Issuu

NOVEMBER 7–11

VIVALDI the teacher

DECEMBER 5–9

PHILHARMONIC

fire

cantata collective presents

Free Bach Concerts! November 25, 2018 The Dialogue Cantatas, BWV 57 and BWV 58 with Sherezade Panthaki, soprano and Paul Max Tipton, baritone February 24, 2019 BWV 36 and BWV 124 with Tonia D’Amelio, soprano, Heidi Waterman, alto, David Kurtenbach, tenor, and Sepp Hammer, bass

March 17, 2019 BWV 125 and BWV 78 with Pacific Boychoir, Andrew Brown, Director, Robin Bier, alto and Michael Jankosky, tenor April 28, 2019 BWV 62 and BWV 72 with Christine Brandes, soprano, William Sauerland, alto, Kyle Stegall, tenor, and Nikolas Nackley, bass

All concerts at 5pm

St. Mary Magdalen Church • 2005 Berryman, Berkeley

cantata collective

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

www.cantatacollective.org

PAIR YOUR PENNE WITH A SEDUCTIVE LITTLE SONATA.

transform your day. 89.9|FM 90.3|FM

104.9|FM KDFC.com

Winter Gala 2019

Anne Sofie von Otter

Caroline Shaw Honoring Mezzo-Soprano

Anne Sofie vonOtter and Pulitzer Prize-Winning Composer

Caroline Shaw Friday, March 1, 2019 Four Seasons Hotel San Francisco

Gala Chair Melanie Peña & Board Member Mark Perry cordially invite you to Philharmonia’s most exciting and important fundraising event of the year—the 2019 Annual Winter Gala & Auction! This year we honor star mezzo-soprano ANNE SOFIE VON OTTER and Pulitzer Prize-winning composer CAROLINE SHAW, who will join forces with Music Director Nicholas McGegan and members of the Orchestra for an evening of beautiful music, great food & wine, and festivities. The evening also includes: •

Silent auction featuring one-of-a-kind items

•

Cocktail reception and an exquisite threecourse dinner

•

Festive after-party with a robust scotch tasting and strolling desserts

For further information and tickets, please visit philharmonia.org/gala or call 415.252.1288, ext. 300.

CONTENTS Message from the Board President and Executive Director....................................... 6 Board of Directors and Staff.............................. 7 About Nicholas McGegan................................... 9 About the Orchestra.........................................10 About Bruce Lamott and the Chorale.............11

Program.............................................................. 14 Featured Artists.................................................16

The Players and their Instruments..................22 Program Notes..................................................24 Glossary of Terms.............................................28

PHILHARMONIC PHILHARMONIC

Nic’s Picks........................................................... 29

Program.............................................................. 32 Featured Artists.................................................34 Notes from the Conductor...............................39

The Players and their Instruments..................40 Program Notes..................................................42 Glossary of Terms.............................................47 Patrick’s Picks.....................................................48 Texts & Translations..........................................49

Cognoscenti Luncheon.....................................56 LGBT Reception.................................................57 Q&A with Marc and Kevin.................................58 Donor Recognition............................................61

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

FROM the PRESIDENT and EXECUTIVE DIRECTOR As the holiday season approaches, I’m once again reminded of what it means to be part of the PBO family. Each time I see the private smiles on stage between Nic and the musicians, the warm hugs between patrons, staff, and musicians in the lobby, and share the familial feeling at our many events, I am renewed in my commitment to Philharmonia. Whether you are a 30-year subscriber or experiencing your first performance, we are joined together by our love of PBO’s exhilarating historically-informed performances, the enlightening scholarship that comes with it, and the warmth we feel at concerts and in each other’s company at PBO events. As I sit back to enjoy a trio of brilliant young Juilliard graduates in November and a set of sparkling Bach Cantatas in December, I will be counting my many blessings, not the least of which are PBO’s exquisite musicianship, our commitment to the next generation of musicians, and the joy of getting to know so many of you. You are part of my family. Thank you for your friendship, support and the honor of serving as President with an incredibly dedicated Board of Directors. With gratitude, joy and warm wishes for a wonderful holiday season.

Kay Sprinkel Grace President

Dear friends, As we count our blessings this holiday season, I place Music Director Nicholas McGegan at the top of my list. As you’ve likely heard, Nic will be stepping aside at the end of the 2019/20 season as he prepares to assume his new role as Music Director Laureate. But for now, we still have two wonderful years. Nic continues to elevate Philharmonia to the highest reaches of historical performance, pushing the boundaries of artistic expression to the thrill of audiences around the globe. PBO is the leader in its field and I owe a debt of gratitude to Nic for paving the way. I am humbled to work alongside this extraordinary music director and grateful for Nic’s past, present, and future musical contributions. I know that we will all cherish each performance with Nic at the podium during the next two seasons and beyond. I want to thank you for your generosity and loyal friendship because Nic, Bruce, the Orchestra and Chorale, can only do what they do because of you. I wish you a wonderful holiday season and we’ll see you in 2019! With gratitude and warm wishes,

Courtney Beck Executive Director

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

BOARD of DIRECTORS & STAFF BOARD OF DIRECTORS

STAFF

Officers Kay Sprinkel Grace, President David Low, Vice President Mark Perry, Vice President David Gross, Secretary Nicolas Elsishans, Treasurer

Artistic Nicholas McGegan, Music Director The Waverley Fund Conductorâ€™s Podium Bruce Lamott, Chorale Director Robert and Laura Cory Chorale Director Chair

Members Martin Cohn Marie Bertillion Collins Charlotte Gaylord Peter Hibbard Steven John Anne Katz Brian Kincaid Martine Kraus Didier LeGall William Lokke Michael Marmor Fred Matteson Rebecca Moyle Sondra Schlesinger Jason Snyder Paul Sugarman Douglas Tanner Courtney Beck, ex-officio Nicholas McGegan, ex-officio Past Board Presidents Dr. Ross E. Armstrong (2011-2017) Paul Sugarman (2008-2012) Martin Cohn (2005-2008) Nancy Kivelson (2002-2005) Fred Matteson (2000-2002) Christine Pallatto (1999-2000) Sherry Bartolucci (1997-1999) Grace Hoagland (1995-1997) Richard D. Maltzman (1993-1995) Dexter B. Dawes (1991-1993) Ann W. Vander Ende (1989-1991) Marie Bertillion Collins (1988-1989) Henry Mayer (1984-1988) Peter Strykers, MD (1982-1984)

Administrative Courtney Beck, Executive Director Myles K. Glancy, Director of Concert Production Lisa Grodin, Director of Education Tisa Hamdani, Office Coordinator Naren Larson, Director of Patron Services & Marketing Analyst Nicole Lugtu, Manager of Major Gifts & Events Jeffrey D. Phillips, Director of Artistic Planning Dianne Provenzano, Director of Marketing & Public Relations Heli Roiha, Bookkeeper Andrea SĂĄenz, Development & Events Manager William Skeen, Orchestra Librarian Paul Swatek, Director of Finance Concert Production David v.R. Bowles (Swineshead Productions), Audio Engineer E. J. Chavez, Stage Equipment Coordinator Nicole Hillis, House Manager Hiro Matsuo, Stage Manager Arthur Omura, Keyboard Technician Phaedra Strecher, Program Book Designer Frank Wing, Concert Photographer

Philharmonia Baroque Orchestra & Chorale 414 Mason Street, Suite 400 | San Francisco, CA 94102 (415) 252-1288 | info@philharmonia.org | philharmonia.org facebook.com/philharmoniabaroque | twitter.com/philharmoniabar instagram.com/philharmoniabaroqueorchestra

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PBO’s Beginnings...

and its founder Laurette Goldberg BRUCE LAMOTT

t is hardly imaginable that only two musical generations ago, the concept of an orchestra of period instruments was a radical and slightly countercultural concept. The seeds of Philharmonia were planted by early music enthusiasts in the redwoods of Cazadero Music Camp, nurtured by harpsichordist Laurette Goldberg and a visionary board, and bore fruit in the debut concert of “Philharmonia Baroque Orchestra of the West” on February 2, 1982, the first baroque orchestra in America. It was incubated in the nexus of musical artistry and scholarship on the Bay Area campuses of Berkeley and Stanford, infused by periodic visits by the “Amsterdam mafia” of Goldberg’s harpsichord teacher, Gustav Leonhardt and his associates from the Low Countries—then the center of what was then called “authentic” performance. The concept now known as “historically informed performance” (HIP)—aiming to be faithful to the stylistic characteristics of the musical era in which a work was originally conceived, using period instruments and the study of performance practices— was at odds with modern, “Intuitive” interpretations by traditionally trained orchestras. HIP conductors often led from the keyboard, a “performance practice” of the Baroque and Classic periods. Because of the scarcity of teachers of period instruments in America, the original

Philharmonia players were accomplished performers on modern instruments who both studied with European teachers and fended for themselves with recalcitrant baroque oboes, valveless brass, and unmodified violins. In the early years, the orchestra had neither a conductor nor a roster of regular players. Enter Nicholas McGegan, then teaching at Washington University in St. Louis. From his first concert in February 1985, Nic has since achieved one of the longest tenures of any orchestra conductor, period or modern. He added choral music to the repertoire, first with the UC Berkeley Chamber Chorus, and, in 1995, inaugurated the all-professional Philharmonia Chorale. Nic also widened the horizons of the Baroque orchestra, extending the concepts of HIP performance to include the Classic Period of Haydn and Mozart, the early Romantics Beethoven, Schubert, Cherubini, and Mendelssohn— even Brahms, as well as commissioning newly written works for period instruments. The late Laurette Goldberg recounted in her oral history that, “We had to call it Philharmonia because Philharmonia was the name of the first orchestras that were founded by Corelli in the late 17th century. It was the name of the first orchestra in the United States...in Boston. It means love of music or harmony.” The legacy of Laurette Goldberg’s vision will extend far beyond PBO’s performances, recordings, tours, and commissions. The musicians of the Orchestra have become the teachers of the new generation of period performance. And consciousness of historically informed performance has entered the minds of modern instrumentalists, conductors, and composers as well.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Nicholas McGegan

