PBO November/December Program Book 2017

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Historical Performance

Spring 2017 Bing Concert Hall Stanford University

Celebrate classical, jazz, and more in Silicon Valley’s finest concert hall

Among Stanford Live’s current lineup: a film screening with live orchestra, the music of Charles Ives performed by Jeremy Denk and Stefan Jackiw, pianist Marc-André Hamelin with the Takács Quartet, Darlene Love with the Stanford Symphony Orchestra, and much more.

DECEMBER

JAN UARY

FEB RUARY

Sun

Fri

DECEMBER 3

JANUARY 19

FEBRUARY 3

Rolston String Quartet

St. Louis Symphony

Cameron Carpenter

Sat

Fri

JANUARY 20

Uriel Herman Quartet

SFCM BAROQUE ENSEMBLE Corey Jamason and Elisabeth Reed directors FriBaroque

Opera Handel: Atalanta The Red Violin Handel’s charming, pastoral opera Atalanta Screening with will be presented in a concert Sun version by the Live Orchestra JANUARY 28 Baroque Ensemble.

Jeremy Denk and March 11 and 12 DECEMBER 8

Stefan Jackiw play Ives

MARCH

Sat

FEBRUARY 9

Darlene Love with the Stanford Symphony Orchestra Sat

Sun

MARCH 4 FACULTY RECITAL

American Sound Chamber The Music FEBRUARYBaroque 10 Curtis on Tour Elizabeth Bill Charlap Trio Blumenstock baroque violin

Elisabeth Reed baroque Sun cello Corey Jamason harpsichord MARCH 18 Zurich ’01 Chamber Orchestra with Tekla Cunningham baroque violin March 2

MASTER CLASSES

Baroque Concerto Competition Winners Sponsored by American Bach Soloists Baroque Ensemble Concerto Competition Winners Tekla Cunningham ’01 baroque violin Fri are presented as well as Telemann’s joyful 6 FEBRUARYFebruary 23 celebration of folk music in his Ouverture des Takács Quartet Stevenwith Lehning violone nations anciens et modernes, known as Les Nations.

Marc-André Hamelin March 13 April 15 Jeffrey Thomas conductor April 10 Historical Performance & Opera Program Collaboration SEASON MEDIA SPONSORS Purcell: production) B U Y Dido and Aeneas (fully-staged live.stanford.edu TICK S 650.724.2464 April 28E Tand 30 800.899.SFCM | sfcm.edu PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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ONE STORY, TWO OPERAS

CELEBRATING BERNSTEIN’S 100TH 2|15–18 SIX PERFORMANCES Honoring Leonard Bernstein and his 100th birthday with a brand new production of his seminal opera Trouble in Tahiti, OP ushers in another 100 years of opera by pairing Bernstein with SF’s own pre-eminent composer, Jake Heggie, and a production of At the Statue of Venus.

CAST Rose/Dina: Renée Rapier/Abigail Levis Sam: Eugene Brancoveanu/Kyle Albertson Jazz Trio: Krista Wigle, Andres Ramirez, CJ Blankenship TICKETS 4 SFJAZZ.org • 866.920.5299

LEONARD BERNSTEIN’S

TROUBLE IN TAHITI

Handel For The

Holidays Pick up our recordings of Handel’s Water Music, Atalanta, Teseo Highlights, Arias with Lorraine Hunt Lieberson and Nicholas McGegan’s recordings of Samson and Acis and Galatea.

BUY 3 OR MORE HANDEL CDS AND SAVE 20%

JAKE HEGGIE’S

AT THE STATUE OF VENUS

In conjunction with: This production is made possible in part through the generosity of:

ALL AT THE LOBBY BOUTIQUE!

WHAT’S INSIDE Message from the Board President and Executive Director

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Board of Directors and Staff

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About the Music Director

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About the Orchestra & Chorale

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Tribute to Al Garren

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8

Pre-concert Talk

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Program 15 About the Artist

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The Players and Their Instruments

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Program Notes

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17 28 Pre-concert Talk

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Program 26

Donor Recognition

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About the Artists

28

Tribute to Elmira Lake

58

The Players and Their Instruments

34

Two New Initiatives

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Program Notes

36

Libretto 40

Cover image by Frank Wing

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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FROM the PRESIDENT and EXECUTIVE DIRECTOR For me, gratitude is the signature of the season: feeling gratitude at Thanksgiving for the many blessings of our lives, and expressing gratitude to those we love through joyful outreach in the light-filled holidays of December.

G.K. Chesterton once wrote that, “gratitude is happiness doubled by wonder.”

I could not agree more! And my happiness is also doubled by the loyalty of our orchestra and chorale members, and our subscribers and audiences at Philharmonia. Whether presenting the experimental or the traditional, Philharmonia provides an extraordinary journey into the intellect, beauty and magic of music. I am also grateful for the continued inspiration of Nic McGegan, and our Executive Director Courtney Beck. Both are without parallel in the field.

As we enjoy this time of gratitude, I am also reflecting on the leadership of the Philharmonia Board of Directors. This remarkable group of volunteers provides guidance, support, wisdom, and a commitment to excellence in all that we do at Philharmonia. It is a true honor to be President of this board.

Thank you,

Kay Sprinkel Grace

Dear PBO Family, The holiday season will soon be upon us—a time when everything seems to stop for a little while and to be frantically busy with friends, family, and festivities. But there is no question that it is a time for reflection and gratitude.

To our music director, Nic McGegan: I am so grateful for your boundless energy and deep understanding that everything we do today will have an impact tomorrow. You dare to go where others won’t. And to our chorale director, Bruce Lamott, for giving us the gift of exquisite voices that brings so much to our programming. To our musicians who bring this incredible music to life and for making each us feel that we a part of the Philharmonia family.

To our board of directors, a group of committed and passionate individuals who are generous with their time and resources because they love PBO and believe there’s nothing else like it.

To Kay Sprinkel Grace, our board president, who stepped in during a time of significant challenge. She rolled up her shirtsleeves because she’s determined to ensure PBO’s place well into the future. She’s a leader and a friend and we all thank her for taking on this role with love, compassion, and leadership. Ross would be very proud.

I am grateful to our wonderful staff who work tirelessly to bring our many programs to audiences throughout the Bay Area and beyond.

And to our generous and loyal supporters. We are here because of you and I can’t thank you enough.

I wish you a happy holiday season and a very happy new year. We have so much more to share together in 2018.

With humble gratitude,

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Courtney Beck

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

BOARD of DIRECTORS and STAFF

BOARD OF DIRECTORS

STAFF

Officers Kay Sprinkel Grace, President David Low, Vice President Mark Perry, Vice President David Gross, Secretary Donna Williams, Treasurer

Artistic Nicholas McGegan, Music Director

The Waverley Fund

Conductor’s Podium Bruce Lamott, Chorale Director

Robert and Laura Cory

Chorale Director Chair

Members Courtney Beck, ex-officio Adam Arthur Bier Martin Cohn Marie Bertillion Collins Nicolas Elsishans Charlotte Gaylord Peter Hibbard Steven John Anne Katz Brian Kincaid Martine Kraus William Lokke Michael Marmor Fred Matteson Nicholas McGegan, ex-officio Rebecca Moyle Sondra Schlesinger Jason Snyder Paul Sugarman Douglas Tanner

Administrative Courtney Beck, Executive Director Katie Lynn Baker, Patron Experience and Development Associate Myles K. Glancy, Director of Concert Production Lisa Grodin, Director of Education Naren Larson, Box Office & IT Manager Jeffrey D. Phillips, Artistic Administrator Dianne Provenzano, Director of Marketing & Public Relations Heli Roiha, Bookkeeper CJ Ru, Annual Fund Manager Andrea Sáenz, Development & Events Manager William Skeen, Orchestra Librarian Paul Swatek, Director of Finance

Past Board Presidents Dr. Ross E. Armstrong (2013-2017) 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)

Concert Production David v.R. Bowles (Swineshead Productions), Audio Engineer Hiro Matsuo, Stage Manager E. J. Chavez, Stage Equipment Coordinator Kevin Korth, Chorale Rehearsal Accompanist Thomas Malone, Keyboard Technician Phaedra Strecher, Program Book Designer Frank Wing, Concert Photographer

CONTACT US Philharmonia Baroque Orchestra & Chorale 414 Mason Street, Suite 606 San Francisco, CA 94102 (415) 252-1288 info@philharmonia.org | philharmonia.org facebook.com/philharmoniabaroque twitter.com/philharmoniabar

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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Nicholas McGegan

Waverley Fund Music Director As he embarks on his fifth decade on the podium, Nicholas McGegan — long hailed as “one of the finest baroque conductors of his generation” (The Independent) and “an expert in 18th-century style” (The New Yorker) — is recognized for his probing and revelatory explorations of music of all periods. The 2017/18 season marked his 32nd year as music director of Philharmonia Baroque Orchestra and Chorale and he is also Principal Guest Conductor of the Pasadena Symphony.

Best known as a baroque and classical specialist, McGegan’s approach— intelligent, infused with joy and never dogmatic — has led to appearances with many of the world’s major orchestras. At home in opera houses, McGegan shone new light on close to twenty Handel operas as the Artistic Director and conductor at the Göttingen Handel Festival for 20 years (1991-2001) and the Mozart canon as Principal Guest Conductor at Scottish Opera in the 1990s.

His 17/18 guest appearances include his return to the Los Angeles Philharmonic at the Hollywood Bowl for two programs (his 21st consecutive appearance at the Hollywood Bowl); Cleveland and Philadelphia Orchestras; and the Pasadena, Dallas, Nashville, St. Louis, Indianapolis, and New Jersey Symphony Orchestras. A residency at the Juilliard School this fall will lead to performances in New York and a side-by-side with Philharmonia Baroque Orchestra and Juilliard415 on the West Coast. He will make his annual return to The Aspen Music Festival as well. Abroad, he appears at Casa da Musica (Portugal) and with SWR Sinfonieorchester, Gottingen Symphonieorchester, and Jerusalem Symphony.

In the summer of 2017, McGegan conducted the Royal Northern Sinfonia for the BBC Proms in Hull, marking 300 years since Handel’s Water Music was first famously performed on the River

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Thames. It was the first time since the 1930s a festival performance had been moved outside London.

One of Philharmonia’s greatest successes was the recent fully-staged modern-day premiere of JeanPhilippe Rameau’s 1745 opera-ballet Le Temple de la Gloire. PBO’s 2017/18 season opens in October with the North American premiere of Sally Beamish’s The Judas Passion, co-commissioned

by PBO and London’s Orchestra of the Age of Enlightment (OAE). McGegan conducts the world premiere of the piece with OAE earlier in the fall.

Other season highlights include Handel’s Messiah and his oratorio Joseph and his Brethren, a program with cellist Steven Isserlis, and Beethoven’s Choral Fantasy and Mass in C Major.

McGegan’s prolific discography includes more than 100 releases spanning five decades. Having recorded over 50 albums of of Handel, McGegan has explored the depths of the composer’s output with a dozen oratorios and close to twenty of his operas. Under its own label, Philharmonia Baroque Productions (PBP), Philharmonia has recently released almost a dozen acclaimed albums of Handel, Scarlatti, Vivaldi, Brahms, Haydn, Beethoven, and more. McGegan’s latest release with PBO is the first-ever recording of the recently rediscovered 300-year-old work La Gloria di Primavera by Alessandro Scarlatti, recorded live at the U.S. premiere. Since the 1980s, Nic has released more than 20 recordings with Hungary’s Capella Savaria on the Hungaroton label, including groundbreaking opera and oratorio recordings of repertoire by Handel, Monteverdi, Scarlatti, Telemann and Vivaldi. Most recently, the collaboration has produced releases of Haydn, Kraus, Mendelssohn, Schubert, and a 2-CD set of the complete Mozart violin concerti.

Mr. McGegan is committed to the next genera-

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

tion of musicians, frequently conducting and coaching students in residencies and engagements at Yale University, the Juilliard School, Harvard University, the Colburn School, Aspen Music Festival and School, Sarasota Music Festival, and the Music Academy of the West. In 2013 he was awarded the honorary degree of Doctor of Music by the San Francisco Conservatory of Music, and in 2016 was the Christoph Wolff Distinguished Visiting Scholar at Harvard. McGegan’s fun and informative lectures have delighted audiences at Juilliard, Yale Center for British Arts, American Handel Society, and San Francisco Conservatory.

English-born Nicholas McGegan was educated at Cambridge and Oxford. He was made an Officer of the Most Excellent Order of the British Empire (OBE) “for services to music overseas.” Most recently, McGegan was invited to join the board of Early Music America. Other awards include the Halle Handel Prize; the Order of Merit of the State of Lower Saxony (Germany); the Medal of Honour of the City of Göttingen, and a declaration of Nicholas McGegan Day, by the Mayor of San Francisco in recognition of his work with Philharmonia. In 2013, the San Francisco Conservatory of Music awarded him an honorary degree of Doctor of Music.

Photo by Dennis Letbetter

Visit Nicholas McGegan on the web at www.nicholasmcgegan.com.

Photo by Dennis Letbetter

“McGegan also brings to the podium a plenitude of energy, as well as a sense of true joy in the music as he and his instrumentalist colleagues bring it to life…” —St. Louis Post-Dispatch

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Photo by Suzanne Karp

Under the musical direction of Nicholas McGegan for over 31 years, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as America’s leading historically-informed ensemble. Using authentic instruments and stylistic conventions of the Baroque to early-Romantic periods, the Orchestra engages audiences through performance, tours, recordings, commissions, and education of the highest standard. Founded in the Bay Area 37 years ago, the ensemble is the largest of its kind in the United States.

PBO’s musicians are among the best in the country and serve on the faculties of Juilliard and Harvard, among others. The Orchestra performs an annual subscription season in four venues throughout the Bay Area and has its own professional chorus, the Philharmonia Chorale. It welcomes eminent guest artists such as mezzo-soprano Susan Graham, countertenor David Daniels, mezzo-soprano Anne-Sofie von Otter, fortepianist Emanuel Ax, and maestro Richard Egarr. The Orchestra enjoys numerous collaborations, including a regular partnership with the Mark Morris Dance Group, and appears regularly at Carnegie Hall, Lincoln Center, Walt Disney Concert Hall, Tanglewood, Weill Hall at the Green Music Center, and Bing Concert Hall at Stanford University.

Among the most recorded orchestras in the world, PBO boasts a discography of over 40 recordings and launched its own label on which it has released nine recordings, including a coveted archival performance of mezzo-soprano Lorraine Hunt Lieberson singing Berlioz’s Les nuits d’été, and received a GRAMMY® nomination for a recording of Haydn symphonies. The Orchestra recently

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released its modern North American premiere of Alessandro Scarlatti’s La Gloria di Primavera to coincide with its May 2016 tour. PBO commissioned its first work, a one-act opera To Hell and Back, by acclaimed composer Jake Heggie, in 2006. A second commissioned work, Red, Red Rose by Pulitzer Prize-winning composer Caroline Shaw, had its world premiere at Walt Disney Concert Hall in May 2016.In April 2017, PBO performed the modern-day premiere of Rameau’s Le Temple de la Gloire. The fully-staged opera included an international cast of singers and dancers and enjoyed sold out audiences and critical acclaim from around the world.

