that I can also come and pay my devotions to it.

56. Accompagnato Bass Du Falscher, suche nur den Herrn zu fällen, Nimm alle falsche List, Dem Heiland nachzustellen; Der, dessen Kraft kein Mensch ermißt, Bleibt doch in sichrer Hand. Dein Herz, dein falsches Herz ist schon, Nebst aller seiner List, des Höchsten Sohn, Den du zu stürzen suchst, sehr wohl bekannt.

56. Accompagnato Bass Liar, you seek only to destroy the Lord; You employ all false trickery to supplant the Savior; yet He, whose power no man can measure, remains in secure hands. Your heart, your false heart is already, with all its deceit, very well known to the Son of the Highest whom you seek to crush.

57. Aria Soprano Nur ein Wink von seinen Händen Stürzt ohnmächtger Menschen Macht. Hier wird alle Kraft verlacht! Spricht der Höchste nur ein Wort, Seiner Feinde Stolz zu enden, O, so müssen sich sofort Sterblicher Gedanken wenden.

57. Aria Soprano Only a wave of His hands topples the impotent power of humans. Here all strength is laughable! If the Highest speaks only a word, to terminate the pride of His enemies, o, then how immediately must the thoughts of mortals be turned aside!

[Matthew 2:7–8]

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Texts & Translations 58. Recitative Evangelist (Tenor) Als sie nun den König gehöret hatten, zogen sie hin. Und siehe, der Stern, den sie im Morgenlande gesehen hatten, ging für ihnen hin, bis daß er kam und stund oben über, da das Kindlein war. Da sie den Stern sahen, wurden sie hoch erfreuet und gingen in das Haus und funden das Kindlein mit Maria, seiner Mutter, und fielen nieder und beteten es an und täten ihre Schätze auf und schenkten ihm Gold, Weihrauch und Myrrhen.

58. Recitative Evangelist (Tenor) When they had heard the King, they went away. And behold, the star which they had seen in the East went before them until it came and stood over where the infant was. When they saw the star, they were highly delighted, and went into the house, and found the infant with Mary, His mother; and they fell down and worshipped Him and presented their treasures; and they gave Him gold, frankincense, and myrrh.

59. Chorale Ich steh an deiner Krippen hier, O Jesulein, mein Leben; Ich komme, bring und schenke dir, Was du mir hast gegeben. Nimm hin! Es ist mein Geist und Sinn, Herz, Seel und Mut, nimm alles hin, Und laß dirs wohlgefallen!

59. Chorale I stand here by Your cradle, o little Jesus, my life; I come, I bring and give to You, what You have given to me. Take it! It is my spirit and mind, heart, soul, and will, take all of it, and let it be pleasing to You!

60. Recitative Evangelist (Tenor) Und Gott befahl ihnen im Traum, daß sie sich nicht sollten wieder zu Herodes lenken, und zogen durch einen andern Weg wieder in ihr Land.

60. Recitative Evangelist (Tenor) And God commanded them in a dream that they should not journey back to Herod, and they travelled by another way back to their own land.

61. Accompagnato Tenor So geht! Genug, mein Schatz geht nicht von hier, Er bleibet da bei mir, Ich will ihn auch nicht von mir lassen. Sein Arm wird mich aus Lieb Mit sanftmutsvollem Trieb Und größter Zärtlichkeit umfassen; Er soll mein Bräutigam verbleiben, Ich will ihm Brust und Herz verschreiben. Ich weiß gewiß, er liebet mich, Mein Herz liebt ihn auch inniglich Und wird ihn ewig ehren. Was könnte mich nun für ein Feind Bei solchem Glück versehren! Du, Jesu, bist und bleibst mein Freund;

61. Accompagnato Tenor Go then! It is enough, my treasure does not leave here, He remains here with me, I also will not let Him leave me. His arm will, out of love, embrace me with tender emotions and the greatest gentleness; He shall remain my bridegroom, I will dedicate my heart and breast to Him. I surely know that He loves me, my heart loves Him inwardly as well and will always honor Him. What kind of enemy now, amid such happiness, could harm me! You, Jesus, are and remain my Friend; 2021-22 SEASON 59

[Matthew 2: 9–11]

[text by Gerhardt]

[Matthew 2:12]

[Matthew 2:9–11]

[text by Gerhardt]

[Matthew 2:12]

Texts & Translations Und werd ich ängstlich zu dir flehn: Herr hilf!, so laß mich Hülfe sehn!

and if I will beseech you anxiously: Lord, help! then let me see assistance!