Waverley Fund Music Director Philharmonia Baroque Orchestra & Chorale As he embarks on his fifth decade on the podium, Nicholas McGegan—long hailed as “one of the finest baroque conductors of his generation” (London 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 2018/19 season marks his 33rd 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 (1991-2011) and the Mozart canon as Principal Guest Conductor at Scottish Opera in the 1990’s. At the same time, he was principal conductor of the Drottningholm Opera in Sweden. McGegan has established the San Franciscobased Philharmonia as one of the world’s leading period-performance ensembles, with notable appearances at Carnegie Hall, Lincoln Center, the London Proms, the Amsterdam Concertgebouw, and the International Handel Festival, Göttingen. One of their greatest successes was the recent fully-staged modernday premiere of Jean-Philippe Rameau’s 1745 opera-ballet Le Temple de la Gloire. McGegan’s prolific discography includes more than 100 releases spanning five decades. Having recorded over 50 albums 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 released almost a dozen acclaimed albums of Handel, Scarlatti,

Photo by RJ Muna

Vivaldi, Brahms, Haydn, Beethoven, Alessandro Scarlatti, and the modern-day premiere of the original version of Rameau’s Le Temple de la Gloire. 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, Vivaldi, and a 2-CD set of the complete Mozart violin concerti. Born in England, Nicholas McGegan was educated at Cambridge and Oxford and taught at the Royal College of Music, London. He was made an Officer of the Most Excellent Order of the British Empire (OBE) in the Queen’s Birthday Honours for 2010 “for services to music overseas.” He was also awarded the Verdienstkreuz (am bande) from Niedersachsen (Germany) in 2011. In 2016 he was the Christoph Wolff Distinguished Visiting Scholar at Harvard and is a frequent visitor to Yale. Visit Nicholas McGegan on the web at nicholasmcgegan.com

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Photo by Suzanne Karp

Under the musical direction of Nicholas McGegan for 33 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 U.S. PBO’s musicians are among the best in the country and serve on the faculties of The Juilliard School, Harvard, and Stanford, among others. The Orchestra performs an annual subscription season in four venues throughout the Bay Area as well as its alternative concert series, PBO SESSIONS. In April 2017, PBO performed the modern day premiere of Rameau’s Le Temple de la Gloire. The fullystaged opera included an international cast of singers and dancers and celebrated sold-out audiences and critical acclaim from around the world. Each season welcomes eminent guest artists such as mezzo-soprano Susan Graham, countertenor Andreas Scholl, mezzo-soprano Anne Sofie von Otter, fortepianist Emanuel Ax, and maestros Jordi Savall and Richard Egarr. The Orchestra enjoys numerous collaborations, including a regular partnership with the Mark Morris Dance Group and tours regularly to venues such as Carnegie Hall, Lincoln Center, Walt Disney Concert Hall, Tanglewood, and Weill Hall at the Green Music Center. 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 ten 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 released the world premiere recording of Rameau’s original 1745 version of Le Temple de la Gloire. In March 2015, Philharmonia launched its Jews & Music Initiative—a continuing 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. PBO’s New Music for Old Instruments initiative was launched in 2017 as an effort to commission and perform new works written expressly for period instruments. Past PBO commissions include To Hell and Back, by Guggenheim Fellow Jake Heggie and songs for Anne Sofie von Otter and Dominique Labelle by Pulitzer Prize-winning composer Caroline Shaw. Future seasons will bring new commissions by Matthew Aucoin, Mason Bates, and Caroline Shaw. To nurture the next generation of historicallyinformed performance, Philharmonia and The Juilliard School’s Historical Performance program partner to bring the star students of Juilliard415, the school’s acclaimed periodinstrument ensemble, to practice and perform alongside PBO’s seasoned professionals. Annual residencies include masterclasses, coaching, and a culminating side-by-side showcase of PBO mentors and J415 students.

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 seasons. 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 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

Photo by Frank Wing

Opera’s Merola Opera Program and lectures for the Opera and Opera Guild’s education programs.

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, one of the world’s leading Bach scholars, the 24 members of the Chorale are professional singers with distinguished solo and ensemble careers. They appear in roles with regional opera companies and have been members and founders of some of the country’s premiere vocal ensembles. The Chorale’s repertoire has included over ten Handel oratorios, Bach’s St. John Passion and Christmas Oratorio, Mozart’s C Minor Mass Beethoven’s Mass in C, and the modern day premiere of Rameau’s Le Temple de la Gloire. The ensemble has appeared with Philharmonia Baroque Orchestra at Walt Disney Concert Hall, Lincoln Center, Carnegie Hall, and at Segerstrom Concert Hall. 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

E TH

. P . I . H

N O I T U L O V RE N 20

Chamber Music Society of San Francisco

8pm

8 . v o 18

Bringing to life great chamber music in intimate settings 2018-19 Season Illuminating Influence: Music of Mozart & Brahms

Endings and Beginnings

featuring Marcel Gemperli, viola

February 1st-3rd, 2019

September 14th & 15th, 2018 Beethoven the Phoenix October 12th-14th, 2018

atER ODC Thnecisco san fra

featuring Stephen Prutsman, piano

Afternoon Salon Fundraiser March 9th, 2019

In Search of Love featuring Meena Bhasin, viola, & Hannah Addario-Berry, cello

May 17th-19th, 2019

Learn more at chambermusicsocietysf.org

philharmonia.org/pbo-sessions

Tafelmusik Baroque Orchestra Tales of Two Cities: Leipzig and Damascus In Tales of Two Cities, Tafelmusik takes us on a tour of two coffeehouses in 18th-century Leipzig and Damascus. Conceived by Alison Mackay, the tales embrace works by Bach, Telemann, and Handel as well as classical Arabic music in a stunning cross-cultural caffeination of music, images, and words. F R I , M A R 8, 2 019 7: 30 P M B I N G C O N C E RT H A L L

Buy tickets today!

live.stanford.edu // 650.724.2464

NOVEMBER 7–11

Nicholas McGegan conductor

Elizabeth Blumenstock & Alana Youssefian violin

Phoebe Carrai & Keiran Campbell violoncello

VIVALDI the teacher CORELLI Concerto Grosso Op. 6, No. 7 in D major VIVALDI Concerto for Two Violins in C major VIVALDI Concerto for Two Oboes in D minor VIVALDI Concerto for Two Violins and Two Violoncellos in G major VIVALDI Concerto for Two Violoncellos in G minor

Gonzalo X. Ruiz & David Dickey oboe

VIVALDI Concerto for Oboe and Violin in B-flat major VIVALDI Concerto for Violin in B-flat major GEMINIANI Concerto Grosso No. 12 in D minor, “La Follia” (after Corelli)

2018/2019 — 38th Season Nicholas McGegan, conductor Elizabeth Blumenstock & Alana Youssefian, violin Phoebe Carrai & Keiran Campbell, violoncello Gonzalo X. Ruiz & David Dickey, oboe

PROGRAM Arcangelo Corelli (1653–1713) Concerto Grosso Op. 6, No. 7 in D major Vivace—Allegro—Adagio Allegro Adagio Vivace Allegro Antonio Vivaldi (1678–1741) Concerto for Two Violins in C major, RV 507 Allegro Largo Allegro Elizabeth Blumenstock, violin Alana Youssefian, violin Vivaldi Concerto for Two Oboes in D minor, RV 535 Largo Allegro Largo Allegro Molto Gonzalo X. Ruiz, oboe David Dickey, oboe Vivaldi Concerto for Two Violins and Two Violoncellos in G major, RV 575 Allegro Largo Allegro Elizabeth Blumenstock, violin Alana Youssefian, violin Phoebe Carrai, violoncello Keiran Campbell, violoncello

INTERMISSION Length of performance is approximately one hour and forty 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 cellular telephone or other noisemaking device before the performance begins.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

VIVALDI the teacher Vivaldi Concerto for Two Violoncellos in G minor, RV 531 Allegro (moderato) Largo Allegro Phoebe Carrai, violoncello Keiran Campbell, violoncello Vivaldi Concerto for Oboe and Violin in B-flat major, RV 548 (Allegro) Largo Allegro Alana Youssefian, violin David Dickey, oboe Vivaldi Concerto for Violin in B-flat major, RV 372a “per Chiareta” Andante Alana Youssefian, violin Francesco Geminiani (1687–1762) Concerto Grosso No. 12 in D minor, “La Follia” (after Corelli) Adagio Allegro Adagio Vivace—Allegro Andante Allegro Adagio Allegro Adagio Allegro

The November Concerts are made possible with generous support from

Gladyne Kenderdine Mitchell

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

FEATURED ARTISTS ELIZABETH BLUMENSTOCK VIOLIN

lizabeth Blumenstock is a long-time concertmaster, leader, and soloist with the San Francisco Bay Areaâ€™s Philharmonia Baroque Orchestra & Chorale and American Bach Soloists, and is concertmaster of the International Handel Festival in GĂśttingen, 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.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

VIVALDI the teacher

native of New Jersey, “sensational” baroque and modern violinist Alana Youssefian (San Francisco Civic Center) has quickly forged a reputation as an engaging and spirited soloist, chamber player, and orchestral musician. Hailed for her “incredible poise,” “sensitive dynamics,” and “plangent emotional involvement” (The Boston Musical Intelligencer), as well as presenting performances that are “utterly convincing” (Early Music America), Ms. Youssefian has performed internationally as a concertmaster and soloist, in addition to holding engagements at venues such as the John F. Kennedy Center for the Performing Arts, the Mann Center, Carnegie Hall, and Alice Tully Hall. Ms. Youssefian studied with Marilyn McDonald at Oberlin Conservatory, and completed a master’s degree in Violin Performance at Rice University’s Shepherd School of Music with Kenneth Goldsmith. She most recently graduated from The Juilliard School’s Historical Performance Program in Spring 2018, where she studied with Elizabeth Blumenstock, Cynthia Roberts, and Rachel Podger.