Philharmonia’s upcoming 2017/18 season includes a brilliantly curated mix of programming by Nicholas McGegan that includes the U.S. Premiere of The Judas Passion—a co-commission between PBO and London’s Orchestra of the Age of Enlightenment. PBO will also present Handel’s rarely performed Joseph and his Brethren and welcome back renowned guest artists Steven Isserlis and Richard Egarr. Finally, PBO will introduce the Bay Area to star mezzo-soprano Avery Amereau in the season finale.

Between concerts, the Orchestra can be heard regularly on the Bay Area’s Classical KDFC. PBO maintains a suite of highly-regarded education programs, including its In-School Programs and the well-received Mobile Mentors program that focuses on ensemble coaching. Our new partnership with the Juilliard School’s J415 ensemble will bring these passionate students to San Francisco for coaching and a very special performance with members of the Orchestra in October.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

ABOUT BRUCE LAMOTT and the CHORALE Bruce Lamott has been Director of the Philharmonia Chorale since 1997 and also serves as Philharmonia’s Scholar-in-Residence. He first performed with the Orchestra in 1989 as continuo harpsichordist for Handel’s Giustino.

In his 30-year tenure with the Carmel Bach Festival, he served as a harpsichordist, lecturer, choral director, and conductor of the Mission Candlelight Concerts. As the founding director of the Sacramento Symphony Chorus, he conducted annual choral concerts of major symphonic choral works and prepared the Symphony Chorus for their subscription season.

Lamott received a bachelor’s degree from Lewis and Clark College, and an M.A. and Ph.D. in musicology from Stanford. His teaching career began on the musicology faculty at UC Davis, where he directed the Early Music Ensemble. He recently retired from San Francisco University High School, where he has directed the choir and orchestra and taught Western Civilization for 36 years. As a professor of music history at the San Francisco Conservatory of Music since 2001, Dr. Lamott specializes in the vocal and instrumental repertoire of the 18th century. He teaches continuo-playing for the coach-accompanists in the San Francisco Opera’s Merola Opera Program and lectures for the Opera and Opera Guild’s education programs.

Photo by Frank Wing

PHILHARMONIA CHORALE

Critically acclaimed for its brilliant sound, robust energy, and sensitive delivery of the text, the Philharmonia Chorale was formed to provide a vocal complement whose fluency in the stylistic language of the Baroque period matched that of Philharmonia Baroque Orchestra. Founded in 1995 by John Butt, a Baroque keyboardist and one of the world’s leading Bach scholars, the 24 members of the Chorale are professional singers with distinguished solo and ensemble experience. Chorale members appear regularly with organizations such as the San Francisco Symphony, Carmel Bach Festival, and American Bach Soloists, and are guest soloists with most of the area’s symphonic and choral organizations. They appear in roles with regional opera companies and have been members and founders of some of the country’s premiere vocal ensembles, including Chanticleer, the Dale Warland Singers, and Theatre of Voices.

The Chorale’s repertoire has included nine Handel oratorios, Bach’s St. John Passion and Christmas Oratorio, and Mozart’s C Minor Mass.

Most recently, the Chorale performed in PBO’s production of Rameau’s Le Temple de la Gloire.

The Chorale has appeared with Philharmonia Baroque Orchestra at Walt Disney Concert Hall in Los Angeles, at New York City’s Lincoln Center and Carnegie Hall, and at Segerstrom Concert Hall in Orange Country. The Chorale appears on the Orchestra’s recordings of Arne’s Alfred, Scarlatti’s Cecilian Vespers, Beethoven’s Symphony No. 9, and Scarlatti’s La Gloria di Primavera.

Bruce Lamott

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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Dr. Alper A. Garren April 30, 1925 - June 25, 2017

Alper Abdy Garren was born on April 30, 1925 in Oakland, California and died peacefully on June 25, 2017 in Oakland, California.

He attended the United States Naval Reserve Midshipmen’s School, University of Notre Dame in 1945 and served as a Commissioned Lieutenant in the United States Naval Reserve through 1947. He then received his B.A. and M.A. from University of California, Berkeley (1945-1950) and his Ph.D. in Physics from Carnegie Institute of Technology (1955).

Dr. Garren was a career Particle Physicist at Lawrence Berkeley National Laboratory, whose inventions, designs, research papers, collaborative projects, teaching legacy, and friendships extended far around the world.

In the Bay Area, Al was known as an avid patron of the performing arts, as well as a dedicated philanthropist, supporting some 200 environmental, human rights, and performing arts organizations.

Philharmonia was fortunate to count him as one of our core community of subscribers for two decades and to have him serve on our Board for four years (2010-2013). He was a lead contributor and committee member for PBO’s successful Campaign for the 21st Century. His warmth and worldly wit will be dearly missed by all who knew him.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Vivaldi in Venice Greatness on Gut Strings ELIZABETH BLUMENSTOCK violin and leader

VIVALDI “l’Autunno” in F major, RV 293 from Le quattro stagioni LOCATELLI Introduzione Teatrale Op. 4, No. 5 in D major PISENDEL Concerto for Violin and Two Oboes in G minor VERACINI Sarabande “Appoggiato” from Overture No. 4 in F major HANDEL Overture to Agrippina in G minor, HWV 6 ALBINONI Concerto for Oboe in D minor, Op. 9, No. 2 TARTINI Concerto for Violin in A major, D. 91 CAMPRA Le Carnaval de Venise (selections)

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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PRELUDES

PRE-CONCERT TALKS

Join us forty-five minutes prior to your concert for a lively and informative discussion about the performance.

WITH ELIZABETH BLUMENSTOCK

Legendary Baroque violinist, leader, and soloist Elizabeth Blumenstock will explain how this concert, nominally about Venice, came to feature so many non-Venetian composers. She will share a little history about Venice at the time, and about the “outlier� composers on the program. Elizabeth will also take a closer look at a few of the specific pieces on the program, compare their similarities, and what makes them feel so different with live demonstrations of these points on her 1660 Guarneri violin.

Elizabeth Blumenstock

Wednesday, November 8, 6:45 pm First United Methodist Church, Palo Alto Friday, November 10, 7:15 pm Herbst Theatre, San Francisco Saturday, November 11, 7:15 pm First Congregational Church, Berkeley Sunday, November 12, 3:15 pm First Congregational Church, Berkeley

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Dr. Ross E. Armstrong 2017/18 Season Elizabeth Blumenstock, violin and leader

WITH ELIZABETH BLUMENSTOCK

PROGRAM

Pietro Antonio Locatelli (1695–1764) Introduzione Teatrale Op. 4, No. 5 in D major

Allegro—Andante sempre piano—Presto

Johann Georg Pisendel (1688–1755) Concerto for Violin and Two Oboes in G minor,

JunP I.1

Largo e staccato Allegro Largo Allegro

Elizabeth Blumenstock, violin

Marc Schachman & David Dickey, oboe

Francesco Maria Veracini (1690–1768) Overture No. 4 in F major Sarabande “Appoggiato”

Antonio Vivaldi (1678–1741) Concerto for Violin Op. 8, No. 3 in F major,

RV 293, L’Autunno

Allegro Adagio molto Allegro

Elizabeth Blumenstock, violin

INTERMISSION

George Frideric Handel (1685–1759) Overture from Agrippina, HWV 6

[Grave]—Allegro

Tomaso Albinoni (1671–1751) Concerto for Oboe Op. 9, No. 2 in D minor

Allegro e non presto Adagio Allegro

Marc Schachman, oboe

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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Giuseppe Tartini (1692–1770) Concerto for Violin in A major, D91

Allegro Adagio Presto

Elizabeth Blumenstock, violin

André Campra (1660–1744) Selections from Le Carnaval de Venice

Ouverture Passepieds “La Venitienne”

The November concerts are dedicated to the cherished memory of

Dr. Alper A. Garren The November 10 performance is dedicated to the cherished memory of

Donald H. Lake & Elmira C. Lake

The November 10 performance is made possible by generous support from

Charlotte Gaylord & Barrie Cowan

Length of performance is approximately one hour and fifty minutes.

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 all digital alarms, cell phones and pagers before the performance begins.

AUTUMN— CONCERTO IN F MAJOR ANTONIO VIVALDI

Allegro The peasant celebrates with song and dance the harvest safely gathered in.

The cup of Bacchus flows freely, and many find their relief in deep slumber.

Adagio molto The singing and the dancing die away as cooling breezes fan the pleasant air, inviting all to sleep without a care.

Allegro The hunters emerge at dawn, ready for the chase, with horns and dogs and cries.

Their quarry flees while they give chase.

Terrified and wounded, the prey struggles on,

The Peasant Wedding, Pieter Brueghel the Elder, 1567

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but, harried, dies.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

FEATURED ARTIST

ELIZABETH BLUMENSTOCK VIOLIN AND LEADER Elizabeth Blumenstock is a long-time concertmaster, leader, and soloist with the San Francisco Bay Area’s Philharmonia Baroque Orchestra & Chorale and American Bach Soloists, and is concertmaster of the International Handel Festival in GÜttingen, Germany. In Southern California, Ms. Blumenstock is Music Director of the Corona del Mar Baroque Music Festival. Her love of chamber music has involved her in several accomplished and interesting smaller ensembles including Musica Pacifica, Galax Quartet, Ensemble Mirable, Live Oak Baroque, and Voices of Music, and she has appeared at festivals around the world. An enthusiastic teacher, Ms. Blumenstock teaches at Juilliard Historical Performance, the San Francisco Conservatory of Music, the American Bach Soloists Festival and Academy, the International Baroque Institute at Longy, and the Valley of the Moon Music Festival. Her discography includes some 100 CDs for such labels as harmonia mundi usa, Dorian/Sono Luminus, Koch, Naxos, Reference Recordings, and Virgin Veritas. Ms. Blumenstock plays a 1660 Andrea Guarneri violin built in Cremona, Italy, on generous loan to her from the Philharmonia Baroque Period Instrument Trust.

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THE PLAYERS and THEIR INSTRUMENTS VIVALDI IN VENICE 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

VIOLA

Elizabeth Blumenstock, leader & solo

Maria Ionia Caswell *

Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra & Chorale Period Instrument Trust

Anonymous, Mittenwald, Germany, c. 1800

Katherine Kyme, concertmaster Carlo Antonio Testore, Milan, Italy, 1720 Egon & Joan von Kaschnitz Concertmaster Chair

Daria D’Andrea Gregori Ferdinand Wenger, Germany, 1752

Ellie Nishi Anonymous, Germany, 18th Century

Jolianne von Einem Rowland Ross, Guildford, England, 1979; after A. Stradivari

VIOLONCELLO

Lisa Grodin

William Skeen bc

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

Anonymous, Northern Italy, ca. 1680

Tyler Lewis Anonymous, Italy, c. 1800

Anonymous, Italy, c. 1690 Osher Cello Chair Endowment

Anthony Martin

Paul Hale

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

Joseph Grubaugh & Sigrun Seifert, Petaluma, 1988; after A. Stradivari Zheng Cao Memorial Cello Chair

Carla Moore †

Phoebe Carrai

Johann Georg Thir, Vienna, Austria, 1754

Maxine Nemerovski David Tecchler, Rome, Italy, 1733

Sandra Schwarz

DOUBLE BASS Kristin Zoernig bc Joseph Wrent, Rotterdam, Holland, 1648

Rowland Ross, Portsmouth, England, 1987; after A. Stradivari

Noah Strick Celia Bridges, Cologne, Germany, 1988

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

OBOE

HARPSICHORD

Marc Schachman * solo

Hanneke van Proosdij bc

H.A. Vas Dias, Decatur, Georgia, 2001; after T. Stanesby, England, c. 1710 Principal Oboe Chair in Memory of Clare Frieman Kivelson and Irene Valente Angstadt

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

David Dickey Randy Cook, Basel, Switzerland, 2008; after Jonathan Bradbury, London, England, c. 1720

ORGAN Katherine Heater bc Gerrit C. Klop, Holland, 1990 On loan from The UC Berkeley Music Department

BASSOON Danny Bond bc Peter de Koningh, Hall, Hollond, 1978; after Prudent, Paris, France, c. 1760

* Principal † Principal 2nd Violin bc Continuo

THEORBO David Tayler bc Andreas von Holst, Munich, Germany, 2004; after Magno Tieffenbrucker, Venice, Italy, 1610

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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PROGRAM NOTES WITH ELIZABETH BLUMENSTOCK

VIVALDI IN VENICE BRUCE LAMOTT

Venice in the eighteenth century was the Las Vegas of Europe.

But unlike Vegas, what happened in Venice most certainly did not stay in Venice. The city known as “La Serenissima” was anything but serene during the three months of Carnival when residents and visitors alike took part in incognito revelry and licentiousness cloaked in the anonymity of mask and costume.

An obligatory stop on the Grand Tour, Venice was a city whose style and artisans were taken home by the gentry of Europe just as its music was taken to England and Saxony by the musicians represented on this program.

In some respects, the city was in decline.

It no longer ruled the seas, having lost the Aegean to the Turks along with its corner on trade with the Far East, and its famed ship-building Arsenal had become obsolete. Instead it was known as the pleasure capital of Europe, a magnet for luxury and indulgence, with seven opera houses in a city of 160,000. Its André Campra international appeal is represented in this program by an opèra-ballet written for Paris in 1699 by André Campra, Le Carnaval de Venise, with characters drawn from Venetian commedia dell’arte.

The great churches of Venice resounded with operatic vocalism and instrumental virtuosity. Flamboyant multi-movement concertos (such as the Concerto da Chiesa by Johann Georg Pisendel on this program) were played instead of the Gradual or Offertory during the Mass. Only in Venice were the clergy enjoined from interrupting the improvisations of the organist.

Dancing, revelry, and late-night assignations were even carried on within the walls of convents, and a frustrated Pope Gregory XIII said resignedly, “I am Pope everywhere except in Venice.”

Antonio Vivaldi

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Venice was also the nexus between the manufacture, pedagogy, and music of stringed instruments. This evening you will be hearing Elizabeth Blumenstock perform on a 1660 Andrea Guarneri violin from the PBO Period Instrument Trust. What Cremona—home of Stradivari and the Guarneri family—was for the violin, Venice was for the cello. While the names Goffriller and Montagnana may not have the same cachet, their Venetian cellos became the gold standard for cello-building. The best practices of Cremona and Venice were then joined together when Pietro Guarneri moved to Venice in 1717.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Conservatories were to be found in the four female “orphanages” of Venice-the Pietà, Mendicanti, Incurabili, and Ospedaletto--whose students were taught by notable musicians. At the Pietá, for example, Vivaldi was only one of a staff that included a choir director, organist, and teachers of violin, viola, Johann Georg Pisendel oboe, psaltery, transverse flute, cello, clarinets, horn, and timpani. Housing many of the illegitimate offspring of nobility and clergy (it’s been estimated that at this time up to 66% of Venetian nobility remained unmarried) these institutions were well-endowed, and their weekly concerts were must-see tourist attractions.