62. Aria Tenor Nun mögt ihr stolzen Feinde schrecken; Was könnt ihr mir für Furcht erwecken? Mein Schatz, mein Hort ist hier bei mir. Ihr mögt euch noch so grimmig stellen, Droht nur, mich ganz und gar zu fällen, Doch seht! Mein Heiland wohnet hier.

62. Aria Tenor Now, you arrogant enemies, you may tremble; what kind of fear can you arouse in me? My treasure, my sanctuary is here with me. You may seem still so horrible, threatening to defeat me once and for all, yet see! My Savior lives here.

63. Recitative Was will der Höllen schrecken nun, Was will uns Welt und Sünde tun, Da wir in Jesu Händen ruhn?

63. Recitative How can hell frighten now, what can the world and sin do to us, since we are safe in Jesus’ hands?

64. Chorale Nun seid ihr wohl gerochen An eurer Feinde Schar, Denn Christus hat zerbrochen, Was euch zuwider war. Tod, Teufel, Sünd und Hölle Sind ganz und gar geschwächt; Bei Gott hat seine Stelle Das menschliche Geschlecht.

64. Chorale Now you are well avenged upon the horde of your enemies, since Christ has pulverized what was contrary to you. Death, devil, sin and hell are weakened once and for all; the place of the human race is next to God.

[text by Georg Werner (1680–1645)]

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

cantata collective presents

Free Bach Concerts! We’re back!!

Join us for our Opening Concert • November 28, 2021 • 5pm St. Mary Magdalen Church • 2005 Berryman, Berkeley 2

Cantatas BWV 156 and BWV 159 Jennifer Paulino, soprano Derek Chester, tenor Christine Brandes, alto Paul Max Tipton, baritione

Big news: we’re proud to announce our first commercial recording on Centaur Records to be released this fall

Save the dates for more concerts this season: January 2 and April 3, 2022

cantata collective

Marc Schachman • Kati Kyme • Lisa Weiss • Anthony Martin • William Skeen • Kristin Zoernig

www.cantatacollective.org

A Fond Farewell

s the PBO family finds its ways back to the concert hall, we also bid farewell to three distinguished musicians who have retired: Fred Holmgren, R. J. Kelley, and Janet See. These musicians have given to PBO the gift of their exceptional artistry, collegiality, and friendship. They will be missed deeply by their colleagues and the audiences that have enjoyed their music-making over the many years. We extend our heartfelt thanks for their service and wish them the best as they move forward.

FRED HOLMGREN

first played trumpet with Philharmonia in March 1986, in the first of many PBO performances of Handel’s L’Allegro. Fred was often a highlight in performances of Handel’s Messiah, sporting a red pocket square while playing the solo in “The Trumpet Shall Sound.” Residing in Wendell, Massachusetts, Fred is also a piano tuner, machinist, and photographer, and built his most recent baroque trumpet himself.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

R. J. KELLEY first

performed with Philharmonia in October 1982, when he often played 2nd horn with Lowell Greer. In subsequent seasons he advanced to principal horn, playing alongside his good friend and colleague Paul Avril. R. J.’s participation was a highlight of PBO’s visits to local schools, particularly his demonstration of the physics of his instrument using different lengths of garden hose. In September 2011 R. J. curated a “pastiche” Mozart horn concerto, and gave a performance “which was tuneful, lively and full of ingenious turns” (San Francisco Chronicle). R. J. resides in Teaneck, New Jersey with his wife, oboist Sarah Davol.

JANET SEE is a founding

member of Philharmonia and played flute with the ensemble in our inaugural concert on February 4, 1982; she is featured on a Harmonia Mundi recording of Vivaldi flute concertos with PBO. When she returned to the US in the mid-1990s after living in London for 10 years, she travelled from her Bainbridge Island home to play principal flute for most of PBO’s classical and romantic programs. She has made lifelong friends with Maxine and the late James Risley, in whose North Berkeley home she always stayed for PBO engagements.