ALANA YOUSSEFIAN VIOLIN

As winner of Juilliard’s 2017 Historical Performance Concerto Competition, she performed Vivaldi’s “Il Grosso Mogul” concerto with Juilliard415 and Nicholas McGegan. She has performed with Juilliard415 as concertmaster and soloist on several occasions, including their tours of India and New Zealand. She has also performed with Ars Lyrica Houston, Bach Society Houston, Mercury, Trinity Baroque Orchestra, The Sebastians, New York Baroque Incorporated, Sonnambula, Les Arts Florissants at Dans le Jardin de William Christie, The Helicon Foundation, and Teatro Nuovo as associate concertmaster. She is a founding member of the baroque ensemble les soûls d’amour, and enjoys their residency at the Seabury Academy at St. Paul’s on the Green in Norwalk, CT. Her latest ensemble, The Cramer Quartet, was selected for a residency at Avaloch Farm Music Institute in Summer 2018. She was named an American Fellow of The English Concert and Juilliard Fellow of Mercury in 2018. In her free time, Ms. Youssefian enjoys spending time with her partner Jared and their cats Jimmy and Django, reading thriller books, and rocking out to The Rolling Stones.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

FEATURED ARTISTS PHOEBE CARRAI VIOLONCELLO

hoebe Carrai, followed her path to Austria to do post graduate studies in early music, after finishing her studies at New England Conservatory in Boston. She became a full member of Musica Antiqua Köln, making 40 discs for Deutsche Gramophone and teaching at the Hillversum Conservatory in Holland. Ms. Carrai taught at the Conservatory of the Arts in Berlin, Germany, for sixteen years and is now on the faculties of The Juilliard School, and the Longy School of Music of Bard College. She is director of the Harvard Baroque Chamber Orchestra and The International Baroque Institute at Longy. She was a jurist in both 2012 and 2016 at the International Bach Competition in Leipzig and will be teaching this summer at Aria camp and with her Juilliard colleagues at Piccola Accademia in Italy. In addition to chamber music and solo appearances, Ms. Carrai performs regularly with Juilliard Baroque, Philharmonia Baroque Orchestra & Chorale, The Boston Early Music Festival Orchestra and Chamber ensemble, Göttingen Händel Festival Orchestra and Ensemble and The Arcadian Academy. Ms. Carrai’s recording of the six Bach suites for solo Violoncello and Duets of August Kummer can be found on the Avie label. She has joined forces with cellist, Beiliang Zhu and recorded a duo cello CD called “Out of Italy “ which will be released on Avie Records in 2019. She has also recorded for harmonia mundi, Deutsche Grammophon, Aetma, Telarc, Decca and BMG. Ms Carrai plays on a restored Italian cello made in ca. 1690.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

VIVALDI the teacher KEIRAN CAMPBELL VIOLONCELLO

ellist Keiran Campbell is a New York City-based performer specializing in modern and baroque cello playing. Born in Greensboro, North Carolina, he began studying the cello at age 8. Keiran received both his BM and MM from The Juilliard School, studying with Darrett Adkins during his undergraduate, and Phoebe Carrai and Timothy Eddy during his masters. Keiran performs in a wide variety of styles and venues, from U.S. State Department-led tours of Bolivia with members of Juilliard415, to performances at Jazz at Lincoln Center with klezmer clarinetist David Krakauer, to concerts with Aeon Ensemble and DJ Spooky in Carnegie Hall. He has appeared as a soloist with the North State Chamber Orchestra, the Mallarme Chamber Orchestra, the Durham Symphony, and Juilliard415. Keiran plays with chamber groups around the city, and he is a founding member of both Voyage Sonique and New Amsterdam Consort, two young period performance groups made of up recent Juilliard graduates. Keiran has also performed with groups including Trinity Baroque Orchestra, Tafelmusik, and Mercury Baroque Orchestra. He recently participated in the inaugural season of Teatro Nuovo, a Bel Canto Opera festival pioneered by Will Crutchfield in upstate New York. Keiran has attended The Berwick Academy, Perlman Chamber Workshop, Sarasota Music Festival, and Kneisel Hall. He has worked closely with Steven Isserlis and Ralph Kirshbaum in masterclasses at IMS Prussia Cove, and he has also worked with David Geringas at the Accademia Chigiana. Keiran was a 2017-2018 fellow with Mercury Houston, and he is currently a fellow with the English Concert. This season, he will play several concerts as a guest principal cellist with Tafelmusik in Toronto, including a production of Mozart’s Idomeneo, and he will appear in Boston Early Music Festival’s production of Steffani’s Orlando.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

FEATURED ARTISTS GONZALO X. RUIZ OBOE

onzalo X. Ruiz is one of the world’s most critically acclaimed baroque oboists. A member of Philharmonia for over twenty five years, he also performs as principal oboist and soloist with groups such as The English Concert, Wiener Akademie, Orchestra of the Age of Enlightenment, Portland Baroque, Ensemble Sonnerie, Boston Early Music Festival, Trinity Wall Street, and Carmel Bach Festival. Ruiz’s playing is featured on dozens of recordings including the 2010 GRAMMY®-nominated recording of his reconstructions of the four orchestral suites of J.S. Bach. His chamber ensemble, House of Time, has a concert series in Manhattan. In addition to frequent appearances in recital and with chamber ensembles, his groundbreaking work in new music with American Baroque earned the ASCAP Award for Adventurous Programming and the WQXR Record of the Year Award. He made his conducting debut at age twelve and is now associate music director of Musica Angelica, Los Angeles. Mr. Ruiz was appointed to the faculty of The Juilliard School in 2009 and for many years prior taught at Oberlin Conservatory’s Baroque Performance Institute and at master classes in top conservatories around the world. His former students now fill most of the key oboe positions in baroque ensembles across this country. Ruiz is an acknowledged expert in reed design, and examples of his work are on permanent display at the Metropolitan Museum of Art. In his free time, he enjoys cooking, playing guitar, and dancing tango.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

VIVALDI the teacher DAVID DICKEY OBOE

avid Dickey earned his Master of Music Degree in Historical Performance in Baroque oboe from The Juilliard School. During his two-year program, he played with the schoolâ€™s premier period instrument ensemble, Juilliard415, and toured through England and Germany, playing in J.S. Bachâ€™s own Thomaskirche at Bachfest in Leipzig, as well as at The Boston Early Music Festival under Masaaki Suzuki. Upon graduation, he received the Norman Benzaquen Career Advancement Grant, awarded to five students graduating from Juilliard, and was one of four graduates to be given a year-long contract to appear in recitals and orchestral performances with The English Concert in America. Since then, he continues to live in New York, playing with New York Baroque Inc., Bach Vespers at Holy Trinity, and Early Music New York. He can be heard playing with orchestras around the country with the Handel and Haydn Society, Philharmonia Baroque Orchestra & Chorale, Mercury: The Orchestra, and the American Bach Soloists.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

THE PLAYERS and their INSTRUMENTS Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

ELIZABETH BLUMENSTOCK, violin

Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust Susan B. Levy Chair

PHOEBE CARRAI, violoncello Anonymous, Italy, c. 1690 Osher Cello Chair Endowment

GONZALO X. RUIZ, oboe

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

ALANA YOUSSEFIAN, violin

Jason Viseltear, New York, 2016; after Carlo Giuseppe Testore

KEIRAN CAMPBELL, violoncello

Timothy Johnson, Connecticut, 2018; after Nicolo Gagliano, 1785

DAVID DICKEY, oboe

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

VIOLIN Carla Moore, concertmaster

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

Jolianne von Einem

Rowland Ross, Guildford, England, 1979; after A. Stradivari

Lisa Grodin †

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

Katherine Kyme

Carlo Antonio Testore, Milan, Italy, 1720

Anthony Martin

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

Maxine Nemerovski

David Tecchler, Rome, Italy, 1733

Sandra Schwarz

Anonymous, School of Cremona, 1745

Noah Strick

Celia Bridges, Cologne, Germany, 1988

Lisa Weiss

Anonymous; after Testore

VIOLA Maria Ionia Caswell *

Anonymous, Mittenwald, Germany, c. 1800

Ellie Nishi

Anonymous, Germany, 18th Century

Daria D’Andrea

Gregori Ferdinand Wenger, Germany, 1752

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

VIVALDI the teacher VIOLONCELLO

HARPSICHORD

William Skeen bc

Hanneke van Proosdij bc

Anonymous, Northern Italy, ca. 1680

Paul Hale

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

DOUBLE BASS

John Phillips, Berkeley, 1996; after Giusti, Italy, 17th century Generously lent by Nicholas McGegan & David v.R. Bowles

ORGAN Hanneke van Proosdij bc Gerrit C. Klop, Holland, 1990

Kristin Zoernig bc

Joseph Wrent, Rotterdam, Holland, 1648

THEORBO

* Principal â€ Principal 2nd Violin bc Continuo

David Tayler bc

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

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PROGRAM NOTES For the sake of clarity and brevity, compositions by Vivaldi in this program will be referred to by their number in the Ryom Verzeichnis [catalog], or RV.