The relationship of the composers in tonight’s concert to Venice is of two kinds: resident and itinerant. Foremost of the residents was Antonio Vivaldi, whose influence was spread not only directly by students such as Pisendel, the greatest German violinist of his time, but also through his widely circulated published works printed both in Venice and Amsterdam. Johann Sebastian Bach, for example, “studied with Vivaldi” by copying and transcribing his concertos from a print of L’Estro Armonico, Op. 3. Vivaldi’s now-ubiquitous Four Seasons (I quattro stagioni) were but four concertos of the twelve published in Amsterdam as Il cimento dell’armonia e dell’inventione (The Contest Between Harmony and Invention), Op. 8. Unusual for the period, his Seasons are program music, musically representing the imagery of sonnets he wrote to accompany each of them. The sonnet for “Autumn” can be found on page 15 of this program.

Tommaso Albinoni was another native Venetian, but, unlike most of his contemporaries, not dependent on a musical career for a livelihood. (Sadly, his present-day reputation is based largely on a single dubious work, heavily schmaltzed and orchestrated.) Albinoni’s instrumental publications, like Vivaldi’s, circulated widely, also coming to the attention of Bach in Weimar.

The other resident Venetian virtuoso, Giuseppe Tartini, founded a violin school in nearby Padua, a part of the Venetian Republic.

His admiration of Veracini’s playing led him to sequester himself until he could develop a new bowing technique, which he then exported all over Europe through his many students.

Giuseppe Tartini

Of the itinerants, Venice was an obligatory stop on concert tours of virtuosos such as Pisendel and Francesco Maria PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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PROGRAM NOTES WITH ELIZABETH BLUMENSTOCK

Veracini, both of whom arrived from the Dresden court orchestra of the Elector of Saxony, Friedrich Augustus. Veracini claimed that the resentment of his high salary, exceeding that even of Kapellmeister Johann David Heinichen, caused him to jump out of a third-story window in fear for his life. (Whether or not that threat came from his colleague Pisendel we don’t know.)

Another visitor, Pietro Locatelli, called “the father of modern violin virtuosity,” may also have performed in Venice, though he more preferred playing in private salons than public concerts.

He did dedicate the twelve concertos in Arte de violino, Op. 3 to a Venetian nobleman, but other than the fact that he must have been in Venice at some time between 1723 and 1727, the details are lacking.

The brief visit of George Frideric Handel to Venice was to have life-changing ramifications. According to his first and not always reliable biographer, John Mainwaring (prounounced “mannering,” btw), Handel “was first discovered there at a Masquerade, while he was playing on a harpsichord in his visor [perhaps a bauta, the Venetian Carnival mask]. Domenico Scarlatti happened to be there, and affirmed that it could be no one but the famous Saxon, or the devil.” Most likely an apocryphal anecdote which has been retold about many virtuosos, it nonetheless shows that two more famous musicians were drawn to the pleasures of Venice. Handel was commissioned to write the opera Agrippina for the 1709 Carnival season, and it was a great success. According to Mainwaring, “The theatre, at almost every pause, resounded with shouts and acclamations of ‘viva il caro Sassone!’” Even its overture is quirky, with two false endings and a fugue subject that shimmers.

Francesco Maria Veracini

Handel’s success in Venice underscores another of the city’s attractions as an unofficial job fair. The nobles and impresarios who came from the far corners of Europe not only took home Venetian decor and pricey souvenirs, they also negotiated with the talent which accumulated there. It was in Venice that Handel made contact with the British ambassador as well as Prince Ernst, the younger brother of the Elector of Hanover, Georg Ludwig, who hired him as court Kapellmeister. That Elector’s accession to the British throne as King George I both assured Handel of a lifetime of favor with the English court and gave London a ravenous appetite for Italian opera.

The delights of this program are there for the listening. These works speak for themselves, requiring no play-by-play analysis,

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

but just attention to these stylistic traits which they share in common: Animated homophony. Underlying the vigorous rhythmic drive of the Allegro movements (perfect for commute-hour listening) is a slow-moving chord progression, animated by repetitions, scales, and broken chords (arpeggios). Because these underlying chords are indeed “progressing” towards resolution, the energy of the surface decoration teases our expectation of the chord changes by prolonging our anticipation.

Sequence. The most common structural element in this Italian style is repetitions of a melodic segment on different notes of the scale, called sequences. These sequential units become “melodic Legos” that allow a composer to move between keys (modulate), first moving away from the original key (tonic) to related keys and then returning to it.

Affect. The fundamental aesthetic principle that unites Baroque composers is the belief in the power of music to stir the emotions, not just psychologically but physiologically.

Believing that music had the power to stimulate bodily fluids (the humors), composers organized pieces into movements that could transport the listener from anger to melancholy to joy, for example, by using a combination of major/minor keys, melodic contours, and tempos. This lies at the heart of the threemovement concerto, where a lyrical slow movement is framed by contrasting outer movements.

Virtuosity. This conspicuous display of technique is as characteristic of a Vivaldi concerto as it is of a Tiepolo ceiling.

As this program demonstrates, Venice was ground zero for the development of violin virtuosity, displayed in fiery passagework (scales and runs), dazzling bow-strokes, and ever-higher extensions of range. Locatelli in particular pressed the limits of the fingerboard to nearly unreachable high notes (in 22nd position). At the same time, however, the Baroque soloist is also a team player, joining with the rest of the orchestra (tutti) in opening and closing passages. Double- and triple-stops (using two or three strings simultaneously), bariolage (in which a melody oscillates against an open string), compound melody (in which two melodies coexist in two different ranges), and a variety of bow-strokes facilitated by the lighter, slimmer Baroque bow, are all techniques explored by the Venetians and still enjoyed by listeners today.

Pietro Locatelli

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Handel’s

Joseph Brethren and his

Nicholas McGegan conductor

Sherezade Panthaki soprano

Diana Moore

mezzo-soprano

Nicholas Phan tenor

Philip Cutlip baritone

Philharmonia Chorale Bruce Lamott director

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DECEMBER 14–17

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PRELUDES

PRE-CONCERT TALKS

Join us forty-five minutes prior to your concert for a lively and informative discussion about the performance.

Bruce Lamott will discuss Handel’s sometimes contentious relationship with his librettists and their various approaches to creating an oratorio out of Biblical texts. The proximity of Joseph and his Brethren to Messiah in our December programs provides an opportunity to compare the works and contrasting personalities of Rev. James Miller and Charles Jennens and to examine the challenges posed by adapting religious texts to suit the operatic conventions expected by London audiences of the period.

Thursday, December 14, 6:15 pm Herbst Theatre, San Francisco

Bruce Lamott

Friday, December 15, 6:45 pm First United Methodist Church, Palo Alto Saturday, December 16, 6:15 pm First Congregational Church, Berkeley Sunday, December 17, 3:15 pm First Congregational Church, Berkeley

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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Dr. Ross E. Armstrong 2017/18 Season Nicholas McGegan, conductor

George Frideric Handel (1685–1759) Joseph and his Brethren (HWV 59) Libretto by James Miller DRAMATIS PERSONÆ

Pharaoh, King of Egypt

Joseph, an Hebrew

Reuben, brother to Joseph

Philip Cutlip, baritone

Simeon, brother to Joseph

Nicholas Phan, tenor

Judah, brother to Joseph

Nicholas Phan, tenor

Benjamin, brother to Joseph

Gabrielle Haigh, soprano

Potiphera, High Priest of On

Abigail Levis, mezzo-soprano

Asenath, daughter to the High Priest

Phanor, Chief Butler to Pharaoh, afterwards Joseph’s Steward

Chorus of Egyptians, Hebrews, Brethren

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Philip Cutlip, baritone Diana Moore, mezzo-soprano

Sherezade Panthaki, soprano Abigail Levis, mezzo-soprano Philharmonia Chorale, Bruce Lamott, director

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Act I INTERMISSION Act II PAUSE Act III

Thursday, December 14, 7:00 PM

Friday, December 15, 7:30 PM

Saturday, December 16, 7:00 PM

First Congregational Church of Berkeley

Sunday, December 17, 4:00 PM

First Congregational Church of Berkeley

Herbst Theatre, San Francisco First United Methodist Church of Palo Alto

The December concerts are made possible by generous support from

The Dr. Ross E. Armstrong Baroque Vocal Works Fund The Gaia Fund The Drs. Ross E. Armstrong & Jonas (Jay) K. Stern Jews & Music Initiative Fund The December 14 performance is dedicated to the cherished memory of

Brian Keith Haley The December 17 performance is made possible by generous support from

Paul and Susan Sugarman Length of performance is approximately three hours and fifteen minutes.

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 digital alarm, cellular telephone or pager before the performance begins.

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FEATURED ARTISTS

SHEREZADE PANTHAKI SOPRANO

Soprano Sherezade Panthaki’s international success has been fueled by superbly honed musicianship; “shimmering sensitivity” (Cleveland Plain Dealer); a “radiant” voice (The Washington Post); and vividly passionate interpretations, “mining deep emotion from the subtle shaping of the lines” (The New York Times). An acknowledged star in the early-music field, Ms. Panthaki has ongoing collaborations with leading early music interpreters including Nicholas McGegan, Simon Carrington, the late John Scott, Matthew Halls, and Masaaki Suzuki, with whom she made her New York Philharmonic debut.

Panthaki’s recent performance with Philharmonia Baroque Orchestra and conductor Nicholas McGegan was named one of the “Top 10 Classical Music Events of 2015” and described as “a breathtaking combination of expressive ardor, tonal clarity, technical mastery and dramatic vividness” by The San Francisco Chronicle.

Ms. Panthaki’s 2017/18 season features performances of Vivaldi’s Gloria with the Los Angeles Philharmonic at the Hollywood Bowl and the St. Louis Symphony (Nicholas McGegan conducting), the Milwaukee Symphony, Philharmonia Baroque Orchestra, Music of the Baroque, her return to Ars Lyrica, Pasadena Symphony Orchestra, Orlando Philharmonic, and a United States Christmas Oratorio tour with Bach Collegium Japan.

Highlights of her past seasons include Messiah with Bach Collegium Japan, the National Symphony Orchestra, Calgary Philharmonic, and the Nashville and San Antonio Symphonies; Bach cantatas and oratorios and works by Handel and Purcell with Philharmonia Baroque Orchestra; Saul with the Tafelmusik Baroque Orchestra; Belinda in Dido and Aeneas and Galatea in Acis and Galatea with the Mark Morris Dance Group; Solomon with the Radio Kamer Filharmonie; Handel at Carnegie Hall with William Christie; Oregon Bach Festival; Berkeley Early Music Festival; Christmas Oratorio with the Orchestra of St. Luke’s; Mozart’s Exsultate jubilate and Requiem, with the Washington Bach Consort; and St. John Passion, St. Matthew Passion, and Brahms Requiem with St. Thomas Fifth Avenue.

Ms. Panthaki’s repertoire extends well beyond the music of the Renaissance and Baroque to Orff’s Carmina Burana with the Houston Symphony, John Tavener’s The Last Discourse with Orchestra of St. Luke’s, Beethoven’s Symphony No. 9 with American Classical Orchestra, Rachmaninoff’s Vocalise and Strauss lieder at the Bari International Music Festival, Britten’s War Requiem with Louisville Choral Arts Society, as well as solos in Stravinsky’s Les Noces, Poulenc’s Stabat Mater and Gloria.

Ms. Panthaki holds an Artist Diploma from the Yale School of Music and a Masters degree from the University of Illinois.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

English mezzo-soprano Diana Moore is being lauded on both sides of the Atlantic for her “emotional depth” (The Guardian), “thrilling” technical bravura (Gramophone), and “rich, evocative sound” (San Francisco Chronicle). She enjoys a varied and international career of opera, oratorio, and concert performances, and is a popular soloist at many major music festivals.

Ms. Moore’s tall and graceful stature has made her the ideal trouserrole performer. With conductor Nicholas McGegan and Philharmonia Baroque Orchestra, Moore performed the role of “Medoro” in Handel’s Orlando in an acclaimed American tour at the Ravinia Festival, Lincoln Center’s Alice Tully Hall, and Tanglewood Festival.

The New York Times praised her “smooth toned” and “compassionate” performance while the Chicago Classical Review raved that she “made a delightfully shameless seducer in the trouser role of Medoro.” She has also performed the role at Göttingen, Sweden’s Drottningholm Court Theatre, with the English Concert, and in San Francisco.

DIANA MOORE MEZZO-SOPRANO

Ms. Moore’s 17/18 season includes the title role in Handel’s oratorio The Choice of Hercules at the Göttingen International Handel Festival, and features return performances with the Baltimore Symphony (Mozart’s Requiem conducted by Marin Alsop) and Philharmonia Baroque Orchestra & Chorale (Handel’s Messiah and the title role in Joseph and His Brethren with conductor Nicholas McGegan).

As a recording artist, Moore is a soloist on the premiere recording of Vivaldi’s La Gloria di Primavera released in 2016 with Philharmonia Baroque Orchestra & Chorale which was selected as an “Editor’s Choice” recording in Gramophone. She has also recorded Mozart’s Requiem with Winchester College and the London Mozart Players on Convivium Records, released in Summer 2017, and Handel’s Messiah with Baltimore Symphony Orchestra for Naxos, to be released later this year.

Other engagements of note include performances with conductor Nicholas McGegan of Vivaldi’s Juditha Triumphans (Holofernes) with the Philharmona Baroque Orchestra & Chorale and Beethoven’s Ninth Symphony along with selections from Mahler’s Des Knabun Wunderhorn with Royal Northern Sinfonia; Elgar’s The Dream of Gerontius at Royal Albert Hall and Winchester, Ely, Gloucester, and York Minster Cathedrals; Bach’s Mass in B Minor and St. Matthew Passion, Handel’s La Resurrezione, Mendelssohn’s Paulus, and an all-Vivaldi program with The King’s Consort; St. Matthew Passion with Trevor Pinnock and the English Consort; a tour of Haydn masses in Switzerland with John Eliot Gardiner; Beethoven’s Mass in C with the Salzburg Camerata and Berlioz’s Les nuits d’été with the Northern Sinfonia, both under Sir Roger Norrington; and a performance of Mahler’s Das Lied von der Erde.

Born in Lowestoft, Suffolk, Ms. Moore studied at the University of Birmingham and the Royal Academy of Music, London where she won numerous prizes and is now an Honorary Associate.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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FEATURED ARTISTS

NICHOLAS PHAN TENOR

Praised by National Public Radio as ‘an artist who must be heard’, American tenor Nicholas Phan continues to distinguish himself as one of the most compelling tenors appearing on the prestigious concert and opera stages of the world today. An artist with an incredibly diverse repertoire that ranges from Claudio Monteverdi to Nico Muhly and beyond, Phan performs regularly with the world’s leading orchestras and opera companies. He is also an avid recitalist and a passionate advocate for art song and vocal chamber music: in 2010, Phan co-founded Collaborative Arts Institute of Chicago, an organization devoted to promoting this underserved corner of the classical music repertoire, where he serves as Artistic Director.

Highlights of Mr. Phan’s 2017/2018 season include his debuts with the Minnesota Orchestra for Bach’s Christmas Oratorio, and the Orquestra Sinfônica de São Paulo for Britten’s War Requiem with Marin Alsop; and returns to the Chamber Music Society of Lincoln Center, Philharmonia Baroque, the Philadelphia Orchestra, the Chicago Symphony for Schubert’s Mass in E-flat with Riccardo Muti, and the Toronto Symphony for performances as the title role in Bernstein’s Candide. He also will appear in recital at the Herbst Theater with San Francisco Performances, and serves as artistic director of two festivals this season: Collaborative Arts Institute of Chicago’s sixth annual Collaborative Works Festival, and as the first singer to be guest Artistic Director of the Laguna Beach Music Festival.