2021-22 SEASON

BUILDING PHILHARMONIA’S FUTURE LAURETTE GOLDBERG SOCIETY

The Laurette Goldberg Society, named after the founder of Philharmonia Baroque Orchestra & Chorale, honors those individuals who have named the Orchestra in their estate plans. Anonymous (2)

The Estate of Norman T. Larson

The Estate of Dr. Ross E. Armstrong

Clifford Leventhal

Corey & Tim Benjamin

The Estate of Susan B. Levy

Linda Brewer

William Lokke

Donald Buhman & Wray Humphrey

Dr. Terri McGinnis

William Bush

The Estate of Mrs. A. P. Morse

The Estate of Donald E. Casey

Mark Perry & Melanie Peña

The Estate of Marie Mendenhall Cleasby

Barbara & Nigel Renton

Kathleen & Martin Cohn

Maxine & James Risley

Hon. Marie Bertillion Collins &

The Estate of Maxine Rosston

Leonard Collins Steven A.R. Edwards The Phillip M. Eisenberg Trust Nicolas Elsishans & Christopher Hayes

The Estate of Shirley Sarvis Adrienne & Theodore Savetnick Sondra & Milton Schlesinger The Estate of Carol Seitz

Dr. Harvey & Deana Freedman The Estate of Dr. Alper A. Garren The Estate of Rudolf & Nellie Glauser

Ross Smith Robert Speer & John Wong The Estate of Frances C. Strauss

The Estate of Eva & James Goodwin

Linda & Paul Swatek

Kay Sprinkel Grace Margaret Hegg Steve John & Jason Snyder The Estate of Marie Kieraldo

Anita L. Velazquez Lawrence K. Wallace & Portia H. Leet The Estate of Theodore Weber, Jr. The Estate of Michael J. Weller

Kathy & Bill Korbholz Gillian Kuehner & Norman Bookstein The Estate of Elmira Lake

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

BUILDING PHILHARMONIA’S FUTURE ENDOWED FUNDS AND NAMED CHAIRS Contributing to the Endowment Fund or naming a chair creates a legacy that will preserve the unique sound of Philharmonia for generations to come. Philharmonia Baroque Orchestra & Chorale gratefully recognizes the following named chairs and donors to the Philharmonia Endowment

NAMED CHAIRS The Robert and Laura Cory Chorale Director Chair Egon & Joan von Kaschnitz Concertmaster Chair Michael F. and Jane B. Marmor Principal Clarinet Chair Zheng Cao Memorial Cello Chair Clare Frieman Kivelson and Irene Valente Angstadt Memorial Principal Oboe Chair Susan B. Levy Violin Chair Osher Cello Chair Endowment

THE PHILHARMONIA CHORALE ENDOWMENT FUND Anonymous

ENDOWMENT SUPPORTERS Anonymous Susan & Paul Sugarman Linda & Paul Swatek Donna Williams

2021-22 SEASON

GIFTS TO THE ANNUAL FUND Philharmonia expresses its deepest appreciation to those individuals, foundations, corporations and government agencies, whose loyal support of the Annual Fund makes possible our artistic vision, innovation, and educational programs. Thank you for providing the resources to bring music to concert halls, classrooms and communities throughout the Bay Area and beyond. We are truly grateful to the following donors, whose gifts were received between March 1, 2020 and September 1, 2021.

CORPORATE, FOUNDATION & GOVERNMENT GRANTS $100,000 & ABOVE

Grants for the Arts/ San Francisco Hotel Tax Fund

MATCHING GIFTS

AMAT Community Bank of the West Chevron Humankind Matching Gift Program Genentech Salesforce, Inc.

$75,000 - $99,999

The William & Flora Hewlett Foundation

$25,000 - $74,999

SPECIAL PANDEMIC SUPPORT

Ann & Gordon Getty Foundation The Koret Foundation The Bernard Osher Foundation

The Bernard Osher Foundation National Endowment for the Arts

$10,000 - $24,999

We gratefully acknowledge the support we receive from:

National Endowment for the Arts The Bob Ross Foundation

We gratefully acknowledge the support we receive from:

We gratefully acknowledge support from: 9

9 9

Philharmonia Baroque Orchestra & Chorale is supported in part by a grant from the National Endowment for the Arts in response to the COVID-19 pandemic 9