T BRUCE LAMOTT

he vast majority of Antonio Vivaldi’s prolific compositions resulted from his various responsibilities in his long teaching career. Aside from his forty-six operas, most of his five hundred-plus concertos, ninety solo sonatas, and dozens of choral works resulted from his thirty-year association as teacher, conductor, and composer for the orphans in the Ospedale della Pietà, one of four such institutions with prominent musical establishments in Venice. Founded in 1336, the Pietà was unique in being both single-sex and accepting infant girls born both in and out of wedlock, provided the child was small enough to fit in a box near the door. To this day, a marble plaque embedded in the wall of a later church of Santa Maria della Pietà invokes the warning of Pope Paul III in 1548 of dire consequences for parents abandoning children there if they could afford to raise them. Music education at the Venetian ospedali was largely based on a peer-teaching system, in which an accomplished senior student known as a figlia di cori (cori meaning musical establishment as a whole, not just singers) would be assigned to teach younger students. This minimized the number of male teachers, contracted one year at a time, in the all-female environment. After a brief stint as a priest, Vivaldi was first hired by the Pietà as a maestro di violino at age 25 in 1703. More than once his annual contract was terminated and reinstated by the board between 1703 and 1717. With his reputation grew the status of the Pietà, which elevated him to maestro di coro, allowing him to focus more on composing and conducting. Performances at the Pietà and its rival ospedali became a must-see for visitors to Venice, and not just for the music. Contemporary accounts by male writers never fail to comment on the musicians, such as this cringe-worthy observation by the British choreographer, John Essex.

Antonio Vivaldi

The Harpsichord, Spinnet, Lute and Base Violin, are instruments most agreeable to the Ladies: There are some others that really are unbecoming to the Fair Sex; as the flute, Violin and Hautboy [oboe]; the last of which is too Manlike; and would look indecent in a Woman’s Mouth; and the flute is very improper, as taking away too much of the juices, which are otherwise more necessarily employ’d, to promote the Appetite, and assist Digestion.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

VIVALDI the teacher

While the identities of most of Vivaldi’s pupils at the Pietà are unknown, he immortalized a few by writing their names in his scores. They are identified only by their first names, such as the principal violinist known as Chiara (Chiareta) (1718–1796) whose name appears on six concertos, including RV 372a. Known also as a singer, organist, and player of the viola d’amore, she was made a maestra (conductor) in 1762, one of adult figlie who continued at the Pietà well into middle age. The orphanage became a virtual conservatory whose alumnae became some of the most prominent instrumental teachers in Venice. However, for the majority of those women entering the secular world, exiting the Pietà also meant leaving their instruments behind, as there was no place for a virtuosa instrumentalist in the musical life of Venice or elsewhere. Only those few singers who found their way to the opera stage could continue to perform.

Vivaldi’s tutelage extended past the walls of the Pietà, however. His most illustrious pupil was undoubtedly Johann Sebastian Bach, a “distance learner” who studied, played, and transcribed music from Vivaldi’s widely circulated publications while in Weimar. Vivaldi had a more personal connection with an acquaintance of Bach, the court violinist and later concertmaster of the electoral court of Dresden, Johann Georg Pisendel (1688–1755). Pisendel came to Venice in the entourage of Elector Friedrich August II of Saxony, and took violin and composition lessons from Vivaldi periodically for the next two years. He returned to Dresden in 1717 with over forty of Vivaldi’s instrumental works copied in his own handwriting (including tonight’s RV 507) and added to his collection several works sent by Vivaldi in the next twenty years. A century after Pisendel’s death, these works were discovered in a cabinet behind the organ in Dresden’s Electoral Court Chapel, and today they constitute the largest number of Vivaldi manuscripts outside of Italy.

Corelli: Concerto Grosso Op. 6, No. 7 in D major Arcangelo Corelli was the most famous Italian violinist/ composer of the generation preceding Vivaldi. Though his published oeuvre consisted of only six printed collections, these works were widely imitated throughout Europe. Study with Corelli in Rome was a major credential for Italian violinists, including Frencesco Geminiani. Corelli’s posthumous publication of twelve concerti grossi established a model in which a solo group of instruments (known as the concertino) alternated with the whole ensemble (ripieno, or

Arcangelo Corelli

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PROGRAM NOTES tutti). In this concerto, Corelli adds to the textural contrast of solo and tutti by adding dynamic contrasts of soft (piano) and loud (forte).

Vivaldi: Concerto for Two Violins in C major, RV 507 This concerto, one of those copied by Pisendel and taken to Dresden, is a unique take on the concept of “Vivaldi as teacher,” as it is clearly a contest between equals. The teacher/student relationship is obscured by its near equality of solo parts, and leads us to imagine a possible face-off between Pisendel and Vivaldi himself. The responding part takes up the challenge proposed by the leading part, not in a student-level easier range but identically at the unison. The poignant Largo is a lyrical siciliana over gently rocking unisons in the violins and violas. The standoff climaxes in the final Allegro, with brilliant passagework and high-altitude leaps to the extremities of the violin’s range. The busy figuration animates a slow-moving harmonic progression which Pisendel notated in half-note chords, a clear example of “animated homophony.”

Vivaldi: Concerto for Two Oboes in D minor, RV 535 The Pietà was noted for its extensive and unusual instrument collection, and the girls played a variety of woodwinds, brass, and even timpani. Vivaldi wrote twenty concertos for solo oboe in addition to concertos for two and three oboes and concertos with other instruments, such as RV 548. In contrast with the preceding concerto, RV 535 for two oboes and strings reflects more of a teacher/student collaboration than a competition. The two oboes form a composite sound in parallel motion, with the second oboe always below the first. It opens, not with an orchestral tutti, but rather with the soloists in a gentle dialogue with the cello and bass. Mellifluous triplets in the Largo are supported by a simple repeated bass line, and the final Allegro

molto is characterized by terse, interrupted phrases.

Vivaldi: Concerto for Two Violins and Two Violoncellos in G major, RV 575 Although officially a concerto for “two violins and two cellos,” this concerto is more accurately a contest between two duos, each locked in parallel thirds. (The image of tandem skydivers comes to mind.) Running scales introduce the outer movements, while the Largo gently rocks in close harmony over a pulsing bass. The final Allegro becomes a call-and-response between the pairs of violins and cellos before the violins soar into a lyrical melody above agitated oscillations in the cellos.

Vivaldi: Concerto for Two Violoncellos in G Minor, RV 531 Freeing two cellos from their obligations in the utilitarian continuo group, Vivaldi introduces the soloists at the outset of this concerto with virtuosic passagework rather than the customary orchestral ritornello. As in RV 507, the soloists are equals, performing in competitive alternation without interference from the upper strings. A prominent figuration in the outer movements is the rapid reiteration of four notes--termed Schwärmer (“swarmers”) by German theoreticians because of its semblance to buzzing bees--familiar from its use in The Four Seasons. In the Largo, the umber sonority of a cello trio is created by the addition of the continuo cellist. The final Allegro opens with catchy offbeat syncopations before the musical acrobatics of the soloists begins again.

Vivaldi: Concerto for Oboe and Violin in B-flat major, RV 548 Vivaldi’s writing for the oboe—as well as the solo voice—is sometimes criticized for being too “violinistic,” but in this concerto, he clearly differentiates the solo instruments

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

according to what they do best, called “idiomatic” writing. In the charming opening movement, for example, the oboe is allowed to sing above the violin’s rapid undulations without being compelled to reciprocate. Likewise in the Largo, the oboe plays a plaintive siciliana melody while the violin creates a rhythmic filigree across all four strings in the instrument. The two soloists then harmonize together in parallel thirds in the lighthearted finale.

VIVALDI the teacher

Vivaldi: Concerto for Violin in B-flat major, RV 372a “per Chiareta” In contrast to the preceding student-level works, this solo concerto was written to showcase the talents of one of Vivaldi’s most accomplished students, one of six in which her name appears. While the outer movements of the concerto are capricious and unpredictable, challenging the soloist with every “violinistic” trick in the book, the middle movement Andante is a gentle series of variations on a repeated bass line (basso ostinato). This was an opportunity for the soloist to show her expressivity and skill in ornamentation, just as was also expected of opera singers. The strings introduce the theme and maintain an affect of serenity throughout, even though the figuration of the solo violin increases in complexity with each variation and climaxes with a shimmering bariolage.

Geminiani: Concerto Grosso No. 12 in D Minor, “La Follia” (after Corelli) Our program began and ends with the music of Corelli—here transformed by his student Francesco Geminiani. A virtuoso violinist who settled in London in 1714, Geminiani cashed in on Corelli’s posthumous popularity by reworking his teacher’s sonatas for violin and harpsichord into concerti grossi by dividing the solo violin part between two players and expanding and harmonizing the harpsichord/cello continuo for a string ensemble of two violins, viola, cello, and bass. Variations on the bass line of the Spanish dance “La follia” were popular with Baroque composers including Vivaldi, and Corelli’s contrasting variations—unlike Chiareta’s Andante—lend themselves to a division between soloistic virtuosic variations and harmonically sustained variations given to the orchestra.