Mr. Phan is a regular guest soloist with many of the leading orchestras in the North America and Europe, including the Cleveland Orchestra, New York Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, National Symphony, Philharmonia Baroque, Boston Baroque, BBC Symphony, English Chamber Orchestra, Royal Philharmonic, Philharmonia Orchestra of London, and the Lucerne Symphony. He has also toured extensively throughout the major concert halls of Europe, and appeared with the Oregon Bach, Ravinia, Marlboro, Edinburgh, Rheingau, Saint-Denis, and Tanglewood festivals, as well as the BBC Proms.

Phan’s most recent solo album, Gods and Monsters, was released in January 2017. His first three solo albums, A Painted Tale, Still Fall the Rain and Winter Words, made many “best of” lists, including those of the New York Times, New Yorker, Chicago Tribune and Boston Globe. Phan’s growing discography also includes a Grammy-nominated recording of Stravinsky’s Pulcinella with Pierre Boulez and the Chicago Symphony, Scarlatti›s La gloria di Primavera with Philharmonia Baroque, Bach’s St. John Passion with Apollo’s Fire, and the world premiere recordings of two orchestral song cycles: The Old Burying Ground by Evan Chambers and Elliott Carter›s A Sunbeam’s Architecture.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Philip Cutlip has garnered consistent critical acclaim for his performances across North America and Europe. His stylistic palette ranges from early Baroque through Romantic to contemporary musical genres, on both concert and opera stages.

He has performed with a distinguished list of conductors during his career that includes Patrick Summers, Miguel Harth-Bedoya, Gerard Schwarz, and Donald Runnicles, among many others. His appearance as Joseph De Rocher in Heggie’s Dead Man Walking, with Joyce DiDonato and Frederica von Stade for Houston Grand Opera, has been released on Virgin Records.

PHILIP CUTLIP BARITONE

During the 2016-17 season, Philip sang Messiah with Minnesota Orchestra, then went on to sing his first Don Alfonso in Mozart’s Cosí Fan Tutte, to great acclaim. This was followed by another role debut in Eugene, Oregon, singing Méphistophélé in Berlioz’s La Damnation du Faust, under the baton of Danail Rachev. The Eugene Weekly described him “As Mephisto, Cutlip was quick, engaging and theatrical, a perfect foil to Plenk’s straight-man Faust.”

Philip has appeared with many of the leading orchestras of North America, including the Chicago Symphony, New York Philharmonic, Philadelphia Orchestra, Boston Symphony, St. Paul Chamber Orchestra, and many others. His 2014-15 season engagements included the title role in Mozart’s Le Nozze di Figaro in a return to Sarasota Opera, several roles in Weill’s The Road of Promise with New York’s Collegiate Chorale, and soloist in Messiah with the Winston-Salem Symphony.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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FEATURED ARTISTS GABRIELLE HAIGH SOPRANO

ABIGAIL LEVIS

Gabrielle Haigh, soprano, made her professional debut in December 2016 singing the role of Angel in Handel’s Joshua with Philharmonia Baroque Orchestra & Chorale under Nicholas McGegan. Most recently, she appeared as soloist in Ralph Vaughan-Williams’s Hodie with the San José Symphonic Choir this December.

Ms. Haigh earned her B.A. in Classics in 2014 from Cambridge University, where she served as Choral Exhibitioner in the Clare College Choir. With the choir she can be heard as soloist on several CDs on the Harmonia Mundi label; she toured throughout Australia, Europe, and America, and performed as soloist in Bach’s St. John Passion and B Minor Mass. She performed the soprano solo in Brahms’s German Requiem in Kings College Chapel under Stephen Cleobury in 2013. In 2014, she appeared as a soloist in Handel’s Birthday Ode to Queen Anne with the European Union Baroque Orchestra, conducted by Lars Ulrik Mortensen; a live recording of this concert was released on the Obsidian label. With the Cambridge University & Sullivan Society, she sang Mabel in The Pirates of Penzance (2014) and Julia Jellicoe in The Grand Duke (2015), for which she won the Harrogate UNIfest “Best Female Performance” award. In 2015 she also sang the role of Diana in Charpentier’s Actéon. In 2017, she performed in SFCM’s production of Dido and Aeneas (Spirit) and with Lamplighters Musical Theatre, in Patience (Chorus) and The Yeomen of the Guard (Kate). Ms. Haigh currently studies with Sylvia Anderson at the San Francisco Conservatory of Music, where she will graduate with an M.M. in Vocal Performance in 2018.

MEZZO-SOPRANO Highlights of mezzo-soprano Abigail Levis’ 2016/17 season at Deutsche Oper Berlin include Mercedes in Carmen, the title role in Hirsch and Purcell’s Dido, and Tebaldo in Don Carlo. She returned to North America in December to sing Messiah with the Toronto Symphony Orchestra and Portland Baroque. She returns to Utah Opera in the 2018 season for Orlofsky in Die Fledermaus. Other season highlights include a debut with Opera Philadelphia as Testo in Il combattimento di Tancredi e Clorinda and Third Memory in I Have No Stories To Tell You. Ms. Levis will also make her debut with Dallas Opera appearing as Flora in La Traviata. Ms. Levis was awarded first prize in the 2017 10th Annual Klaudia Taev Competition and spent a full season with the Domingo-Colborn-Stein Young Artist Program at Los Angeles Opera.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

MusicSources For 31 years, MusicSources has presented the world’s finest harpsichordists, using beautiful historic keyboards from our collection.

Join us for our splendid season of 2017–2018.

SUNDAY, NOVEMBER 19, 2017 – 5:00 PM

Egon Mihajlovic (Berlin), harpsichord The Magnificent Mr. Handel

Egon Mihajlovic returns to MusicSources with passionate renditions of Handel’s “8 Great Suites.” He will be performing on instruments in the MusicSources collection, including the “Golden Harpsichord,” a gift of Bruce Wetmore (1946–2014), who was a lifelong advocate of Handel’s music. A special guest will join Egon Mihajlovic for a rousing selection for two harpsichords of Handel’s “Water Music.”

FRIDAY, JANUARY 19, 2018 – 8:00 PM

Ketil Haugsand (Norway), harpsichord In the French Manner

MusicSources is pleased to present the esteemed harpsichordist Ketil Haugsand. One of the outstanding harpsichordists of his generation and a true heir of the tradition of Gustav Leonhardt, Maestro Haugsand will perform music of Johann Sebastian Bach and Louis Marchand.

FRIDAY, MARCH 9, 2018 – 8:00 PM • SPECIAL EVENT

Paolo Pandolfo (Italy), viola da gamba Paris 1689: Music of Couperin and Marais

with Amélie Chemin, viola da gamba; Thomas Boysen, theorbo; and Markus Hünninger, harpsichord.

MusicSources and Barefoot Chamber Concerts present “The Yo-Yo Ma of the viola da gamba.” It is very rare to be able to hear a player of his caliber in the right acoustic, and St. Mary Magdalen Church is the perfect venue for this concert.

FUTURE CONCERTS SUNDAY, APRIL 8, 2018 – 5:00 PM

Jean-Luc Ho (France), harpsichord Henry Purcell and Friends

SUNDAY, APRIL 22, 2018 – 5:00 PM

Trio Ignacio: Katherine Heater, Anthony Martin, Adaiha MacAdam-Somer Early Keyboard Trios with Harpsichord

FRIDAY, MAY 4, 2018 – 8:00 PM

Jean Rondeau (France), harpsichord Le Vertigo

All concerts are at St. Mary Magdalen Church, 2005 Berryman Street, Berkeley, CA email: info@musicsources.org phone: (510) 528-1685

www.MusicSources.org PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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THE PLAYERS and THEIR INSTRUMENTS JOSEPH AND HIS BRETHREN 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 Lisa Weiss, concertmaster Anonymous, London, England; after Testore Egon & Joan von Kaschnitz Concertmaster Chair

Jolianne von Einem Rowland Ross, Guildford, England, 1979; after A. Stradivari

Katherine Kyme † Carlo Antonio Testore, Milan, Italy, 1720

Tyler Lewis Anonymous, Italy, c. 1800

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

Carla Moore Johann Georg Thir, Vienna, Austria, 1754

Maxine Nemerovski David Tecchler, Rome, Italy, 1733

Linda Quan

Maria Ionia Caswell Anonymous, Mittenwald, Germany, c. 1800

Ellie Nishi Anonymous, Germany, 18th Century

David Sego Colin Nicholls, London, England, 1980; after Amati

VIOLONCELLO Phoebe Carrai bc Anonymous, Italy, c. 1690

Paul Hale Joseph Grubaugh & Sigrun Seifert, Petaluma, 1988; after A. Stradivari Osher Cello Chair Endowment

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

Tanya Tomkins Lockley Hill, London, England, 1798

Jacob Stainer, Absam, Tyrol, 1655

DOUBLE BASS

Noah Strick

Kristin Zoernig bc

Celia Bridges, Cologne, Germany, 1988

Joseph Wrent, Rotterdam, Holland, 1648

Anna Washburn

Anthony Manzo

Anonymous, Tyrol, Italy, c. 1760

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

Gabrielle Wunsch Lorenzo Carcassi, Florence, Italy, 1765

FLUTE

Alicia Yang

Stephen Schultz *

Robert Brewer Young, 2011

VIOLA Lisa Grodin * Mathias Eberl (attrib.), Salzburg, Austria, 1680

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

Mindy Rosenfeld Martin Wenner, Singen, Germany, 2010; after Carlo Palanca, Turin, Italy, c. 1750

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

OBOE

William Harvey Keavy Vanryne, London, England, 2003; after Johann Wilhelm Haas, Nuremberg, Germany, c. 1710–1720

Marc Schachman * H.A. Vas Dias, Decatur, Georgia, 2001; after T. Stanesby, England, c. 1710 Principal Oboe Chair in Memory of Clare Frieman Kivelson and Irene Valente Angstadt

Gonzalo Ruiz Joel Robinson, New York, 1990; after Saxon models, c. 1720

BASSOON Andrew Schwartz bc Guntram Wolf, Kranach, Germany, 2008; after J.H. Eichentopf

Kate van Orden Peter de Koningh, Hall, Holland, 1978; after Prudent, Paris, France, c. 1760

TIMPANI Allen Biggs George Potter, Aldershot, England, ca. 1850; after Cornelius Ward, London, England, 1837; with mallets after Vienna, 18th century Given to David v.R. Bowles and Nicholas McGegan

by Dr. Edmund A. Bowles, generously lent to us for this project

HARPSICHORD Hanneke van Proosdij bc John Phillips, Berkeley, 2010; after Johann Heinrich Gräbner, Dresden, 1722 Generously lent by Peter & Cynthia Hibbard

ORGAN

TRUMPET

Ignacio Prego bc

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

Gerrit C. Klop, Holland, 1990 On loan from The UC Berkeley Music Department * Principal

Fred Holmgren

† Principal 2nd Violin

bc Continuo

Fred Holmgren, Massachusetts, 2005; after Johann Leonhard Ehe III

PHILHARMONIA CHORALE Generously endowed by the Philharmonia Baroque Orchestra & Chorale Community Fund for Choral Music

BRUCE LAMOTT, chorale director Robert & Laura Cory Chorale Director Chair

SOPRANO

ALTO

TENOR

BASS

Angela Arnold Jennifer Ashworth Radoslava Biancalana Claire Kelm Christa Pfeiffer Barbara Rowland

Natasha Hoehn Katherine McKee Laurel Cameron Porter Casie Walker Heidi Waterman Jacque Wilson

Thomas Busse Kevin Gibbs Corey Head Michael Jankosky David Kurtenbach Jonathan Smucker

Paul Boyce Jeffrey Fields Sepp Hammer Tom Hart James Monios Ian Walker

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PROGRAM NOTES

HANDEL: JOSEPH AND HIS BRETHREN BRUCE LAMOTT

The story of Joseph and his complicated filial relationships, as told in the final thirteen chapters of the Book of Genesis, contains all the makings of good theater: jealousy, violence, sexual predation, trickery, imprisonment, mistaken identities, deception, and an exotic locale. It is a story too complicated to be recounted in a single musical evening, and the glorious music of Handel’s oratorio on the subject, Joseph and His Brethren, has been neglected as a result.

Perhaps better marketing (a Technicolor Dreamcoat perhaps) would have helped sell the admittedly problematic libretto by an Anglican vicar, the Rev. James Miller, but so would a closer reading of the Old Testament.

Miller, better known for his comedies and satires for the London stage than for his pastoral ministry, based his work on an Italian libretto by Apostolo Zeno for an oratorio by Antonio Caldara (Giuseppe, 1722), which in turn was adapted from a five-act French tragedy (Joseph, 1711) by Abbé Charles-Claude Genest.

Handel’s oratorio premiered in March 1744, following on the successes of Messiah, Samson, and Semele in the previous two years and just weeks before Miller’s death. In this three-stage game of theatrical Telephone, discontinuities were bound to arise, and even Rev. Miller didn’t rely on his audience’s familiarity with Scripture, adding an “Advertisement” to his wordbook that synopsized the Biblical saga.

George Frideric Handel, by Balthasar Denner

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Backstory. In Handel’s oratorio, we find Joseph in an Egyptian prison, “reclining in a melancholy posture.” How did he get there? Here’s the backstory in brief: Joseph was the elder of the two youngest sons of Jacob (also known as Israel) and Rachel, who died giving birth to Benjamin, the youngest son whose fate figures prominently in the oratorio. The jealousy and hatred of the other ten half-brothers, arising from their father’s favoritism towards Joseph as well as his expressed dream of superiority over them, led the Brethren to attempt fratricide by throwing Joseph into a pit. Dissuaded by brother Reuben, they instead sold the teenager to Ishmaelite traders, returning to their father with his coveted coat (the legendary “coat of many colours” but literally, just long-sleeved) stained with goat’s blood as evidence of his faked death. The traders in turn, arriving in Egypt, sold Joseph to Potiphar, the captain of the Pharoah’s guard, who became so fond of Joseph that he made him major domo of his household. However, rejecting the sexual advances of Potiphar’s predatory wife, the “handsome and good-looking” servant was nonetheless framed by her accusations and imprisoned. “Here then our Drama finds Joseph, two years after this incident happened,” writes Miller.

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Synopsis Part I: Prosperity. While in prison, Joseph’s reputation for accurately interpreting dreams comes to the attention of the Pharaoh, who is troubled by the double visions of fat and lean cattle rising from the Nile and full ears of corn devoured by thin ones. Summoned to the court, Joseph’s prediction of seven years of prosperity followed by seven years of famine not only leads to his elevation to supervisor of Egyptian infrastructure but also to betrothal to the daughter of the high priest Potiphera (no relation to Potiphar), Asenath. He also gives Joseph the Egyptian name “Zaphenath-paneah,” shortened in the libretto to “Zaphnath.”