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

WITH GRATITUDE FOUNDER’S CIRCLE ($1,000,000+) The Estate of Dr. Ross E. Armstrong The Estate of Norman T. Larson BENEFACTOR ($250,000-999,999) The Estate of Daniel E. Offutt III The Estate of Theodore S. Weber Jr GUADAGNINI ($100,000-249,000) The AAG Trust The Waverley Fund Linda & Paul Swatek CONDUCTOR’S CIRCLE ($50,000-99,999) Anonymous Grace & Laurance Hoagland Dominique Lahaussois & David Low Gladyne Kenderdine Mitchell Mark Perry & Melanie Peña STRADIVARI ($25,000-49,999) Richard Healey / One World Fund Mrs. Jonathan B. Gifford Cynthia & Peter Hibbard Brian M. Kincaid & Elizabeth C. Theil Carol & Douglas Tanner John A. Taylor & Mary Courtney Tall CRISTOFORI ($15,000-24,999) Martin & Kathleen Cohn Hon. Marie Bertillion Collins & Leonard Collins Nicolas Elsishans & Christopher Hayes Charlotte Gaylord & Barrie Cowan Kay Sprinkel Grace Kate & David Gross Nancy & Richard Heath Christina & Kenneth Hecht Anne & Jeffrey Katz Paola & Richard Kulp Didier LeGall

Frederick Matteson & Anne Davidson Barr David Morandi Rebecca Moyle & Tyler Lange Michael Sack GUARNERI ($11,500-14,999) John & Joan Goddard, The Goddard Foundation ARCANGELI ($5,500-11,499) Carol & Peter Berkenkotter Kyra & Ken Carson The Estate of Marvin Dennis Sarah Fitzgerald & Quincy Bragg Cary Frieze Holly Hartley Donna Heinle Roy Levin & Jan Thomson The Marmor Foundation; Drs. Michael & Jane Marmor Elizabeth A. Mayer Sondra Schlesinger Jean Shuler Paul and Susan Sugarman Family Philanthropic Fund Wendy & Mason Willrich AMATI ($3,000-5,499) Mary & Roger Ashley Kristin & Ari Baron James Bays Corey & Tim Benjamin Richard Caplin Patricia Lynn Gotchall Candace Kahn Naneen Karraker Peggy & Ed Kavounas Emily Kenyon & David Lipsky Sheila & Michael Lagios Kit & Hayne Leland Harvey Lynch Riley Maddox & Haley Tone Robert Mison Diane Posnack Maxine Risley The Bob Ross Foundation Betty & Jack Schafer Pamela & John Sebastian Sylvia Spengler Marie Tilson Evelyn Wegienka Donna Williams Mary Wilson

COGNOSCENTI ($1,600-2,999) Kendall & Claire Allphin Courtney Beck & Jonathan Harris Linda Blum William Bush Suzanne & Italo Calpestri Glyde Cooper & John Smith Charles Crane Corinne Derringer Jerome & Thao Dodson The Rev’d Richard Fabian Jean-Noel Fourmeaux Stuart Alexander & Kendy Genovese Shirley George The Estate of James Goodwin Ian Hinchliffe & Marjorie Shapiro Albert Hoffman Lili Jensen Kathy & Bill Korbholz Tom Lee Ellen & Barry Levine William A. Lokke Martha & Arthur Luehrmann Gus Manning & Rena Kirkpatrick Joan Mansour Josephine Maxon Delle Maxwell Willinda & Peter McCrea Richard Meiss Katherine & Bridger Mitchell Janet & Bill Nicholls Kathryn & Donley Parmentier Phillip Phythian & Ann Hardham Lynn & Olivier Pieron Helen & Dan Quinn Louise Sampson Adrienne & Ted Savetnick Reed Schmidt Lawrence & Grace Smith Ruth & Alan Tobey Melanie & Ronald Wilensky Judith B. Workman Cathe & Gavin Wright Jane H. Zuckert CAMERATA ($1,000-1,599) Linda Anderson Barbara Barkovich Rick & Rickie Ann Baum Janet & Chris (Jon) Bensick Marlene Bollhoffer 2021-22 SEASON

WITH GRATITUDE Craig T. Bowman & Susan Schoenung Prudence Breitrose James T. Caleshu Patricia & Richard Campbell Patricia Chan & Elliot Beraha Virginia Lee Chen Bernard Choden & Lois Scott Paul Chrzanowski William & Dorothy Clemens Joan & Edward S. Conger Jayne & Peter Davis Jacqueline Desoer Thomas & Ronnie Devitt Gilbert Eakins Dinna & Fred Eisenhart Margaret Garms Edith Gladstone Blechman Goldberg Family Fund Joyce & Douglas Hamilton Sepp Hammer Allen Hardy & Claudia Eckelmann Alan Harper & Carol Baird Margaret Hegg Miranda Heller Kathryn Henkens Susanne Hering & John Phillips Susan & David Hodges Shelley & Solon Holstein Karen Ivy & James Ringland Renate & James Kempf Robert Larson Carlene Laughlin James Leak John Lee Marin Community Foundation Kathleen McGreevy Kurt Melchior Victoria & James Merchant Carol & Ezra Mersey Neanna & Allan Miles Brenda & James Nirenstein Judith & Stuart Offer Peter Pastreich & Jamie Whittington Stephen Pegors & Trista Berkovitz Sandra & George Petty William Quackenbush Mathew Quilter William & Ray Riess Janet Rodriguez Mark Salkind 68