Francesco Geminiani

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

GLOSSARY OF TERMS BRUCE LAMOTT

cadenza - free improvisation played without accompaniment in a concerto or aria

parallel thirds - a melodic line harmonized by the same line sung three notes above or below

concerto - a composition for soloist (a concerto grosso if more than one soloist) accompanied by orchestra, usually in three movements, fast-slowfast.

passagework - rapidly descending or ascending scales or other stepwise movement

double, triple stop - simultaneously playing two or three strings with a single bow-stroke figuration - distinctive melodic patterns related by Baroque theorists related to rhetorical figures of speech. Terms for prominent figuration found in this program are: arpeggio - the breaking up of chords into individual notes, played in succession bariolage - rapid oscillations on a stringed instrument in which an open string alternates with a string stopped by a finger on the fingerboard bombus - rapidly repeated groups of four notes, or one + three repeated notes sequence - a short melodic segment repeated above or below on other notes of the scale

ritornello - the musical “frame” of a concerto, often played in its entirety by the whole ensemble (tutti) at the beginning, middle, and end of a movement, and partially in between. siciliana - a gently lilting pastoral dance in 6/8 or 12/8 time popular with Baroque composers for slow movements and bucolic topics trio sonata - popular Baroque genre written for two melody instruments playing above the melodic bassline (cello) and keyboard (or lute) harmonization collectively known as the “basso continuo.” [How many people does it take to play a trio sonata? Four.] virtuosity - conspicuous display of technique. The adjectival form is “virtuosic,” as “virtuous” would not be an accurate description of many virtuosos.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

NIC’S PICKS RECORDINGS

BOOKS

VIVALDI: Concerti per due Violoni * (Amandine Beyer, Giuliano Carmignola, Gli incogniti) Harmonia Mundi, 2016 VIVALDI: Il teatro alla moda * (Amandine Beyer, Gli incogniti) Harmonia Mundi, 2015

Vivaldi’s Virgins * by Barbara Quick Harper Perennial, 2008

VIVALDI: The Four Seasons; Violin Concertos * (Nicholas McGegan, Elizabeth Blumenstock, Philharmonia Baroque Orchestra) Philharmonia Baroque Productions, 2015 VIVALDI for Diverse Instruments (Nicholas McGegan, Elizabeth Blumenstock, Philharmonia Baroque Orchestra) Reference Recordings, 1997

*Items available at the Lobby Boutique.

Antonio Vivaldi: A Life in Documents by Micky White Ad Ilissum, 2018 [will be released November 2018]

DVDs Antonio Vivaldi: Un prince à Venise 2006

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

New Esterhรกzy Quartet

Our

Season

2018-2019 A Special Schubert Event

Winterreise

arranged for strings featuring baritone Paul Max Tipton November 30, December 1 & 2

Haydn & His Teachers

Fux, C.P.E. Bach, Haydn, & More! February 1 & 2

Not Your Basic B

Haydn, Beethoven, Brahms March 29, 30, 31

www.newesterhazy.org

DECEMBER 5–9

Patrick Dupré Quigley, conductor

Margot Rood soprano

Reginald Mobley countertenor

Steven Soph tenor

Steven Eddy baritone

2018/2019 — 38th Season Patrick Dupré Quigley, conductor Margot Rood, soprano Reginald Mobley, countertenor Steven Soph, tenor Steven Eddy, baritone

PROGRAM Claudio Monteverdi (1567–1643) “Confitebor tibi Domine,” SV266 from Selva Morale e Spirituale Margot Rood, soprano Steven Soph, tenor Steven Eddy, bass [no break – please hold applause] Johann Sebastian Bach (1685–1750) Cantata No. 61 Nun komm, der Heiden Heiland, BWV 61 Margot Rood, soprano Reginald Mobley, alto Steven Soph, tenor Steven Eddy, bass

Antonio Vivaldi (1678–1741) Nisi Dominus, RV 608

Reginald Mobley, alto

INTERMISSION

Length of performance is approximately one hour and forty-five 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 cellular telephone or other noisemaking devices before the performance begins.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PHILHARMONIC

Henry Purcell (1659–1695) The Frost Scene (Act III, Scene II), from King Arthur

Margot Rood, soprano Reginald Mobley, alto Steven Soph, tenor Steven Eddy, bass J. S. Bach Cantata No. 140 Wachet auf, ruft uns die Stimme, BWV 140 Margot Rood, soprano Reginald Mobley, alto Steven Soph, tenor Steven Eddy, bass

Patrick Dupré Quigley’s appearance and the 8th annual LGBT Reception are made possible with generous support from

Mr. Thomas E. Horn and the Bob Ross Foundation The December 7th performance is made possible with generous support from

Kay Sprinkel Grace Join Bruce Lamott for a Pre-concert Talk forty-five minutes prior to your concert.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

FEATURED ARTISTS PATRICK DUPRÉ QUIGLEY CONDUCTOR

onductor Patrick Dupré Quigley is the founder and artistic director of the internationallyacclaimed ensemble, Seraphic Fire. He frequently collaborates with the Cleveland Orchestra, the San Francisco Symphony, and the New World Symphony. He was nominated for a GRAMMY® Award for his recording of Brahms’s Ein Deutsches Requiem. This season, Quigley takes the podium at The Cleveland Orchestra in Mozart, the Utah Symphony in Haydn, and Seraphic Fire in masterworks of Bach, Monteverdi, Pärt, and the Pulitzer Prizewinning David Lang. Mr. Quigley is a Music Director finalist for the Spartanburg Philharmonic, leading that ensemble in Sibelius’s Symphony No. 2, along with music of Gliere and Mozart. In addition to his busy guest conducting schedule, Quigley regularly leads Seraphic Fire on criticallyacclaimed tours. His performances have been described by the press as “extraordinary” (Gramophone), “authoritative” (The Philadelphia Enquirer), “inspirational” (The Chicago SunTimes), “vivid, sensitive” (The Washington Post), and displaying “transformative brilliance” (New York Lucid Culture). He is the recipient of the Robert Shaw Conducting Fellowship, the ASCAP Adventurous Programming Award, and the Louis Botto Award for his entrepreneurial leadership of Seraphic Fire. Over his fifteen seasons at the helm of Seraphic Fire, one of the country’s premiere professional choral-orchestral ensembles, Quigley grew the organization’s budget to $1.6 million, started the Seraphic Fire Youth Initiative, launched the Seraphic Fire Media label (with two GRAMMY® Nominations), established Seraphic Fire’s endowment, inaugurated a unique young artist professional training program with the Herb Alpert School of Music at UCLA, and released fourteen recordings on the SFM label. Quigley holds degrees from the Yale University School of Music and the University of Notre Dame. He lives with his husband in Washington, D.C. where they are restoring a turn-of-the century row home.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PH ILHARMONIC

ailed for her “colorful and vital” singing by The Washington Post, performs a wide range of repertoire across North American stages. Margot was fortunate to make her solo debut at Boston’s Symphony Hall in 2011, and since then has been a frequent soloist with Handel and Haydn Society. The 2018/2019 season marks her debuts with Philharmonia Baroque Orchestra & Chorale, New Jersey Symphony and Charlotte Symphony. Recent and upcoming solo appearances include those with Cleveland Orchestra, Boston Symphony, Rhode Island Philharmonic, New World Symphony, Seraphic Fire, Bach Collegium San Diego, A Far Cry, and numerous concerts with acclaimed ensemble Blue Heron. Margot was formerly a Lorraine Hunt Lieberson Fellow at Emmanuel Music, where she is often featured on Emmanuel’s nationally-known Bach cantata series.

MARGOT ROOD SOPRANO

Margot’s recent and upcoming stage appearances include La Renommée in Lalande’s Les Fontaines de Verasilles and Francesca Caccini’s Alcina with Boston Early Music Festival, Galatea in Acis & Galatea and First Witch in Dido & Aeneas with Handel and Haydn Society, Hyacinthus in Mozart’s Apollo et Hyacinthus with Emmanuel Music, Amor in Gluck’s Orfeo ed Euridice with Grand Harmonie, and Johanna in Sweeney Todd with St. Petersburg Opera. Margot recorded the role of Emily Webb in Rorem’s Our Town with Monadnock Music which was widely released by New World Records in 2017. In addition to opera and oratorio, Margot has performed as soloist with some of the United States’ premiere new music ensembles, and is a past recipient of the St. Botolph Club Foundation’s Emerging Artist Award for her work in new music. Notable new music engagements include her Carnegie Hall debut in the world premiere of Shawn Jaeger’s Letters Made with Gold, and Kati Agocs’ Vessel and Arvo Pärt’s Passio with the Boston Modern Orchestra Project. Margot has been invited by composers at Columbia University, University of Pennsylvania, McGill University, and Keene State College for performances and masterclasses. She has recorded numerous world premieres and 21st-century works with Albany Records, New World Records, BMOP Sound, and Sono Luminus. Her solo recording with composer Heather Gilligan, Living in Light, is now available from Albany Records. Margot holds degrees from the University of Michigan and McGill University.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

FEATURED ARTISTS REGINALD MOBLEY COUNTERTENOR

articularly noted for his “crystalline diction and pure, evenly produced tone” (Miami Herald), as well as an “elaborate and inventive ornamentation” (South Florida Classical Review), countertenor Reginald Mobley is highly sought after for baroque, classical and modern repertoire. Past performances of note include premiering a reconstruction of Bach’s Markus-Passion at the Oregon Bach Festival, constructed and led by Matthew Halls, as well as an extensive tour of sixteen concerts around Europe singing Bach’s Matthäus-Passion with the Monteverdi Choir & English Baroque Soloists led by Sir John Eliot Gardiner. He returns to work with the ensemble this season, for a further European tour, concerts of Handel’s Messiah with the Royal Scottish National Orchestra and Purcell’s King Arthur with the Academy of Ancient Music in London. Upcoming engagements includes concerts with Philharmonia Baroque Orchestra & Chorale and New Jersey Symphony. Mobley will also be performing in Mozart Requiem in Poland in 2019 as well as other European dates.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

“superb vocal soloist” (The Washington Post), tenor Steven Soph performs music spanning the medieval to modern day. Upcoming in 2018-2019, Steven makes his Philharmonia Baroque Orchestra & Chorale debut in this program, as well as his New Jersey Symphony Orchestra, Arkansas Symphony, Champaign-Urbana Symphony Orchestra, Variant 6, and Bourbon Baroque debuts.