Part II: Famine. [Miller alludes to these events of this “first embassy” in the libretto but does not include them in his plot. Joseph’s foresight in storing corn during the years of prosperity saves the Egyptians from the famine affecting other regions, including Joseph’s native land of Canaan. Jacob dispatches ten sons to Egypt to buy corn, keeping Benjamin with him. Unrecognized by his elder siblings, Zaphnath/Joseph accuses his brothers of being spies, and insists that they return with his beloved Benjamin, holding another brother, Simeon, behind as a hostage. Before they leave, Joseph orders that the money they paid for the corn secretly be returned to them, hidden in their corn sacks.]

Joseph Sold Into Slavery by His Brothers by Damiano Mascagni (1579-1639)

Part Two of the oratorio begins with the “second embassy,” in which the brothers return with Benjamin as well as money and produce from their father Jacob. While entertaining the brothers but still incognito, Zaphnath/Joseph secretly orders another subterfuge, this time that his silver cup be stashed in Benjamin’s sack.

Part III: Reconciliation. The “planted evidence” of Benjamin’s supposed theft is discovered shortly after the brothers’ departure, and thus accused, he is doomed to become a slave of Joseph. However, when the brothers refuse to return to their father without Benjamin, Joseph can contain himself no longer and reveals his identity. The Brethren are reconciled, and Joseph and Asenath sing an amorous and rather incongruous duet before the closing chorus.

The Music. The Overture is appropriate to a drama which opens with a prison scene. Rather than the grand gestures of the French overture, it begins with a lyrical Andante in E minor followed by a gentle Larghetto in G major. The bold Allegro begins like a fugue already in progress, and a melancholy Minuet returns to the somber scene.

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PROGRAM NOTES Joseph begins with a melancholy aria in da capo (ABA) form, but with a soliloquy in recitative replacing the B section. Rather than the heroic bravura characteristic of a title role, his music rises from modest and contemplative to bold and virtuosic in parallel with his social status. He never seems to lose the common touch he reveals in “The peasant tastes the sweets of life,” in which he muses about the naive simplicity of what the simple folk do to the accompaniment of a pastoral drone and the lilting rhythm of the siciliana. Even at his most virtuosic, in “The people’s favour and the smiles of pow’r” in Part Three, he never loses the common touch. The role was originally sung by the countertenor Daniel Sullivan, who was described by Mrs. Delaney as “a block [emphasis hers] with a very fine voice.”

The vocal pyrotechnics begin--literally-- with the appearance of Asenath, who confesses to carrying a torch for Joseph with appropriate vocal pyrotechnics in the first bravura aria in the piece, “I feel a spreading flame.” Their courtship lasts only a few measures of recitative before they confess their mutual admiration in a pristine love duet of entwining vocal lines. Then it’s off to the wedding with a grand march with trumpets and timpani, a grand acclimation by the chorus of Egyptians, and a flashy wedding toast aria by the Pharaoh. Asenath provides humanizing relief from the sibling strife with a plaintive description of the famine in Part II contrasted with a proud Allegro acknowledging her husband’s role in staving it off. The role featured the French soprano Elisabeth Duparc (aka “La Francesina”) who had just premiered the title role in Handel’s Semele in the previous month.

Asenath’s aria in Part III, “Prophetic raptures swell my breast” is perhaps the best-known of the out-takes from this oratorio, and certainly its most dazzling moment. After a full-scale introductory ritornello (which Handel curtails or omits for dramatic effect elsewhere in the oratorio), she enters with a cadenza (“ad libitum”) and a musical pun: a three-measure sustained D on the word swell which begs for an ornament called messa di voce, in which the voice crescendos (swells), sustains, and fades on a single note.

Her confident raptures, however, contrast with Joseph’s prescient (and historically warranted) fears that bringing his Israelites to Egypt may turn out badly with the Pharaoh.

Joseph Interpreting Pharaoh’s Dream, Reginald Arthur, 1894

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Though his role in the libretto is relatively small, Simeon— first sung by Handel’s favorite tenor, John Beard—is one of the most effectively drawn characters. Imprisoned as a hostage until the brothers return with Benjamin, he contemplates his collusion

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with his brothers in selling Joseph into slavery, expressing his “Remorse, confusion, horror, fear” in a dramatic scena with vivid and torturous contrasts. Hauling him into court, Zaphnath/Joseph interrogates Simeon as a spy, badgering him into recounting the fabricated tale of Joseph’s gruesome death and the grief it brought to their father. Joseph catches him in the lie and Simeon (“Impostor!”) buckles in disgrace.

The original cast list includes “The Boy” as Benjamin (thereby setting musicologists off on a hunt as to just which boy might have been a contender). Handel underscores his youth and innocence with delicate airs supplied with ample rests. His non-duet with Zaphnath/ Joseph is especially moving; Benjamin, believing that his brothers must return to their father without him, sings of his pity for his father while Joseph expresses his anguish in asides without revealing his true identity.

The Chorus plays two roles—first of the Egyptians, and later of the Israelite Brethren, the latter in more solemn style. There is more chordal (homophonic) writing for them than is usual for Handel, especially effective in the hymnlike invocation and postlude to the chromatic fugue (“Thou know’st our wants before our pray’r”) ending Part II. The text closely parallels the closing words of the Anglican Te Deum, “O Lord, in thee have I trusted; let me never be confounded.”

Joseph Recognized by His Brother, Léon Pierre Urbain Bourgeois, 1863

The final chorus begins in medias res with a double fugue seemingly already in progress: “Alleluia!” and “We will rejoice in thy salvation.”

The story of Joseph is central to the history of the Jewish people. Once reconciled, these twelve sons of Jacob become the patriarchs of the Twelve Tribes of Israel. The revelation that his favored Zaphnath is actually a son of Jacob/Israel motivates the Pharaoh to invite Jacob and all of the Israelites to relocate in Egypt (in the land of Goshen), where for a time they thrive. Joseph’s earlier premonitions come true after the Israelites become first indebted to and eventually enslaved by the Pharaoh. Thus this least-known of Handel’s oratorios, Joseph and his Brethren sets the scene as a prequel to one of his earlier and best-known works, Israel in Egypt (1739).

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LIBRETTO

GEORGE FRIDERIC HANDEL

JOSEPH AND HIS BRETHREN

DRAMATIS PERSONÆ

Pharaoh, King of Egypt (bass) Joseph, an Hebrew (alto)

(1744)

Reuben, Brother to Joseph (bass)

A SACRED DRAMA

Simeon, Brother to Joseph (tenor)

WORDS BY JAMES MILLER

Judah, Brother to Joseph (tenor) Benjamin, Brother to Joseph (soprano) Potiphera, High Priest of On (alto) Asenath, Daughter to the High Priest (soprano) Phanor, Chief Butler to Pharaoh, afterwards Joseph’s Steward (alto) Chorus of Egyptians Chorus of the Brethren Chorus of Hebrews

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Scene 2 To Joseph, Phanor, Pharaoh’s Chief Butler.

ACT ONE

4. Recitative

1. Overture

Scene 1 Scene, a Prison.

2. Air Joseph (reclining in a melancholy posture) Be firm, my soul, nor faint beneath Affliction’s galling chains!

When crown’d with conscious virtue’s wreath, The shackled captive reigns.

3. Recitative Joseph (starting up) But wherefore thus? Whence, Heav’n, these bitter bonds?

Are these the just rewards of stubborn virtue?

Is this contagious cell the due abode Of too much innocence? — Down, down, proud heart, Nor blindly question the beheft of Heav’n!

These chastisements are just, for some wise end Are all the partial ills allotted man.

Phanor Joseph, thy fame has reach’d great Pharaoh’s ear, Who, late in dreams perturb’d, and taught by me The wondrous pow’r of thy experienc’d art, Demands thy instant presence to unfold Their mystic purport.

Joseph Blest vicissitude!

Jehovah, whom I serve, bears witness to me, And from the horrors of the pit, once more, Will deign deliverance to His servant’s soul.

5. Air Joseph Come, divine inspirer, come, Make my humble breast thy home, Draw the curtain from mine eye, And present place futurity!

Thus, whilst I o’er Pharaoh’s dream Bright interpretation beam, Pharaoh’s self shall temples raise, And Egypt incense to thy praise.

6. Recitative Phanor Pardon, that I so long forgot thee, Joseph!

My heart upbraids me with ingratitude.

Joseph Pardon thyself! Ingratitude is a vice, That bears its scorpions with it, the dire mildew Which makes a desert of the human mind, And merits more of pity than resentment.

But instant I’ll with duteous step attend My lord the king, and bow myself before him.

Exit Joseph.

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LIBRETTO Phanor Fell monster, base ingratitude, avaunt!

No longer in this breast I’ll give thee harbour.

7. Air Phanor Ingratitude’s the queen of crimes, For all the rest are of her train, Her sure attendants at all times, The great supporters of her reign.

If one you then ungrateful call, You crown him monarch of them all.

Scene 3 A Room of State in Pharaoh’s Palace.

Pharaoh, High Priest of On, Asenath, Joseph and Chorus of Egyptians.

8. Recitative Pharaoh Thus stranger, I have laid my troubled thoughts, The midnight visions of my bed, before thee, Which all the skill of Egypt can’t unfold.

Come then, interpret to the king his dreams.

Joseph O mighty Pharaoh, it is not in me!

Interpretation does belong to Heav’n, And may the Lord Jehovah give the king A gracious answer!

9. Chorus of Egyptians O God of Joseph, gracious shed Thy spirit on thy servant’s head!

That to the king he may reveal The truths his mystic dreams conceal.

10. Accompagnato Joseph Pharaoh, thy dreams are one. The Lord Jehovah In vision shows what He’s about to do.

The seven fat cattle, and full ears of corn,

Denote seven years of plenty. — The like seven Of meagre kind, and unreplenish’d grain, Mark the same years of famine to succeed.

Embrace this warning, and with studious search Look out a man of providence and wisdom, To garner up in the redundant years A store for comfort in the days of dearth.

11. Recitative Pharaoh Divine interpreter! What oracle Could thus have solved my doubts? — Where can we find A man like thee, in whom God’s spirit dwells?

Be this day ruler o’er my house and people, And by thy word let all the land be govern’d; But only in the throne will I be greater.

Joseph These are thy workings, infinite Jehovah!

12. Air Asenath O lovely youth, with wisdom crown’d, Where ev’ry charm has place!

What breast so firm was ever found, As could resist such grace?

If thou hast stol’n my virgin heart, To me in change thy own impart.

13. Recitative Pharaoh (putting his ring on Joseph’s finger) Wear, worthy man, this royal signet wear, Pledge of thy boundless dignity and pow’r; Whilst in our second chariot thou shalt ride, And heralds cry before thee: “Bow the knee!”

Then henceforth, as the father of the country, Let Zaphnath-Paaneah1 be thy name.

Zaphnath-Paaneah signifies saviour of the world [note of James Miller].

1

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14. Chorus of Egyptians

Scene 5

Joyful sounds, melodious strains, Health to Egypt is the theme!

Zaphnath rules, and Pharaoh reigns, Happy nation, bliss supreme!

To them, Pharaoh and Potiphera.

Exeunt.

Pharaoh Zaphnath, I grant thy suit. Behold thy bride!

Potiphera Approach, my Asenath. Behold thy husband!

Scene 4 Asenath alone.

15. Recitative Asenath Whence this unwonted ardour in my breast, These new-born sighs? ‘Tis true, that he is wise, Majestic, graceful. Ah, I fear this stranger Has trespass’d on my unsuspecting bosom.

16. Air Asenath I feel a spreading flame within my veins, Which all my arts will not avail to quench.

With fruitless toil from place to place I range, No toil, no place gives respite to my pains.

To Asenath, Joseph.

17. Recitative Joseph Fair Asenath, I’ve asked thee of thy father, and the king, To help allay the anxious toils of grandeur, And smooth the rugged brow of public care.

Yet, authoriz’d by both, I dread my fate, Till thy own voice has fix’d my destiny.

Joseph Oh, canst thou, fair perfection, say, Oh, canst thou bless me with thy love?

Asenath My father’s wiII I must obey, My monarch’s pleasure must approve.

18. Duet Joseph Celestial virgin! charming maid!

Asenath Godlike youth!

Both Renown’d for innocence and truth!

Propitious Heav’n has thus in thee Completed my felicity.

19. Recitative Pharaoh Now, Potiphera, instant to the temple In joyous pomp! And whilst the rite’s perform’d, Let our loud clarions tell it to the skies.

Exeunt.

Scene 6 20. A Grand March during the Procession.

A Temple. The High Priest, joining the hands of Joseph and Asenath at the altar, Pharaoh, Attendants, and Chorus of Egyptians.

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LIBRETTO 21. Recitative High Priest ‘Tis done, the sacred knot is tied, Which death alone can e’er divide.

ACT TWO

22. Chorus of Egyptians

Scene 1

Immortal pleasures crown this pair, Who thus by Heav’n high-favour’d are; Joys ever round them wait.

May these below, like those above, Contend who most and longest love, And be as blest as great.

Asenath, Phanor, and Chorus of Egyptians.

23. Recitative Pharaoh Glorious and happy is thy lot, O Zaphnath, Join’d to such sweetness, dignity and virtue.

24. Air Pharaoh Since the race of time begun, Since the birthday of the sun, Ne’er was so much wisdom found With such matchless beauty crown’d.

25. Chorus of Egyptians Swift our numbers, swiftly roll, Waft the news from pole to pole: Asenath with Zaphnath’s join’d, Joy and peace to all mankind!

26. Chorus of Egyptians Hail, thou youth, by Heav’n belov’d!

Now thy wondrous wisdom’s prov’d.

Zaphnath Egypt’s fate foresaw, And snatch’d her from the famine’s jaw.

27. Recitative Phanor How vast a theme has Egypt for applause!

O Asenath, behold thy mighty lord High on the gilded car triumphant ride, Whilst prostrate multitudes, that do him honours, Obstruct his passage through the streets of Memphis.

The raptur’d virgins hail him in their lays, And gazing matrons lift their grateful hands, Whilst hoary sages rise, and bow the head, And infants half articulate his name.

Asenath These honours flow not from the flatt’rer’s lips, Like those that lavish stream in fortune’s lap; But from sincere benevolence, and love, And bosoms glowing with a grateful transport.

28. Air Phanor Our fruits, whilst yet in blossom, die, Our harvest in the new-sown seed; Barren the mournful ridges lie, Undeck’d the once enamelI’d mead.

But Zaphnath’s providential care Retaliates for the niggard soil;

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Through him in dearth we plenty share, Nor heed th’inexorable Nile.

29. Recitative Phanor He’s Egypt’s common parent, gives her bread; He’s Egypt’s common safety, only hope; Whilst Egypt’s welfare is his only care.

30. Chorus of Egyptians Blest be the man by pow’r unstain’d, Virtue there itself rewarding.

Blest be the man to wealth unchain’d, Treasure for the public hoarding.

31. Recitative Asenath Phanor, we mention not his highest glory!

Mark ‘midst his grandeur what humility, The gift of that great God whom he adores.

Yet something seems of late to bear upon him, And cloud his wonted shine; not all his splendour, Th’applause of millions, or my studious love, Can yield him comfort, or assuage his griefs.

Phanor Perchance he wants to view his native land, Whose God and laws are the reverse of Egypt’s.

Asenath Phanor, ‘tis true, he calls it oft to mind, And oft in silence sighs, and mourns its absence; Nor finds he peace, save when his smiling infants, The pledges of our love, are in his arms.