David A. Shapiro, M.D. & Sharon L. Wheatley Virginia Shuler Marian & Abraham Sofaer Susan & Michael Stewart Charles G. Schulz & Claire Taylor David Thompson John Tibbetts & Barbara Bernstein Tom Tompkins Martha D. Toppin Martha Truett & David White Ellen & Mike Turbow Analee Weaver Marilyn & Jack Whitcher CAMERATA ($650-999) Jane & Christopher Adams Frank Adams & Susan Bryan Zachary Baker Ellen & Gunther Barth Sandra Church Patricia & Peter Coffin Margaret Conkey Robert & Barbara Cooley Jacqueline Craig Margaret Destaebler Jeanette & Peter Dunckel Viola & Jerald Evans Karen & Peter Filice Jessena L. Finn Karen Gabrielson Eva & Alex Glazer Bernice Greene Dorothy Gregor Nicolas Hamatake Robert Jarman Gary W. Jennings & John D. Poynter Andrea Julian Chrystal & James Kafka Barbara Kosnar & Tom Goldman Toby Langen David Lieberman & Carol Brownstein Richard McKee Ellen Michelson Doug Miller Judy Nelson & Jo Ann Stewart Jeanne Newman Marcia & Robert Popper Anmarie Roache Leslie & William Rupley Donna & Gerald Silverberg Emily Sparks & Vincent Fogle

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Gayle & George Staehle Tom Walsh & Maura Fitzgerald Samuel Weeks CAMERATA ($400-649) Caroline Acker Shirley Armitano Laura Becker & Joel Parrott Helen Berggruen Roy Bergstrom Patricia & Edwin Berkowitz Nancy & Peter Bickel Adam Bier & Rachel Lem Christel Bieri Judith & Kim Bishop Robert Wilder Blue Andrew Bridges & Rebecca Lyman George & Phyllis Brown Melinda & Bob Buchanan Mary Belle Bulwinkle & Michael Dukes Lynne Carr Roseanne Chambers Ana & Roger L. Chretien Patricia Clemo & Robert Cooley Annelle Clute Barbara Cohen & Richard Stanley Michael Colbruno & Alex Paul AMAT Community Michael Condie Robert Cook & Blanca Haendler Jane & Thomas Coulter Robert Cronin & Anne Woodhouse Stanley Davis Diane Deforest Mark & Karel Detterman Mary & Jurgen Exner Sally & Craig Falkenhagen Mary Falvey Wendy Fantl Scott Bucey & Jennifer Finger Roy Flores Judith E. Frankel Deana & Harvey Freedman Frederick & Jeanne Gabali Bruce Garetz Pamela J. George Robert & Sally Goldman Anna Gonosova Marie Graham Patricia Granberg

WITH GRATITUDE Robert Green Janet & Joseph Grodin Carol Handelman Nancy Haritatos Nina Hemenway & Chesley Herbert Frederick Hertz Curt Hill Richard Holden & Mary Artist Joan & David Hollinger Carolyn Holm Ernst & Susan Hoyer Hing On Hsu David Hyman William R. Jackson & Jackie Holen Steve John & Jason Snyder Tim Kahn Joel & Adela Karliner Julia Katz Maureen & David Kennedy Thomas King William Kinsolving Mary Kneip Elaine Fischer-Kohn & James Kohn Thomas Koster Alice & Richard Kulka Lila Lahood Bruce Lamott & Kip Cranna Sylvia Lindsey Carol Lokke Carol & Hal Louchheim Carolyn & David Lougee Roger Mann Richard Martin Monica Martin & Buck Delventhal Garth McCune Charles & Honor Morehouse Margaret & Frank Morrow Julius Moshinsky & Suzanne Renne Jane & William Neilson Joseph Newell & Eric Collier Tes Norlin Michael & Becky O’Malley Larry & Pat Pagendarm Kirk Patterson Bill Pesonen Trond Petersen Susan & Philip Pines Elizabeth Joyce & Steven Popper Steve Powell Jan & Karen Prak Donald & Maureen Querio