PH ILHARMONIC

STEPHEN SOPH

Recent seasons’ highlights include joining The Cleveland Orchestra for the Severance Hall premier performances of Stravinsky’s Threni id est Lamentationes Jeremiae Prophetae conducted by Franz Welser-Möst, an allHandel program led by Ton Koopman, and Mozart’s Requiem led by Patrick Dupré Quigley. Steven performed Reich’s The Desert Music with the New World Symphony and Seraphic Fire; Mozart’s “Orphanage” Mass with San Diego’s Mainly Mozart Festival Orchestra; and Mozart’s Mass in C minor with the Bach Society of St. Louis and the Mainly Mozart Festival Orchestra. He has performed Handel’s Messiah with the Bach Society of St. Louis, Master Chorale of South Florida, Handel Oratorio Society (Augustana College), Spire Chamber Ensemble, and Apollo Master Chorus of Chicago; Vivaldi’s Introduction and Gloria with Voices of Ascension; Mozart’s Requiem and Haydn’s Lord Nelson Mass with Master Chorale of South Florida and Seraphic Fire; Haydn’s Creation with Texas Choral Consort, Colorado Pro Musica, and Juilliard415; and Evangelist in the North American debut of Keiser’s Brockes-Passion at the University of Connecticut.

TENOR

An active Bach interpreter, Steven has performed as the Evangelist in the St. Matthew Passion with Chicago Chorale, Seraphic Fire (Mendelssohn version), Bach Society of St. Louis, Brown University Chorus, and Boston University’s Marsh Chapel. He has performed as the Evangelist in the St. John Passion with University of North Texas’ Collegium (1725 version), Concord Chorale, Chicago Chorale, and Boston University’s Marsh Chapel. Steven appeared in Bach’s B minor Mass with Symphony Orchestra Augusta, the Indianapolis Baroque Orchestra, and Chicago Chorale; Bach’s Magnificat with Voices of Ascension, True Concord Voices & Orchestra, and Seraphic Fire; and BWV 34 with The Cleveland Orchestra. Steven holds degrees from the University of North Texas and Yale School of Music, where he studied with renowned tenor James Taylor. He was a 2014 Carmel Bach Festival Adams Fellow and 2016 Oregon Bach Festival Young Artist.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

FEATURED ARTISTS STEVEN EDDY BARITONE

raised for his “polished baritone and acting skills” and “sterling musical and physical work,” baritone Steven Eddy is a versatile performer with a broad repertoire spanning opera, oratorio, and art song. Mr. Eddy’s recent engagements have included concerts with the American Symphony Orchestra at Carnegie Hall in Richard Strauss’s Friedenstag; soloist with Distinguished Concerts International in Howard Goodall’s Eternal Light; Charlie (Three Decembers), Opera Birmingham; a regular soloist with Brooklyn Art Song Society; Bach’s WeihnachtsOratorium, Choral Arts Philadelphia; and, Messiah, Handel Choir of Baltimore. Additionally, he performed with LoftOpera as Raimbaud in Rossini’s Le comte Ory and toured with the Grammynominated choral ensemble Seraphic Fire. He returns to Seraphic Fire this season with several engagements, is concert soloist with Columbia Pro Cantare; guest with Brooklyn Art Song Society and is Watson in Sherlock Holmes with American Lyric Theater. An avid concert performer and Baroque music specialist, Mr. Eddy appears frequently with Seraphic Fire, American Classical Orchestra, Handel Choir of Baltimore, New York Virtuoso Singers, Holy Trinity Church Wall Street, The Choralis Foundation, Columbia Pro Cantare, Ensemble VIII, Saginaw Choral Society and Kalamazoo Bach Festival. He has a wide range of oratorio and concert works, some of which include Handel’s Messiah, Bach’s Mass in B Minor, St. Matthew Passion and many cantatas, Monteverdi’s Vespro della Beata Vergine, Mozart’s Mass in C minor, Orff’s Carmina Burana, the Requiems of Mozart, Fauré and Duruflé, and Mahler’s Lieder eines fahrenden Gesellen. Mr. Eddy completed his Specialist of Music in Voice degree at the University of Michigan School and received his Bachelor of Music Education and Master of Music degrees from the Indiana University Jacobs School of Music. Church Wall Street Winner of the Joy in Singing Debut Artist Award and Positively Poulenc! competitions, Mr. Eddy has also been honored by the Metropolitan Opera National Council Auditions, the Oratorio Society of New York’s Lyndon Woodside Competition, the Howard County Arts Council Rising Star, and the University of Michigan Friends of Opera competitions and is the recipient of the Earl V. Moore Award in Music from the University of Michigan.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

NOTES FROM THE CONDUCTOR

his program features two sides of Bach’s musical personality: the florid, Italianate Bach who studied the music of the Roman priest Antonio Vivaldi, and the firm, Lutheran Bach in the capitol of Saxony. The first half sees a nearly-Handelian cantata for the first Sunday of Advent, BWV 61, Nun komm der Heiden Heiland, surrounded by its Italian predecessors. One of the finest Baroque cantatas written for the human voice, Vivaldi’s Nisi Dominus is a dramatic catharsis on Psalm 126 (127) for alto. It explores both the depths and the heights, musically and vocally. The concert begins with Vivaldi’s Venetian musical ancestor Claudio Monteverdi.

PATRICK DUPRÉ QUIGLEY

The second half begins with a secular Winter gem, the Frost Scene, from Purcell’s King Arthur, defender of England against the Saxons. This tongue-in-cheek miniature sees Love conquering Reason, warming the cockles of music’s first Grinch, The Cold Genius. There is no chill to Bach’s genius, however, in the evening’s final cantata: BWV 140, Wachet auf, ruft uns die Stimme. A regal masterpiece, used only on years of early Easters, this brilliant vocal-orchestral concerto for the week preceding Advent is at the very heart of Bach, the Lutheran. Bach handles the chorale tune so delicately that one can feel his reverence through his pen stroke.

Some Interesting Facts… BWV 61 and BWV 140 were composed for a similar purpose and premiered 7 days shy of 17 years apart. In the first, we see a serious, young Bach trying to prove himself at the Weimar Ducal Court in his new position as Director of Music. In the latter, we find Bach a year into the job where he would spend the rest of his life: Thomaskantor in Leipzig. The writing is self-assured, warm, and joyous, and shows Bach at his most melodic. That the “Cold Genius” aria is not the first piece we think of when Purcell’s name is mentioned is a testament to the even greater triumph that is Dido and Aeneas. In the “Frost Scene”—a play within the larger five act play of King Arthur—we encounter Cupid and the Cold Genius locked in a rhetorical battle over the value of Reason without Love. With fantastical effects from the orchestra and vocalists, Purcell conjures up a chilly world that is thawed by the warmth of Love. Vivaldi’s Nisi Dominus is a concerto for the Alto voice. There is some thought that, as the piece cannot be definitively traced back to the all-female choir and orchestra at the Pieta, Vivaldi’s primary employer, that this piece may have been written for performing forces outside of the Venetian orphanage, thus performed by both countertenors and contraltos. The scope of the piece, alone, would be daunting for most singers. It is, however, a primer on the facility of the lower treble voice— alternatingly mourning, soulful, didactic, virtuosic, and plaintive. Its harmonic language remains fresh and bracing to even the most modern-biased ear.

King Arthur from “Christian Heroes Tapestry,” c. 1385

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

THE PLAYERS and their INSTRUMENTS Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

VIOLIN

VIOLINO PICCOLO

Celia Bridges, Cologne, Germany, 1988 Egon & Joan von Kaschnitz Concertmaster Chair

Anonymous, Italy, 17th century

Noah Strick, concertmaster

Elizabeth Blumenstock

Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust Susan B. Levy Chair

Lisa Grodin

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

Noah Strick

VIOLA

Ellie Nishi *

Anonymous, Germany, 18th century

Maria Ionia Caswell

Anonymous, Mittenwald, Germany, c. 1800

Stephen Goist

Katherine Kyme

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

Tyler Lewis

VIOLONCELLO

Carlo Antonio Testore, Milan, Italy, 1720

Anonymous, Italy, c. 1800

William Skeen bc

Anonymous, Northern Italy, ca. 1680

Anthony Martin

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

Phoebe Carrai

Anonymous, Italy, c. 1690 Osher Cello Chair Endowment

Carla Moore

Johann Georg Thir, Vienna, Austria, 1754

Maxine Nemerovski

David Tecchler, Rome, Italy, 1733

Lisa Weiss †

Anonymous, London, England; after Testore

Alicia Yang

Paul Hale

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

DOUBLE BASS Kristin Zoernig bc

Joseph Wrent, Rotterdam, Holland, 1648

Richard Duke, London, 1762

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PHILHARMONIC SOPRANINO RECORDER