There will he grasp them, there, with ardent look, He eyes them, while, ‘midst his struggling sighs, Words burst like these:

32. Air Asenath “Together, lovely innocents, grow up, Link’d in eternal chains of brother-love!

For you mayn’t envy bear her pois’nous cup, Nor hate her unrelenting armour prove.

33. Recitative Asenath He then is silent, then again exclaims: “Inhuman brethren, O unhappy father!

What anguish too much love for me has cost thee!”

Such are his cares, nor have I yet discover’d The fatal cause; but once more I’ll attempt it.

Exeunt severally.

Scene 2 Simeon, in Prison.

34. Accompagnato Simeon Where are these brethren, why this base delay?

To let me languish a whole year in dungeonsl But are not brethren base? O Joseph, Joseph!

That thought is hell. — Remembrance scorches with it!

But was it I alone? — Oh, no! — Then Heav’n Has been at ‘compt perchance with my confederates, Whilst the wild beast, false-tax’d with Joseph’s death, Has met them on the way, and ta’en his vengeance.

35. Air Simeon Remorse, confusion, horror, fear, Ye vultures of the guilty breast!

Now furies, now she feels you here, Who gnaw her most, when most distrest.

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LIBRETTO Exit.

38. Recitative

Scene 3

Joseph But Simeon comes. Treacherous, bloodthirsty brother!

Fain wouldst thou have my life! Cruel, but hold, I fear, O Heav’n, that some disastrous death Has snatch’d the others from me, and perhaps Simeon’s the only brother left me now.

I’ll touch thee not, the image of our father Sits on thy brow, nor shall thy perfidy Dissolve the sacred ties of love and nature.

But I will speak such daggers to thy soul!

Joseph and Phanor.

36. Recitative Phanor This Hebrew prisoner...

Joseph Hither bring him, Phanor.

Exit Phanor.

The wide circumference of Egypt’s region, The vast extent between the Nile and ocean, Given me to rule, is slavery, not an honour; Not rest, but travel. Ye departed hours, What happier moments have I seen! O Hebron, What peace enjoy’d amidst thy smiling valleys!

Might I review thee, might I careless tend Thy fleecy herd! Might I once more embrace My good old sire, list to his sacred lessons Of God’s creation, of man’s fatal fall, Of the deep waters cov’ring all the earth, The race-preserving ark, the Heav’n-hung bow, Jehovah’s divine promise to our fathers, The glorious hope of Abrah’m and his seed!

It cannot be... Tyrant, enslaving greatness, Who’d languish in thy gilded chains an hour, That in the court of quietude could dwell?

37. Air Joseph The peasant tastes the sweets of life, Unwounded by its cares; No courtly craft, no public strife His humble soul ensnares.

But grandeur’s bulky noisy joys No true contentment give; Whilst fancy craves, possession cloys, We die thus whilst we live.

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Scene 4 Joseph and Simeon.

Simeon I tremble at his presence.

Joseph Thou impostor!

Com’st thou before me, but to dare my fury?

Where are thy brethren, brother-traitors?

Ah, Did not I say it, did not I foresee it?

Ye serpent-spies, under pretext of famine Ye came to see the nakedness of Egypt.

One year has run its course, nor yet return’d.

Where is their faith, impostor? Thou shalt pay The forfeit of their guilt.

Simeon My gracious lord, Our testimony’s true. By famine driv’n, We hither fled for succour. We are twelve brethren, Sons of one father in the land of Canaan.

Ten hast thou seen, and one is not; the youngest Was to the care of his old father left.

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Joseph The sight of him might dissipate my doubt.

But where’s your promise? Why is he not come?

Simeon Paternal love, my lord, alone retains him.

What anguish must it give the good old sire, To have this only hope torn from his bosom, The prop and comfort of his falling years?

How would it shake his poor old tott’ring frame, How wring his bleeding heartl Joseph (aside) Peace, nature, peace!

Simeon Grief for the loss of his beloved Joseph, Already reigns too cruel on his heart.

No sun or sets or rises on the earth, That doth not find him, and leave him too in tears.

Exit Joseph.

39. Air Simeon Impostor! Ah, my foul offence, Wrote in my face, Oh, dire disgrace, Admits, admits of no defence.

Though treach’rous hearts from mortal sight May veil a while Their impious guile, Heav’n sees and brings dark deeds to light.

Scene 5 40. Recitative

Simeon A wild beast, my lord, devour’d him.

Joseph Devour’d by a wild beast? Have, have a care!

Didst thou then see his bleeding arteries?

His mangled limbs? Now, by the life of Pharaoh, I spy some treachery. There are men on earth More cruel, Simeon, than the wild beast.

Joseph He trembles!

Joseph Is just. Know you not yet I can divine And view the dark recesses of the soul?

In vain from me you’d hide the truth, impostor!

Joseph, Asenath.

Joseph (aside) Great God! sustain my fortitude! (to Simeon) This Joseph, How died he?

Simeon Dreadful discourse!

Simeon Thy suspicion...

Joseph Whence, Asenath, this grief that hangs upon thee, And like a morning mist which hovers o’er The violet’s bed, bedews thy lovely cheeks?

Asenath Life of my life, and source of all my bliss, It is but to resemble thee the more.

When Zaphnath sighs, can Asenath be gay?

Can Asenath enjoy, when Zaphnath suffers?

41. Air Asenath The silver stream, that all its way Transparent to the ocean flows, Mix’d with the turbid surges grows As ruffled and impure as they.

Thus glided I through life’s serene; But now dire griefs thy breast inflame, My mingling bosom shares the same,

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LIBRETTO And I, like thee, am wretched seen.

42. Recitative Asenath Tell me, oh tell me thy heart’s malady, That I may steal it from thee if I can.

Joseph A slight disorder, public cares...

Enter Phanor.

Phanor My lord, The long-expected strangers are arriv’d, And with them comes a youth of matchless beauty.

Joseph (aside) My Benjamin, thanks Heav’n!

(To Phanor) Straight make them enter.

(To Asenath) My love, retire awhile. Soon thou shalt know The business of my heart. Permit me only Some moments more.

Asenath Your will, my lord, is mine.

Exeunt.

Scene 6 Phanor and Joseph’s Brethren.

43. Recitative Phanor Fear not, peace be unto you. ‘Twas your God That gave you treasure in your sacks. For me, I had your money, and declare you guiltless.

Think not, that Zaphnath bears so base a soul As to condemn you wrongfully, nor one So cruel to refuse you further succour.

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Judah Thy gracious words revive my drooping spirits; And flatt’ring hope of being guiltless thought Glows in my breast, and kindles life anew.

44. Air Judah To keep afar from all offence, And conscious of its innocence, Is not enough for the defence Of an unspotted heart.

A slight suspicion oftentimes Of uncommitted unthought crimes Its purity with slander limes, And gives it the delinquent’s part.

45. Chorus of the Brethren Thus one, with ev’ry virtue crown’d, For ev’ry vice may be renown’d.

Scene 7 To them, Joseph and Attendants.

46. Recitative Reuben Once more, O pious Zaphnath, at thy feet We pay due homage, and implore thy succour.

Judah Our rev’rend sire intreats thee to accept A humble off’ring of our country’s fruits; Not such as with thy grandeur suits, but what Our present wretched state has left. O Zaphnath, Our fields lie desolate, and cover’d o’er With naught but horror, barrenness, and mire, Menacing the distress’d inhabitants With death irreparable, which already Sits on their pining cheeks. Oh, pity, pity!

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Our good old father sues to thee for pity.

For pity we conjure thee, and for pity Our youngest brother lowly bows, to kiss Thy bounteous hand.

But the similitude of face Is not enough, the soul is all.

Oh, may his soul thy bosom grace!

Benjamin This kiss, my gracious lord, Comes wash’d with tears. Oh, save my country, save My dear, dear father! And may Abraham’s God For ever save my lord.

Joseph (aside) Sweet innocence, divine simplicity!

Tears, by your leave.

(To Attendants) Attend, prepare our table Instant; these men shall eat with me today.

Joseph (aside) How this discourse Melts down my soul!

(To Benjamin) Rise! Is your father well?

(Aside) I had almost said mine.

(To the Brethren) The good old man Of whom ye spake, say, is he living still?

Joseph (weeping) I can refrain no longer; joy and anguish Jointly demand my tears.

Judah My lord, thy servant lives, and lives in health.

Joseph And this his youngest son?

Benjamin It is, my lord, My name is Benjamin.

Joseph Let me embrace thee, And may, my son, that God whom thou invok’st, Watch o’er, and ever shed his blessings on thee!

47. Air Benjamin Thou deign’st to call thy servant son, And oh, methinks, my lord, I see, With an amazing semblance shown, My fathers image stamp’d on thee.

Thee, therefore, I would father call;

48. Recitative

Benjamin Let not thy mercy linger! Grief and famine Oppress our aged father. Aught delay May fatal prove; we left him desolate.

Exeunt Joseph, Phanor and Attendants.

Reuben Didst thou observe him, Judah? Mark his looks?

Judah I did. Canst thou interpret them?

Reuben I cannot.

Profound, and inaccessible, O Judah, Are all the inward movements of the great, And never by the countenance are known.

Judah May great Jehovah turn his heart to pity!

49. Chorus of the Brethren O God, who in Thy heav’nly hand Dost hold the hearts of mighty kings, Oh, take Thy Israel, and his land, Beneath the shadow of Thy wings!

Thou know’st our wants before our pray’r, Oh, let us not confounded be!

Thy tender mercies let us share, O Lord, we trust alone in Thee.

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LIBRETTO

ACT THREE

50. Sinfonia

Scene 1 Asenath, Phanor.

51. Recitative Asenath What say’st thou, Phanor, proves these strangers Such base ingrates? Bore off the silver cup, That’s sacred to my lord’s peculiar use!

Phanor They have, but shall not long enjoy their rapine.

Already they’re retaken, and in bonds Await their doom.

Asenath Ungrateful, impious men!

52. Air Asenath The wanton favours of the great Are like the scatter’d seed when sown; A grateful harvest they create Whene’er on gen’rous acres thrown.

But if, as oh, too oft, they fall Where weeds and briers the soil profane, Or lost, they bear no fruit at all, Or, bearing, yield a worthless grain.

Scene 2 To them Joseph.

53. Recitative Asenath Whence so disturb’d, my lord? Let not the crime Of others be inflicted on thyself.

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Joseph My sorrows have a deeper, deadlier root.

Asenath Why dost thou hide them then from me? O Zaphnath, This diffidence does wrong to faithful love.

Wherefore that look, those sighs? Much, much I fear That Asenath’s the source of this disquiet.

Why from her conceaI’d? Dire jealousy, That baneful viper, rankles in thy breat.

54. Air Asenath Ah jealousy, thou pelican, That prey’st upon thy parent’s bleeding heart!

Though born of love, love’s greatest bane, Still cruel, wounding her with her own heart.

55. Recitative Joseph Oh, wrong me not! Thy Zaphnath never harbour’d A thought that way, O Asenath!

My dear old father lives, still lives, But inconsolable and wretched.

Asenath Whence springs this misery?

Joseph From this cruel famine.

No succour left whilst, for his dim affliction, I only shed unprofitable tears.

Asenath But why, my lord, hast thou not Egypt’s stores, The wealth of nations?

Joseph Pharaoh made me not Dispenser, only keeper of his treasures; Nor should corruption cleave unto these hands,

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Or would I touch what’s sacred to the public, To save myself and race from instant ruin.

Asenath Then call them into Egypt! Whence, my lord, This criminal delay?

Joseph I fear the king, Fear Egypt too.

Asenath Such fears are but ungen’rous; You’ve all the hearts of Pharaoh and his people.

56. Air Joseph The people’s favour, and the smiles of pow’r, Are no more than the sunshine of an hour.

There envy with her snakes assails, Here cank’ring slander still prevails, Till love begins to wane.

Oblivion then envelops all, Our merit’s past, and straight our fall Is still’d by public gain.

57. Recitative Asenath Art thou not Zaphnath? Is not Egypt sav’d All thy own work? And won’t her sons with transport Give a new life to him, who gave thee life?

I’ll to the king, and supplicate, With laud for bounties past, this farther boon.

58. Air Asenath Prophetic raptures swell my breast, And whisper we shall still be blest; That this black gloom shall break away, And leave more heav’nly bright the day.

Exit Asenath.

Scene 3 To Joseph, Phanor with the Brethren in Chains.

59. Recitative Simeon Whence this vile treatment, these injurious chains?

For what transgression are we shackl’d thus, Like thieves and traitors?

Phanor That’s like what you are.

You’ve stoI’n the sacred cup that’s set apart, For my lord’s use.

Why have ye thus rewarded ill for good?

Simeon Imposture, fury! If the sacred vessel Be found with us, rain vengeance on our heads.

Joseph Straight we shall see, and then let the delinquent Alone receive the wages of his guilt.

Scene 4 To them Phanor.

60. Recitative Phanor At length the cup is found!

Joseph Where?

Phanor Hid, my lord, amidst thy gen’rous presents.

Benjamin had it.

Joseph Benjamin!

Benjamin I had it?

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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LIBRETTO Phanor Behold his sack, and in it view the theft.

Benjamin Am I a robber? Shield me, righteous Heav’n!

Joseph Seize him.

Benjamin Remember, at the first embrace, You calI’d me son. Oh, view this face!

I still as much deserve the name; Thy heart alone is not the same.

63. Recitative

Benjamin O Heav’n, thou knowst my innocence!

Joseph To prison with him!

Joseph No more!

Leave him alone to suffer. As for you, Go, get you up in peace unto your father.

Simeon O illustrious Zaphnath, Give room to pity! Thou who rulest kingdoms, Rule, to thy great glory, thy own spirit.

Or to his father render back this youth, Or death to us.

61. Accompagnato Benjamin What, without me? Ah, how return in peace!

What can you say, what comfort can you yield To the distracted parent? O unhappy, Unhappy Benjamin! Thou at thy birth Gav’st death unto thy mother, and now dying, Thou likewise tak’st thy tender father’s life.

62. Arioso Benjamin Oh, pity!

Joseph (aside) Ah, I must not hear.

Benjamin Not to myself!

Joseph (aside) Be blind, my eyes.

Benjamin My sinking father!

Joseph (aside) Trait’rous ear!

Benjamin Oh, pity him!

Joseph (aside) Be still, my sighs!

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Joseph (roughly) On whom the cup was found, him I retain.

Exit.

Simeon What, gone! Not hear us!

Reuben Yet methought I saw Some marks of pity on his face.

Simeon What pity?

The man who flies the wretched, nor will hear them, For fear of yielding to their piercing cries, Has only pity for himself.

Reuben Peace, Simeon!

Remember Dothan’s fields, the horrid pit, And Joseph’s cries! Were we not deaf to them?

Then we’d not hear, and now we are not heard.

What counsel can we take? If we return, Our father dies with grief; if here we stay, With famine: death is either way his lot, And black despair is ours.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

64. Arioso Simeon O Gracious God, We merit well his scourge; but Thou art He, Whose property is ever to have mercy.

65. Chorus of the Brethren Eternal monarch of the sky, Our cruel crime thou didst descry.

Oh, with the same all-piercing eye Our melting penitence observe.

Thou, the beginning and the end, Creator, father, guardian, friend, Returning prodigals attend, And grant us aid we don’t deserve.