Kay & Raymond Roberts Kenneth Robin Jim & Pam Robson Robert Rohr & Andrew Goldfarb M. Louise Rothman-Reemer & Davis Reemer Glen A. Roycroft John L. Rutledge Valerie & Peter Samson Randy Schekman Gregg Schluntz Paul Schmidt George Sensabaugh, Jr. Marcia Settel & David Gilson Anne Shortall Mark Shrode Susanna & Dave Singer David Stein & Bill Stewart Karen Streicher Sarah & Stephen Taber Gavin Tanner Michael Thompson Susan & Jim Tighe Carl N. van Os Bill & Judy Botsford Warren James & Cheryl Weaver Diane & Howard Winer David & Susan Young John Zimmermann & Diana Graham Janet & Stephen Zovickian PATRONS ($150-399) Grace Abiko Anita Adams Sandra Adams Carol Cosman & Robert Alter Takeshi & Yoshiko Amemiya Diane Green & R. Tyler Andersen Sarah Angello & Bryan DeBono Anonymous Jennifer & Jeff Apkarian Arthur Aron Jonathan Arons & Claire Max Joe T. Athey & Carlo Carlucci Jennifer Badde-Graves Jean Bader Leo Balambao Marilyn Bardet Joyce E. Bartlett Marcia & Richard Baugh Christine Beckstrom Robert Bellamy

F. Ralph & Catherine Berberich Madeleine Berke Linda Berti David Besley Stephen J. Bischoff Ann & Peter Bjorklund Dan Bloomberg & Irene Beardsley Alison Boeckmann Ronald Bogin Laszlo Bonnyay Emily Brewer Ann & Steve Brick Carolyn Broadus Robert Bromfield Deborah Brown Marda Buchholz Betty & Bob Bussey Marilyn & Kenneth Campbell Bruce & Susan Carter Rowland Chang Mr. John Christensen Kenneth Clark & Hasmig Seropian Carol & Orlo Clark Douglas B. Clarke & Sally Jo Rosenbusch-Clarke Susan Cohen James Conmy Sonja Cook Jerrold Cooper Rosemary M. Corbin Bill Countryman Teresa Countrymen Daniel Cuneo Lisa Dearborn Dorothy & Peter Denning Harry & Susan Dennis John Dickerman J. P. Dillingham Sheila Dillman Jean Dowdall Gregory Dubinsky JoAnn & Dennis Eagan Mariko Eastman Norman & Elizabeth Edelstein Charles Edens Mary Williams & Peter Elias Gretchen Elliott Allyson & Michael Ely Maria Erdi Eric Essman Vincent Fausone Robert & Flora Feldman Brent Field 2021-22 SEASON