THEORBO

Alec Loretto, New Zealand, 2001; after Thomas Stanesby, Jr., ca. 1725

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

Hanneke van Proosdij *

David Tayler bc

John Lenti bc

OBOE

Klaus Jacobsen, London, England, 2001; after 17th-century Italian models

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

TAILLE

GUITAR

John Lenti bc

John Rollins, Bellingham, Washington, 2011; after Jean Voboam, 1686

HARPSICHORD

Hanneke van Proosdij bc Jonathan Dimmock bc

Michael DuPree

Peter van der Poel, Bunnik, The Netherlands, 1987; after Robert Wijne, ca. 1750

BASSOON

John Phillips, Berkeley, 1996; after Giusti, Italy, 17th century Generously lent by Nicolas McGegan and David v.R. Bowles

ORGAN

Danny Bond bc

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

Jonathan Dimmock bc

Robert Byrd, Salem, Massachusetts, 1990s

HORN

R.J. Kelley *

Richard Seraphinoff, Bloomington, Indiana, 2006; after Hoffmaster, England, c. 1740

PERFORMING MEMBERS OF THE CHORALE Tonia d’Amelio, soprano Barbara Rowland, soprano

* Principal † Principal 2nd Violin bc Continuo

Jacque Wilson, alto Corey Head, tenor

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PROGRAM NOTES

T BRUCE LAMOTT

he horizons of what is known as “Baroque music” stretch over a vast territory only suggested by the content of this program. Listening to the stylistic variety represented here may cause us to search for common traits which connect this diverse repertoire, perhaps leading to the conclusion that, like the “Terra Incognita” of early map-makers, the art history designation “Baroque” was freely applied to music with a vague conception of the extent of the terrain. The common thread is the triumph of the text over the intricacy of the music, especially the rule-bound imitative polyphony of the Renaissance. Opera contributed a new kind of singing: monody in which a singer sang only to the attentive accompaniment of basso continuo, a bassline (viol or cello) with harmonies played on a keyboard (harpsichord, organ) and/or lute. A new development, recitative, even freed singers from being subject to a beat or pulse, rather singing in the free rhythm of the spoken language.

MONTEVERDI: “Confitebor tibi Domine,” SV266 from Selva Morale e Spirituale The cradle of the Baroque period was the Basilica of San Marco and the first public opera house in Venice, where as chapelmaster (maestro di capella) and composer of the operas The Return of Ulysses and The Coronation of Poppea, Monteverdi brought the two worlds together. Like Bach’s B Minor Mass, the Selva Morale e Spirituale (Moral and Spiritual Forest, 1641) was Monteverdi’s end-of-life retrospective in which he compiled motets, spiritual madrigals, psalms, songs, and a Mass from his 40-year career in church music.

Claudio Monteverdi

This is a setting of Psalm 111, one of four psalms sung at Vespers on Sundays and important Feast Days. The opening phrase is introduced by a solo singer in monody, then echoed by the other voices, singing together in chords (homophony). While much of the psalm is sung with churchly restraint, operatic elements make their appearance later in the work. A jarring Sanctum et terribile nomen eius (Holy and fearsome is his name), juxtaposes a prolonged “sanctum (holy)” with suddenly quaking repetitions of “terribile (fearsome).” Similar to tenor solos in his opera Orfeo and the Vespers of 1610, Monteverdi breaks from the relative austerity of this work to give the soprano a moment of unrestrained vocalism in a virtuosic free-fall at the Gloria Patri. This kind of prolonged cadenza has excited the anticipation of listeners to this day in the work of the late Aretha Franklin.

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PHILHARMONIC VIVALDI: Nisi Dominus, RV 608 The sacred vocal music that Vivaldi composed for student performers during his long association with the Venetian orphanage, the Ospedale della Pietà, has been long eclipsed by the hundreds of instrumental concertos he wrote at the same time. Unlike the instrumental music which circulated throughout Europe in publications and manuscript copies (such as those of J.J. Pisendel, discussed in notes for our previous concert), sacred vocal works, if they were kept at all, remained with the institution for which they were written. Vivaldi wrote even more settings of music for the Divine Office of Vespers than he did for the Mass. Why? Because not only was it the only one of the seven daily monastic services performed in public, but, by virtue of not being a sacrament, it was a performance for which admission could be charged. Afternoon Vesper concerts became a counterpart of opera performances in the evening, and so lucrative that the four Venetian ospedali alternated weekly throughout the month, like athletic teams in rotation. Nisi Dominus is the Vesper Psalm 127 in the form of a solo motet for mezzo soprano and strings, which, like all public performances at the Pietà was performed from behind an ornamental grillework in an organ loft above the altar. Unfortunately, there is no record of the mezzo soprano figlia del coro who sang it, and though it is now popular with countertenors, there is no record of men—even castrati— singing with the girls of the Pietà. However, we do have a good idea of who played the viola d’amore obbligato in the Gloria Patri, a movement which H.C. Robbins Landon calls “a highpoint in the whole of Vivaldi’s music.” Anna Maria della Pietà (performers were known, if at all, only by their first names) was Vivaldi’s best-known principal violinist, elevated in 1737 to the post of conductor, a maestra di coro, and one of the most sought-after violin teachers in Venice. Vivaldi wrote two viola d’amore concertos for Anna Maria, who was known also to play cello, theorbo, lute, mandolin, and harpsichord. Vivaldi’s integration of the text and characteristic musical devices is impressive. A concerto-like ritornello opens the work with industrious rhythms and precipitous leaps appropriate to “Unless the Lord build the house.” The second and third movements contrast the hesistant futility of rising before dawn [words to live by, in my opinion] with the frenetic scales of “Rise after you have rested.”

Antonio Vivaldi

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PROGRAM NOTES “The bread of sorrow” (doloris) is word-painted with a bass descending by half-steps, a typical figure for operatic laments. And Cum dederit is a gently rocking siciliana, a common operatic conceit for sleep arias. In what Vivaldi scholar Michael Talbot calls a coup de théâtre, Vivaldi saves the greatest surprises for the Gloria Patri. Customarily a burst of energy and splendor (as in the preceding Monteverdi) with the effect of a finale, here Vivaldi introduces the soft, silvery quality of the viola d’amore, and, according to Landon “...the praise for the Holy Trinity appears like some marvelous dream, a trance of beauty.” In the final two movements, Vivaldi returns to convention. Sicut erat (“As it was in the beginning”) is typically punned with a return to the music of the beginning movement. And, as in other sacred solo motets from the Baroque period to Mozart’s “Alleluia,” Vivaldi elaborates the final “Amen” into a separate movement for unabashed coloratura display.

PURCELL: King Arthur, “The Frost Scene,” Act III, Scene II The confluence of Italian and French Baroque opera joins with English popular song in the dramatic works of Henry Purcell. King Arthur, a “dramatick opera” or semi-opera with spoken dialogue, dancing, and special effects, was a collaboration between England’s celebrated poet John Dryden and Henry Purcell, 28 years his junior and master of music for England’s royal court. It was first produced in 1691, and although it responds to troubled times for the Restoration government, we fortunately need know nothing about that to enjoy this self-standing scene.

Henry Purcell

It is a delightful confrontation between a hot Cupid awakening Cold Genius, who is melted by the power of love. Musically, the scene begins with an Italianate recitative, full of energetic bravura to contrast with the frozen C minor repeated chords that introduce the character Cold Genius. He picks up the icy motif with shivering trills added above his repeated notes. Once thawed by Cupid’s syncopated minuet, more in the style of an English ballad than an aria, Cold Genius responds with a stately song of recognition Following another extravagant recitative by Cupid, the orchestra plays a Prelude suffused with dotted rhythms, most likely a dance number imitating the entrance of a stiffly moving chorus of Cold People. Their famous

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PHILHARMONIC “shivering chorus” echoes the introduction of Cold Genius. Cupid proceeds to warm them to the power of love as well, and a flurry of violins frame their response.The scene climaxes with a duet for Cupid and Cold Genius, written in the imitative style of a fugue. It is also cast en rondeau, a French rondo form in which the refrain “Sound a parley, ye fair, and surrender” recurs after episodes that move to new keys and topics. Having visited both the prevailing Italian and French operatic styles, Purcell ends the scene with a lively English hornpipe.

J.S. BACH: Cantata No. 61 Nun komm, der Heiden Heiland Cantata No. 140 Wachet auf, ruft uns die Stimme In the seventeen years which separate these two cantatas (1714 and 1731), Bach went from being court organist at the small ducal court in Weimar to Cantor of Leipzig’s St. Thomas Church, responsible for the music of four churches. Hearing these works on the same program give us the opportunity to observe young Bach’s novel testing of forms and mature Bach’s masterful organization of a large tectonic structure. Both address the same topic, the anticipation of Christ’s coming, not as an infant but as the Redeemer returning to claim his own. Both are based in part on Lutheran chorales (hymns), though BWV 61 uses one-and-ahalf while BWV 140 is permeated with a single tune. BWV 61, for the First Sunday in Advent, begins with a classic French overture but interwoven with the 4-line chorale, Nun komm, der Heiden Heiland. The the first line is sung in succession by all four voices, the second line simultaneously (homophonically). The third line becomes the subject of a lively fugue—a component of the standard-issue French overture—and when the slow, dotted rhythms of the overture return, the voices conclude together with the fourth line This the last we hear of this chorale. A sermonizing tenor recitative is followed by a mellifluous aria accompanied by unison violins and violas. The bass sings the words of Jesus at the door, knocking to the accompaniment of pizzicato strings. The soprano opens the door and invites Him into her heart in a brief aria. The final chorus begins in medias res with the second half of another Advent hymn, Wie schön leuchtet der Morgenstern (How Brightly Shines the Morning Star), set in a complex texture of running violins and imitative voices.