66. Recitative Simeon But peace, Zaphnath returns.

Scene 5 To them Joseph.

Joseph How, not departed?

Ye insolent, away! What foolish hope?

Judah Though fear, my lord, and anguish Have high lock’d our lips, yet would I crave To offer one word more, and oh, my lord, Let not thine anger burn against thy servant.

When drove by dire necessity to wrest From the reluctant bosom of our father, (Ah, with what force, but such was thy command!)

His youngest, dearest son, his heart’s first joy, He weeping thus bespake us: “Well you know, This child’s the prop and succour of my age, The only relict of my Rachel’s bed.

Joseph, alas, my much-lamented Joseph, In a sad hour went out, to the tiger’s rage.

If then you tear this also from my arms, And mischief shall befall him, my gray hairs Ye will bring down with sorrow to the grave.”

Joseph (aside) My soul itself now weeps.

67. Air Simeon Thou hadst, my lord, A father once, perhaps hast now. Oh feel, Feel then for us. As thou didst love thy own, Oh, pity ours, feel then our anguish, feel.

68. Accompagnato Simeon Give, give him up the lad in whom his life is bound.

Oh, let me suffer Whatever punishment is doom’d for him.

He is too young for slavery or stripes; Labour and years have render’d me more hardy.

Lay all on me, imprisonment, chains, scourges, All, all I can endure. But to my father To be a messenger of death, I cannot.

69. Recitative Joseph (aside) I can no longer...

(To Phanor) Phanor, bring the youth.

Exit Phanor, and returns with Benjamin.

Far off, ye guards and servants, from my presence Let ev’ry one go forth.

(To the Brethren) Know, I am Joseph.

Doth my dear father live? I am your brother, Your long-lost brother. I am Joseph.

The Brethren Joseph!

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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LIBRETTO Simeon O Heav’n!

Joseph Mine too, O Asenath, was still the same.

Judah Joseph!

70. Duet

Simeon (aside) Wretched me!

Joseph Arise, (Phanor rises them.)

And banish fear. My Benjamin, come hither, And let me press thee to my yearning bosom.

Brethren, receive and give a kind embrace.

(To Benjamin) Forgive this harmless stratagem.

(To the Brethren) And ye, Pardon my groundless jealousy. I fear’d You now to Benjamin might prove perfidious, As erst to me. But I have prov’d your faith.

Asenath and Joseph What’s sweeter than the new-blown rose, Or breezes from the new-mown close?

What’s sweeter than an April-morn, Or May-day’s silver fragrant thorn?

What than Arabia’s spicy grove?

Oh, sweeter far the breath of love.

71. Recitative Joseph With songs of ardent gratitude and praise Let us approach the High EternaI’s throne, The fountain of all joy, all peace, all honour.

72. Chorus We will rejoice in thy salvation, and triumph in the name of the Lord our God. Hallelujah!

Simeon O Joseph!

Just, but mysterious, are the ways of Heav’n.

Scene the Last To them Asenath.

Asenath Whilst the Nile and Memphis, To him and his are destin’d for a country; Thus Pharaoh has ordain’d. Now, my dear lord, Cast sorrow from thy breast.

Joseph And thou my fair, Disclaim thy doubts, and no more breathe suspicion.

Asenath Trust me, O Zaphnath, ‘twas the breath of love.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Your gift to Philharmonia’s Annual Fund not only makes possible our beautiful music and many curated programs, but also opens doors to exclusive rehearsals and performances as well as invitation-only receptions with Nic and the most beloved of guest artists, scholars, and resident musicians.

Photo: Frank Wing

JOIN THE PHILHARMONIA FAMILY!

Guest Conductor Jonathan Cohen and Friends of Philharmonia.

FRIENDS OF PHILHARMONIA MEMBERSHIP BENEFITS CAMERATA $75 to $149 • Invitation for two to attend an Open Rehearsal • Advanced priority for single ticket purchases to PBO’s regular concert season $150 to $349 All of the above, plus: • Exclusive “Season Highlights” CD • Acknowledgment in the April 2018 program book $350 to $649 All of the above, plus: • Recognition in PBO’s program book for one fullyear season • 15% discount on PBO merchandise and CDs $650 to $1,499 All of the above, plus: • Invitation for two to attend the Premium Open Rehearsal, which includes a wine & hors d’oeuvres reception preceding the rehearsal COGNOSCENTI $1,500 to $2,999 All of the above, plus: • Invitation for two to attend PBO’s exclusive annual Cognoscenti Luncheon featuring a private concert & season sneak preview led by Nicholas McGegan AMATI $3,000 to $5,499 All of the above, plus: • Invitation to the PBO’s exclusive Amati Concert (formerly known as the Conductor’s Concert) including supper, private concert,

dessert & mingling with guest artists at a unique venue ARCANGELI $5,500 to $9,999 All of the above, plus: • Invitation to a private post-concert party with guest artists GUARNERI $10,000 to $14,999 All of the above, plus: • Sponsorship or dedication of a single concert • Or sponsor a student from Juilliard’s J415/PBO partnership - NEW! • Exclusive access to annual Juilliard workshops and masterclasses, plus invitation to private reception with Juilliard students and PBO musicians • Invitation to a backstage meet-and-greet with guest artists & conductor • Signed CDs by guest artists & conductor CHRISTOFORI $15,000 to $24,999 All of the above plus: • Sponsorship of two season concerts - NEW! • Or sponsor a PBO musician for the season - NEW! • Invitation to intimate dinner and conversation with sponsored musician STRADIVERI $25,000 and above • Customized benefits designed to enhance your experience

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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CAMPAIGN for the 21st CENTURY DONORS

Philharmonia gratefully acknowledges the extraordinary generosity of lead contributors to its second major campaign in the years 2010 – 2015.

$1,000,000+ The Waverley Fund Nicholas McGegan Conductor’s Podium $500,000—$999,999 Anonymous (1) Dr. Ross E. Armstrong, Dr. Ross E. Armstrong Baroque Vocal Works Fund $250,000—$499,999 Zheng Cao Memorial Cello Chair Dr. Al Garren, Dr. Al Garren Violin Chair $100,000—$249,999 Kay Sprinkel Grace, Education & Innovation Circle David Low & Dominique Lahaussois, Touring Circle Drs. Jane & Michael Marmor, Michael F. and Jane B. Marmor Principal Clarinet Chair Elizabeth Anderson Mayer Chris McCrum & Elizabeth Velarde, Chorale Circle Mark Perry & Melanie Peña/Bill & Lee Perry, Education & Innovation Circle Susan & Paul Sugarman Family Philanthropic Fund, Guest Artists Circle Egon & Joan von Kaschnitz, Egon and Joan von Kaschnitz Concertmaster Chair $50,000—$99,999 Linda Brewer Kathleen & Martin Cohn, Touring Circle Nicolas Elsishans & Christopher Hayes Kate & David Gross Mrs. Jonathan B. Gifford Norman T. Larson Roy Levin & Jan Thomson Carol & Doug Tanner, Touring Circle

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$25,000—$49,999 Quincy Bragg & Sarah Fitzgerald The Estate of Donald E. Casey The Estate of Philip J. Eisenberg Susan LeRoy & Michael Stewart Fred Matteson & Anne Davidson Barr Sondra & Milton Schlesinger Linda & Paul Swatek Donna M. Williams, Touring Circle $10,000—$24,999 Bonnie & Jim Bell Carol & Peter Berkenkotter Elizabeth, Kay & Mike Buckley Marie Bertillion Collins & Leonard Collins The Gray Family Foundation Nancy & Richard Heath Grace & Laurance Hoagland Margaret & Edmond Kavounas, Recording & Media Circle Kit & Hayne Leland William Lokke Betty & Jack Schafer William Quackenbush The Estate of Shirley Sarvis

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

LEAVE A LEGACY AT PHILHARMONIA A thing of beauty is a joy for ever: Its loveliness increases; it will never Pass into nothingness; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing.

— John Keats

“Music for a while shall all your cares beguile.” Yet even when you have no earthly cares left to alleviate, the gift of music can continue to inspire and comfort generations hence.

Historically informed performance of music both preserves a thing of beauty and connects us with our common humanistic heritage through the centuries. We at Philharmonia take this responsibility of stewardship very seriously, even as we strive to bring you joy along the way.

HELP US ENSURE THE FUTURE OF THIS MUSIC WE LOVE. By designating PBO as a beneficiary in your estate plan, you enable us to take the necessary risks to forge our future. Your legacy gift creates the capacity to: •

rediscover rare gems, such as Handel’s Joseph and His Brethren

•

tackle ambitions as tremendous as Rameau’s Temple of Glory

•

explore new horizons with original commissions for period instruments

•

expand our audience through tours and alternative presentation formats like PBO SESSIONS

•

invest in education programs that nurture the next generation of musicians and music lovers

For more information on making a legacy gift, please visit philharmonia.org/legacy.

To be included in the Laurette Goldberg Society if you’ve already named Philharmonia in your estate plan, please contact CJ Ru at (415) 252-1288 x311 or cjru@philharmonia.org.

Elmira Lake

September 20, 1926 – February 3, 2017

Elmira C. Lake was born in Great Falls, MT, on September 20, 1926, and died in Oakland, CA, on February 3, 2017.

She attended Northwestern University and obtained a graduate degree from the University of California, Berkeley, then worked for a time with the Veterans Administration as a psychiatric social worker.

Elmira married her childhood friend, Donald Hedges Lake, in Hawaii. Don served in the Navy for 30 years, rising to the rank of Captain. They moved frequently to accommodate the dictates of Don’s Navy service until his retirement in 1975, as well as his private business practice thereafter.

Throughout their life together, Don and Elmira traveled broadly throughout the world, enjoying immensely the diverse cultures they were fortunate to experience. Their long-awaited retirement together was cut short when Don passed away in 1992.

Elmira was a loyal PBO subscriber, donor, and member of the Laurette Goldberg Society for 20 years. We mourn her loss and lovingly dedicate our November 10th concert to her memory.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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)

Gillian Kuehner & Norman Bookstein

The Estate of Dr. Ross E. Armstrong

The Estate of Elmira Lake

Corey & Tim Benjamin

Norman T. Larson

The Robert A. Birman Executive Director Chair

Clifford Leventhal

Linda Brewer

The Estate of Susan B. Levy

Donald Buhman & Wray Humphrey

William Lokke

William Bush

Dr. Terri McGinnis

The Estate of Donald E. Casey

The Estate of Mrs. A. P. Morse

David Challinor & Tami Laramie

Barbara & Nigel Renton

The Estate of Marie Mendenhall Cleasby

Maxine & James Risley

Kathleen & Martin Cohn

The Estate of Maxine Rosston

Marie Bertillion Collins & Leonard Collins

The Estate of Shirley Sarvis

Steven A.R. Edwards

Adrienne & Theodore Savetnick

The Phillip M. Eisenberg Trust

Sondra & Milton Schlesinger

Nicolas Elsishans & Christopher Hayes

The Estate of Carol Seitz

Dr. Harvey & Deana Freedman

Ross Smith

The Estate of Alper Garren

Robert Speer & John Wong

The Estate of Rudolf & Nellie Glauser

Linda & Paul Swatek

The Estate of Eva & James Goodwin

Claudine Torfs

Kay Sprinkel Grace

Anita L. Velazquez

Margaret Hegg

Lawrence K. Wallace & Portia H. Leet

Steve John & Jason Snyder

Mr. Theodore Weber, Jr.

The Estate of Marie Kieraldo

The Estate of Michael J. Weller

Kathy & Bill Korbholz

IN MEMORIAM Philharmonia is honored to recognize the gifts made in memory of the following individuals: Dr. Ross E. Armstrong

Leonilla (Lee) Ferry

Marian & Shunji Nishi

Mary E. Wilson

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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LIFETIME BENEFACTORS Philharmonia Baroque Orchestra & Chorale thanks the following visionary supporters whose cumulative giving totals $100,000 or more.

Anonymous (2) The Estate of Dr. Ross E. Armstrong

The Estate of Susan B. Levy, in honor of Fred Sondheimer

Nicholas Bez

David Low & Dominique Lahaussois

Kathleen & Martin Cohn

The Marmor Foundation; Drs. Michael & Jane Marmor

Richard Colburn Marie Bertillion Collins & Leonard Collins Laura & Robert Cory Alper Garren Mona Geller Mrs. Jonathan B. Gifford John & Joan Goddard, The Goddard Foundation Kay Sprinkel Grace Kate & David Gross Christina & Kenneth Hecht

Frederick Matteson & Anne Davidson Barr Elizabeth Anderson Mayer Elizabeth Velarde & Chris McCrum Gladyne K. Mitchell Holbrook T. Mitchell Mark Perry & Melanie PeĂąa Maxine Rosston Sondra & Milton Schlesinger Jane & Jack Stuppin

Grace & Laurance Hoagland

Paul and Susan Sugarman Family Philanthropic Fund

Marie & Palmer Hotz

Linda & Paul Swatek

Brian M. Kincaid & Elizabeth C. Theil

Carol & Douglas Tanner

The Kivelstadt Family Trust

Claudine Torfs

Norman T. Larson

Joan & Egon von Kaschnitz

Kit & Hayne Leland

The Waverley Fund

John B. Levy

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Announcing Two New Initiatives JEWS & MUSIC In March 2015, Philharmonia launched its Jews & Music Initiative—a multi-year exploration into early Jewish music of 17th century Italy, the significance of Jewish biblical heroes and heroines in Handel’s oratorios and operas, and Jewish musicians throughout the centuries. The 2017/18 Season brings this initiative into its third year with a full presentation of Handel’s rarely performed Joseph and his Brethren, a Chicago tour of the PBO SESSIONS program featuring Italian Baroque music of the Jewish Ghetto, and performances by acclaimed international violoncellist Steven Isserlis, who will explore the legacy of Jewish composers as well as his own Jewish heritage in an intimate SESSIONS at the Contemporary Jewish Museum. A new commission featuring the work of composer Matthew Aucoin and text by German-language poet Paul Celan, a holocaust survivor whose parents perished in the concentration camps, is also planned for October 2020.

Nic McGegan with Francesco Spagnolo at PBO SESSIONS at the SFJCC, 2014

NEW MUSIC FOR OLD INSTRUMENTS The fertile dynamic underway at American orchestras suggests that audiences are eager to hear and support new works. In response to this new musical landscape, PBO publicly launched its multiyear New Music for Old Instruments initiative in 2017 as an effort to commission and perform new works written expressly for period instruments.

PBO Music Director Nicholas McGegan believes that historically-informed ensembles are uniquely suited to perform new music and thus demonstrate the influence of 17th and 18th century musical structures and sounds on new works. These original commissions are in direct answer to PBO’s mission and artistry, bringing fresh perspective and insight to works in the older cannon.

Past PBO commissions include: To Hell and Back, a one-act opera

by Guggenheim Fellow Jake Heggie; songs for Anne Sofie von Otter and Dominique Labelle by Pulitzer Prize winner Caroline Shaw; and Sally Beamish’s oratorio, The Judas Passion. Future seasons will bring new commissions by Matthew Aucoin (“Opera’s Great 25-YearOld Hope” —New York Times, 2015), Guggenheim Fellow and Rome Prize winner Mason Bates, and Caroline Shaw.