WITH GRATITUDE Lannon Leiman Susan Fisher Clifford Leventhal James Fousekis Adelheid & Mark Levi Lynette Francis Dorothy Lindsay Rona Giffard Malcolm Litwiller Carol Glanville Dan & Emily Loeb James Glazier Howard Logan Karl Goldstein Susan Lyon John Gravell Gail MacGowan Elizabeth Green-Sah Richard Makman Elizabeth Greenberg Charles Martell Peter & Anne Griffes Sylvia McDougall Erich & Joan Gruen Ellen & Paul McKaskle James W. Haas Mary Louise Meckler Elspeth & Roger Hallatt Steven Menzel David Halligan Thea & Steve Merrill Ann & Roy G. Hammonds, Jr. Dieter Meyerhoff & Ulrike & Michael Hanley Ursula Simonis Susie & Chuck Hanson Evelyn Mickevicius Stefan Hastrup & Samuel Miller & Gary Schilling Maude Pervere Henry Heetderks Margaretta Mitchell & Ellen Heffelfinger Seymour Warkov Marlies Hensel Evan Moore Valerie & Dr Richard Herr Ann Morales Daniel Hersh Mia & Robert Morrill Janet & Robert Hines Frances & John Morse Donna Horn Anne Morton Inge Horton Merla Murdock Charles & Trish Hulley Richard & Elizabeth Murphy Phyllis Isaacson Roger Murray Lavonne Jacobsen Rachael Myrow Beverly & Jay James Bari & Stephen Ness Kittie L. Jarrell John Newmeyer Leila & Daniel Javitch Gary & Elizabeth Nielsen Alice M. Jennings Helmtrud Nock Harley Jensen George Norall Sal Kadri Georgia Heid & Stephen Kahl Mary Belle O’Brien David Kalins Ms. Susan Osova Jonathan Kaner Nancy Ostrom Elizabeth Kaplan Barbara Paschke Rose Katz Charles Pearson Robert Kessler Helen Pellegrin & Peter Smith Doris Ketcham J. Luis Perez & Gerald Greer Sally Ketchum Mark & Karen Perlroth Cindi King & Ron Wynn Robin Perry Carol & Howard Kirk Michael Peskin Birthe Kirsch Anne Peterson & Tim Gasser Susan Klee & David Stoloff Naomi & David Pockell Karen Klempka Paula Polley Margot Knight Linda Polsby Barbara Koerber Michael Poremba & Marcia Kolb Anna Moniuszka Iris & Hal Korol Carlene & Bruce Reeves Ileana Krumme Glenn Reid Leslie Kurke Loretta Guarino Reid Margaret M. Kvamme Diane Resek Sharon Lambie John & Susan Richmond Laura Larson Robert Riksheim Emily & William Leider Robert Ripps Rowen Leigh 70 PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Christine Ritter Jane Rogers & Michael Fischer Elizabeth Rogers Ron & Jane Romano Ms. Jo-Ann Rose William Rosenthal Georgene & John Rostkowski Jean Rowan James Rytuba June & Robert Safran Peter Schrag & Patricia Ternahan Esther Schroeder Louise Shalit Marion Shapiro Sean Shopes Anne Simons Linda Skory Jean & Kenneth Smith Marika & Laszlo Somogyi Linda & Fred Sondheimer Yoram Sorokin Alan Sparer & Charlotte Fishman Anja Steinke Carol & Noel Stevens Mark & Anni Stroh Carolyn Sweeney Eleanor Swent Carol Takaki John Taylor Joseph & Donna Terdiman Kathleen Thompson Marta Tobey Rebecca Tracy Connie Turkington Elizabeth Tynan Stephen van Meter Marlene Veach Paul Veres Robert Visser Thomas & Ann Watrous Irene & James Watt Yenny Webb Vargas Mr. & Mrs. Thomas A. Weikert Steve Weiss & Rebecca Coker Roy West Gayle Wiesner Mary Wildavsky Avril & Kenneth Wilsher Hugh & Mary Anne Winig William Wisniewski Fleur Yano Marjorie Yasueda & W. Dale Knutsen Peter & Gail Yessne Frank Zepeda

LIFETIME BENEFACTORS

Philharmonia Baroque Orchestra & Chorale thanks the following visionary supporters whose cumulative giving totals $100,000 or more. Anonymous (2) Ross E. Armstrong Nicholas Bez Kathleen & Martin Cohn Richard Colburn Hon. Marie Bertillion Collins & Leonard Collins Laura & Robert Cory Quincy Bragg & Sarah Fitzgerald Alper Garren Mona Geller Mrs. Jonathan B. Gifford John & Joan Goddard, The Goddard Foundation Kay Sprinkel Grace Kate & David Gross

Christina & Kenneth Hecht Grace & Laurance Hoagland Marie & Palmer Hotz Brian M. Kincaid & Elizabeth C. Theil The Kivelstadt Family Trust Norman T. Larson Kit & Hayne Leland John B. Levy The Estate of Susan B. Levy, in honor of Fred Sondheimer David Low & Dominique Lahaussois Didier LeGall The Marmor Foundation; Drs. Michael & Jane

Marmor Frederick Matteson & Anne Davidson Barr Elizabeth Anderson Mayer Gladyne K. Mitchell Holbrook T. Mitchell Mark Perry & Melanie Peña Maxine Rosston Sondra & Milton Schlesinger Jane & Jack Stuppin Paul and Susan Sugarman Family Philanthropic Fund Linda & Paul Swatek Carol & Douglas Tanner Claudine Torfs Joan & Egon von Kaschnitz The Waverley Fund

Join the Philharmonia Family! Friends of Philharmonia make our music possible! Gifts to the Annual Fund support PBO’s performances, recordings, tours, educational programs, and so much more. Sustain the music you love and enjoy unique benefits by joining the Friends of Philharmonia today.

Visit philharmonia.org or call (415) 295-1288 to support PBO!

2021-22 SEASON