Composer Caroline Shaw at PBO SESSIONS, October 2017, with Noah Strick (left) and William Skeen (right)

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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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 extensive artistic and educational programs. Thank you for providing the Orchestra with the resources to bring its 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 July 1, 2016 and October 24, 2017.

CORPORATE, FOUNDATION & GOVERNMENT GRANTS

$100,000 & above

Grants for the Arts/San Francisco Hotel Tax Fund

$75,000 - $99,999

The William & Flora Hewlett Foundation

$25,000 - $74,999

Ann & Gordon Getty Foundation Clarence E. Heller Charitable Foundation The Bernard Osher Foundation

$10,000 - $24,999

Gaia Fund National Endowment for the Arts

$5,000 - $9,999

The Bob Ross Foundation The Koret Foundation

CORPORATE PARTNERS Bailard, Inc.

MATCHING GIFTS

Adobe Systems Incorporated Bank of the West Chevron Humankind Matching Gift Program IBM Corporation TPG Global

PHILANTHROPY PARTNERS

Bank of America Charitable Gift Fund Bloom Jewish Music Foundation California Community Foundation East Bay Community Foundation Fidelity Investments Charitable Gift Fund Jewish Communal Fund Jewish Community Federation & Endowment Fund Jewish Community Foundation of the East Bay JP Morgan Chase Charitable Gift Fund Morgan Stanley Charitable Gift Fund Mutual of America Pasadena Community Foundation Ruppenthal Foundation for the Arts Silicon Valley Community Foundation Schwab Charitable Gift Fund The San Francisco Foundation Vanguard Charitable Endowment Program

GIFTS IN KIND

Norman Bookstein DLA Piper Four Seasons Hotel Frank Wing Photography Goodby, Silverstein & Partners Panoramic Interests RJ Muna Photography WineWise, Hiram Simon & Brian Greenwood

We gratefully acknowledge the support we receive from:

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

WITH GRATITUDE CONDUCTOR’S CIRCLE ($50,000+)

Anonymous (1) The Estate of Dr. Ross E. Armstrong✢ David Low & Dominique Lahaussois Gladyne K. Mitchell✢ Mark Perry & Melanie Peña The Waverley Fund✢

STRADIVARI ($25,000-$44,999)

The Estate of Elmira Lake♦

CHRISTOFORI ($15,000-$24,999)

Nancy & Richard Heath♦ Grace & Laurance Hoagland✢ Brian M. Kincaid & Elizabeth C. Theil✢ Norman T. Larson▲ Rebecca Moyle & Tyler Lange Claudine Torfs♦

GUARNERI ($10,000-$14,999)

The AAG Trust✢ Nicolas Elsishans & Christopher Hayes Mrs. Jonathan B. Gifford✢ John & Joan Goddard, The Goddard Foundation▲ Kate & David Gross✢ Marie & Palmer Hotz▲ Eric Leve William Lokke✢ The Marmor Foundation; Drs. Michael & Jane Marmor♦ Elizabeth Anderson Mayer▲ Michael Sack▲ Jean Shuler✢ Sondra & Milton Schlesinger♦

ARCANGELI ($5,500-$9,999)

Anonymous (1) Carol & Peter Berkenkotter▲ Sarah FitzGerald & Quincy Bragg♦ Kathleen & Martin Cohn✢ Marie Bertillion Collins & Leonard Collins▲ Charlotte Gaylord & Barrie Cowan♦ Kay Sprinkel Grace✢ Christina & Kenneth Hecht▲ Anne & Jeffrey Katz Martine Kraus Paola & Richard Kulp✢ Carlene Laughlin Frederick Matteson & Anne Davidson Barr♦ David Morandi✢ Kathryn & Donley Parmentier✢ William Perry* Betty & Jack Schafer▲ Paul and Susan Sugarman Family Philanthropic Fund♦ Carol & Douglas Tanner♦ The TL Trust✢ Donna Williams

AMATI ($3,000-$5,499)

Anonymous (2) Mary & Roger Ashley✢ Corey & Tim Benjamin♦ Elizabeth, Kay & Mike Buckley▲ Annelle Clute✢ Jean-Marc Frailong & Richard Halton♦ Edith Gladstone♦ Lynn Gotchall♦ Silvija & Roger Hoag✢ Steve John & Jason Snyder Margaret & Edmond Kavounas♦ Sheila & Michael Lagios▲ Didier LeGall

♦ - 10+ YEARS

|

✢ - 20+ YEARS

|

Kit & Hayne Leland✢ Jack Levin Heather Preston Maxine Risley▲ Howard Schachman♦ Jade & Chris Simonson✢ The Estate of Frances C. Strauss▲ Linda & Paul Swatek▲

COGNOSCENTI ($1,500-$2,999)

Anonymous (1) Kendall & Claire Allphin Ari & Kristin Baron♦ Darla & Richard Bastoni♦ Adam Arthur Bier & Rachel Bier Lem Marlene Bollhoffer✢ William Bush✢ Richard Caplin, M.D✢ Kyra & Ken Carson♦ Glyde Cooper✢ Charles Crane♦ Corinne Cooley Derringer♦ John Drago♦ Jacqueline & Christian P. Erdman✢ The Rev’d Richard Fabian▲ Marta Falicov✢ The Stephen and Margaret Gill Family Foundation The Estate of Rudolf & Nellie Glauser♦ The Estate of James Goodwin✢ Brian Haley Margaret Hegg♦ Susanne Hering & John Phillips♦ Ian Hinchliffe & Marjorie Shapiro▲ Marguerite & Marc Kaufman♦ Emily Kenyon & David Lipsky Phyllis Koch Kathy & Bill Korbholz✢ Adair & William Langston▲

▲ - 30+ YEARS

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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WITH GRATITUDE Tom Lee✢ Ellen & Barry Levine♦ Walter Augusta & Robert Levy Memorial Fund♦, in honor of Fred Sondheimer Harvey L. Lynch C.R. Gus Manning & Rena Kirkpatrick✢ Joan Mansour Rod McChesney Willinda & Peter McCrea✢ Mary Anne Miller & James Suekama✢ Tina & Stephen Morris♦ Grace M. Parr♦ Stephen Pegors & Trista Berkovitz✢ Phillip Phythian & Ann Hardham✢ Catherine & Raymond Roberts✢ Louise Adler Sampson✢ Adrienne & Theodore Savetnick♦ Reed Schmidt✢ Lawrence & Grace Smith✢ Sylvia J. Spengler✢ Jonathan Stebbins & Jessica Donovan✢ Susan LeRoy Stewart & Michael Stewart✢ Barbara Tanaka✢ Muriel Waller♦ Mr. Theodore Weber, Jr.✢ Melanie & Ron Wilensky, Keyboard Sponsors Wendy & Mason Willrich▲ Elinor & Bruce Wilner✢ Cathe & Gavin Wright✢ Ann Gui & Glenn Zhu Jane Zuckert♦

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CAMERATA ($650-$1,499)

Anonymous (4) Frank Adams & Susan Bryan▲ Robert & Elaine Allen Family Foundation Barbara Barkovich✢ Janet & Chris Bensick▲ Five Arts Foundation/ Helen Berggruen♦ Stephen Bischoff✢ Linda Blum Ann & Winslow Briggs✢ Dr. Bruce & Susan Carter✢ Michael Colbruno♦ Joan & Edward Conger♦ Margaret Conkey & Lester Rowntree♦ Carol Cosman & Robert Alter♦ The Ruth Crosby Fund♦ Peter & Jayne Davis Marvin Dennis Fred & Dinna Eisenhart Catherine & D. Michael Enfield♦ Margaret Garms♦ Emily Gladstone Cole♦ Rob & Barbara Grant Bernice Greene✢ Ms. Dorothy D. Gregor Phil Grisier Joyce & Douglas Hamilton✢ Ann & Roy G. Hammonds, Jr.✢ MacInnis-Heinle Trust A♦ Nina Hemenway & Chesley Herbert Susan & David Hodges♦ Susan & Ernst Hoyer Robert W. Jarman Gary W. Jennings & John D. Poynter Chrystal & James Kafka✢ Maureen & David Kennedy♦ Alice & Richard Kulka Robert Larson♦ Victoria & Richard Larson

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Laura Leibowitz Hollis Lenderking♦ Claire & Herbert Lindenberger✢ Angela Little▲ Carol Lokke✢ Carol & Hal Louchheim✢ Martha & Arthur Luehrmann♦ Francis Lundy♦ Joan & Roger Mann Suzanne & Stanley Mantell✢ Josephine Maxon♦ Garth McCune✢ Mr. John McKnight▲ Richard Meiss & Peter Rudy✢ Victoria & James Merchant, in honor of Carol & Douglas Tanner Barbara & Thomas Metcalf♦ Neanna & Allan Miles✢ Murrey Nelson Janet & Bill Nicholls✢ Brenda & James Nirenstein✢ Ms. Eleanor Forrest Nishi♦ Judith & Stuart Offer♦ Kirk Patterson♦ Mary & David Phillips♦ Jan Willem Prak & Karen Burtness Prak William Quackenbush♦ Helen & Dan Quinn✢ Barbara Rauhala Barbara & Nigel Renton✢ Angèle & Michael Rice Ray & Bill Riess✢ Doug Schwalbe✢ David A. Shapiro, M.D. & Sharon L. Wheatley Susanna & Dave Singer Linda & Fred Sondheimer▲ Gayle & George Staehle✢ David Stein & Bill Stewart♦ Sarah & Stephen Taber✢ Tricia Tanoury Claire Taylor & Charles G. Schulz♦

WITH GRATITUDE Alison JF Teeman & G. Michael Yovino-Young♦ Joseph & Donna Terdiman✢ Lava Thomas & Peter Danzig♦ Robert Thompson Ellen & Mike Turbow✢ Christopher & Michael Mele-Wagner♦ Ben & Beth Wegbreit♦ Dr. David L. White & Martha Truett✢

CAMERATA ($350-$649)

Anonymous (3) Gertraud Albert♦ R. Tyler Andersen & Diane Green✢ John Anderson & Jimmy Kansau Linda E. Anderson✢ Zachary Baker♦ Troy Barbee Nancy & Clayton Bavor♦ Mrs. Mary Baxter✢ Allen & Jacqueline Bertillion♦ Christel Bieri♦ Judith & Kim Bishop♦ Sheila Botein & David Oakes, M.D.♦ Patricia Bradley▲ Prudence Breitrose✢ Melissa & Richard Bruins♦ Donald Buhman & Wray Humphrey Belle Bulwinkle & Michael Dukes Barbara & Lawrence Cahn♦ Lynne Carr Mike & Sandy Cleland Patricia Clemo & Robert Cooley✢ Sheri & George Clyde✢ Patricia & Peter Coffin▲ Michael Condie▲ Mr. Hugh J. Coughlin Jane Coulter♦

Peter Crabtree & Barbara Ann Beno✢ Robert Cronin & Anne Woodhouse▲ Janet Dafoe & Ronald Davis✢ Dr. & Mrs. Stanley Davis♦ Dexter & Jean Dawes✢ Diane de Forest♦ Jacqueline Desoer Jeanette & Peter Dunckel✢ Sylvia & Paul Emery▲ Jan & Ernst Epstein✢ Mary & Jurgen Exner♦ Mary Falvey♦ David Favrot & Kathi Brown-Favrot Mary Ellen Fine✢ Jennifer Finger & Scott Bucey Jessena Finn♦ Cami & Ed Forhan Dr. Harvey & Deana Freedman✢ Julie & Jim Fulford♦ Jeanne & Frederick Gabali✢ Frances & Sidney Gage▲ Patrick Geddes & Ivy Lessner Douglas Giancoli♦ Ellen Solomon Ginsberg & David Ginsberg Jeanne & Tom Gnuse Dr. Anna Gonosova♦ Elizabeth Greenberg▲ Andrew Griffin Carol Handelman♦ Nancy & Nicholas Haritatos✢ William L. Hartrick♦ Margaret Heineman Elizabeth Hilpman & Byron Tucker, in honor of Dominique Lahaussois & David Low Janet & Robert Hines Harry Howe & Michèle Stone Andrea Julian✢ Daniel Katz & Lauren Bruce Julia Katz

♦ - 10+ YEARS

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✢ - 20+ YEARS

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Nancy Hunt Kiesling♦ Dr. & Mrs. Kiraly♦ Susan Klee & David Stoloff✢ Barbara Koepsell♦ Barbara Kosnar & Tom Goldman Rose Lavandero & Ted Kurtz James Leak Sukey Lilienthal & David Roe Carolyn & David Lougee✢ Dr. Karen Lovdahl Melainie Mansfield Sally Marshall Elizabeth Velarde & Chris McCrum♦ Sandi & Norman McEachron♦ Kathleen McGreevy✢ Richard McKee Margaret McKinnon✢ Robert B. Mison Katherine & Bridger Mitchell♦ Charles & Honor Morehouse✢ Julius Moshinsky & Suzanne Renne▲ Kathleen Much & Stanley Peters✢ Rolf Muller♦ Alice Nadler♦ Mr. Joseph Newell & Dr. Eric Collier Jeanne Newman Victor Ninov Tes & Anders Norlin Joan Norton✢ Georgia Heid & Mary Belle O’Brien✢ David Perry Sandra & George Petty✢ Bernard Peuto Anastasia Polakis Linda O. Polsby✢, in honor of N.W. Polsby Diane Posnack Peter M. Ray✢ Carlene & Bruce Reeves✢ Anmarie Roache

▲ - 30+ YEARS

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

65

WITH GRATITUDE Kenneth Robin✢ Pam & Jim Robson♦ Nile Rowan & Gordon Peterson James Rytuba Paul J. Schmidt Fritzi Schoen♦ Louise Shalit✢ David Shapiro & Scott Kenison Susan Sherman Allene Sieling Ross Smith♦

66

Sherry & Judd Smith✢ Stephen Smoliar & Linda Dembo Emily Sparks & Vincent Fogle✢ Barbara Cohen & Richard M. Stanley Nancy Stanwood Ruth & Alan Tobey, Tobey Fund♦ Martha Doerr Toppin♦ Loekie & Johan Van Proosdij♦ Maura FitzGerald & Tom Walsh▲ Anne Warner & Charlotte Centeno

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Bill & Judy Botsford Warren✢ Ann & Thomas Watrous✢ Evelyn Wegienka♦ John & Marilyn Whitcher Mr. Michael Wyatt Gail & Peter Yessne♦ Susan & David Young Sarah Young♦ John Zimmermann & Diana Graham✢

voices of music

Handel’s Messiah in Grace Cathedral JEFFREY THOMAS music director

WEDNESDAY ~ THURSDAY ~ FRIDAY DECEMBER 14, 15, 16, 2016 at 7:30 P.M. 2017-2018 CONCERT SEASON

messiahingrace.org

november 30 -december 3 : bach, biber & geminiani january 19-21 : an evening in paris march 2-4 : leonardo da vinci, a musical odyssey

(415) 621-7900

tickets available at www.voicesofmusic.org or call 415.260.4687

BRAVO! DLA Piper Piper DLA proudly supports supports proudly Philharmonia Baroque Baroque Orchestra Philharmonia Orchestra &&Chorale Chorale duringtheir their magnificent magnificent 2016/17 during 2017/18season. season.

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