Johann Sebastian Bach

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PROGRAM NOTES There is a more developed narrative in the “sermon in song” of BWV 140. The overtones of the Last Judgment in the parable of the wise virgins who keep their lamps lighted in constant expectation of their Bridegroom are dispelled by emphasis on a personal and loving relationship with Jesus, a fundamental tenet of Pietist Lutheranism. Nonetheless, elements of BWV 61 can be seen in BWV 140. The dotted rhythms of the French overture become the approaching footsteps of the Bridegroom in the opening ritornello, and the bass voice of Jesus joins with the soprano soloist in two charming love duets. However, the overall structure is both more consistent and more complex. The consistency lies in the placement of the same well-known chorale tune at the beginning (no. 1), middle (no. 4), and end (no. 7), in Bach’s characteristic chiastic (cross-shaped) form; the centerpiece (no. 4) is flanked by a recitative and duet on either side. The chorale itself appears in three forms, from most complex to the simple harmonization of congregational hymn-singing. The opening chorale fantasia weaves each line of the text separately with the orchestral ritornello setting the scene: the inexorable approaching Bridegroom, the rushing of the maidens to meet Him, and the watchman’s horn sounding on the watchtower. The first duet is one of seduction, with the voice of Jesus and the believer often alternating in dialogue and interwoven with a sinuous violin obbligato. The second duet, with the oboe, is one of galant rapture, as close as Bach gets to operatic lovemaking. The dance of the wedding feast—one of Bach’s greatest hits— accompanies the tenor line rejoicing that Zion has indeed heeded the watchmen’s warning. “Wachet auf, ruft uns die Stimme.” Lutheran hymn by Philipp Nicolai, c. 1599

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PHILHARMONIC GLOSSARY OF TERMS BRUCE LAMOTT

BWV - (Bach Werke Verzeichnis) the catalogue of works by J.S. Bach, arranged by genre, not chronology, starting with the cantatas. Cantatas were numbered incorrectly according to their occasion in the church calendar and can only be used for identification. For example, BWV 1 is a much later work than BWV 106. cantata - a multi-movement work for vocal soloist and/or chorus accompanied by basso continuo or orchestra. Bach was expected to provide cantatas (though he didn’t call them that, preferring just Musik, or Haupt-Musik) for 59 occasions in the church year as well as secular cantatas for the birthdays and visits of Saxon nobility. chorale - a congregational hymn sung in the Lutheran tradition and the source of most of Bach’s sacred vocal music. coloratura - an prolongation of a single syllable over a number of notes, often for virtuosic display. Also called melisma. dotted rhythm - the repeated pattern of a long note (prolonged in musical notation by a dot, hence the name) followed by a very short one, often used to communicate majesty and nobility. It is a characteristic of the first section of a French overture.

homophony - a musical texture in which parts sound simultaneously in harmony (chords), aligned rhythmically. imitative polyphony - a musical texture in which parts enter at different times playing the same (or similar) music. Its simplest form is the canon or round and its most complex, the fugue. obbligato - an instrumental solo interwoven with a vocal part. Vespers - one of the eight daily monastic services collectively known as the Divine Office. It consists of the singing of psalms and canticles, Scripture lessons, and chants appropriate to the date in the church year. Performed for a public audience in the early evening, the texts of Vespers became large multimovement works by composers in the Baroque and Classic periods, from Monteverdi to Mozart. viola d’amore - a member of the viol family played under the chin, with six or seven-strings above an unfretted fingerboard and an equal number of unstopped strings below which vibrate sympathetically with them. It was noted for its sweet, silvery tone.

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PATRICK’S PICKS RECORDINGS

BOOKS

VIVALDI: Nisi Dominus; Concerto for Strings & Continuo in F etc.* (Andreas Scholl, Australian Brandenburg Orchestra, Paul Dyer) Decca, 2000 “Andreas Scholl and the Australian Brandenburg Orchestra make the Nisi Dominus, RV 608, feel as if they commissioned the work themselves in this all-around brilliant performance.” —Patrick Dupré Quigley BACH: Cantatas, Vol 21 *

The Essential Bach Choir * by Andrew Parrott Boydell Press, 2012 “Written in the voice of a wise practitioner (Andrew Parrott), this is the ultimate manual for deciphering the “who?” of Bach’s vocal music.” —Patrick Dupré Quigley

(Ton Koopman, The Amsterdam Baroque Orchestra & Choir) Challenge Classics, 2006 “This exquisite, no-nonsense performance of Cantata 140 by the Amsterdam Baroque Orchestra & Choir gives us a glimpse into Ton Koopman’s trademark musicality and Bach’s pristine genius.” —Patrick Dupré Quigley

Antonio Vivaldi: A Life in Documents by Micky White Ad Ilissum; 1st edition, 2018

*Items available at the Lobby Boutique

“Micky White illustrates a trueto-life portrait of one of Bach’s heroes through personal and contemporaneous documents.” —Patrick Dupré Quigley

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TEXTS and TRANSLATIONS

PHILHARMONIC

MONTEVERDI: â€œConfitebor tibi Domine,â€? SV266, from Selva Morale e Spirituale [Psalm 111 & Doxology] Confitebor tibi Domine in toto corde meo: in consilio iustorum et congregatione. Magna opera Domini: exquisita in omnes voluntates eius. Confessio et magnificentia opus eius: et iustitia eius manet in saeculum saeculi. Memoriam fecit mirabilium suorum, misericors et miserator Dominus: escam dedit timentibus se. Memor erit in saeculum testamenti sui: virtutem operum suorum annuntiabit populo suo. Ut det illis haereditatem gentium: opera manuum eius veritas et iudicium. Fidelia omnia mandata eius: confirmata in saeculum saeculi: facta in veritate et aequitate. Redemptionem misit Dominus populo suo: mandavit in aeternum testamentum suum. Sanctum et terribile nomen eius: initium sapientiae timor Domini. Intellectus bonus omnibus facientibus eum: laudatio eius manet in saeculum saeculi. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

I will praise you Lord with my whole heart: In the council of the righteous and in the assembly. Great are the works of the Lord: They are studied by all who delight in them. Merciful and wondrous is his work: And his justice will remain for ever and ever. He has instilled remembrance of his wonders, Merciful and compassionate is the Lord: He has given food to those who fear him. He will be mindful for ever of his pledge: He will proclaim the virtue of his acts to his people. That he might give them the inheritance of the peoples: The works of his hands are truth and justice. All of his promises are ordained: confirmed For ever and ever: established in truth and equity. The Lord has sent redemption for his people: He has ordained for ever his pledge. Holy and fearsome is his name: The beginning of wisdom is fear of the Lord. Wise is the man who does all he asks: Praise of him will remain for ever and ever. Glory be to the Father, and to the Son, and to the Holy Spirit. As it was in the beginning, is now, and ever shall be, World without end. Amen.

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TEXTS and TRANSLATIONS J.S. BACH: Num komm, der Heiden Heiland, BWV 61 [Martin Luther (Mvt. 1); Erdmann Neumeister (Mvts. 2-3, 5); Revelation 3:20 (Mvt. 4), Philipp Nicolai (Mvt. 6)] 1. Chorale fantasia Nun komm, der Heiden Heiland, Der Jungfrauen Kind erkannt, Des sich wundert alle Welt, Gott solch Geburt ihm bestellt. 2. Recitative (Tenor) Der Heiland ist gekommen, Hat unser armes Fleisch und Blut An sich genommen Und nimmet uns zu Blutsverwandten an. O allerhöchstes Gut, Was hast du nicht an uns getan? Was tust du nicht Noch täglich an den Deinen? Du kömmst und läßt dein Licht Mit vollem Segen scheinen. 3. Aria (Tenor) Komm, Jesu, komm zu deiner Kirche Und gib ein selig neues Jahr! Befördre deines Namens Ehre, Erhalte die gesunde Lehre Und segne Kanzel und Altar! 4. Recitative (Bass) Siehe, ich stehe vor der Tür und klopfe an. So jemand meine Stimme hören wird Und die Tür auftun, Zu dem werde ich eingehen Und das Abendmahl mit ihm halten und er mit mir. 5. Aria (Soprano) Öffne dich, mein ganzes Herze, Jesus kömmt und ziehet ein. Bin ich gleich nur Staub und Erde, Will er mich doch nicht verschmähn, Seine Lust an mir zu sehn, Daß ich seine Wohnung werde. O wie selig werd ich sein!

1. Chorale fantasia Now come, savior of the gentiles, Recognized as the child of the Virgin, At whom all the world is amazed That God decreed such a birth for him. 2. Recitative (Tenor) The savior has come, And has our humble flesh and blood Taken on himself And accepts us as his blood relations. O highest goodness of all, What have you not done for us? What do you not do Still every day for your people? You come and let your light Shine with full blessing. 3. Aria (Tenor) Come, Jesus, come to your church And grant us a blessed new year! Increase the honor of your name, Preserve sound teaching And bless pulpit and altar! 4. Recitative (Bass) See, I stand before the door and knock. If anyone will hear my voice And open the door I shall go in And have supper with him and he with me. 5. Aria (Soprano) Open, my whole heart, Jesus comes and enters within. Though I am only like dust and earth, He does not want to scorn me, But to see his pleasure in me, So that I become his dwelling. Oh how blessed I shall be!

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PHILHARMONIC 6. Chorale Amen, amen! Komm, du schĂśne Freudenkrone, bleib nicht lange! Deiner wart ich mit Verlangen.

6. Chorale Amen, amen! Come, you beautiful crown of joy, do not delay for a long time! I wait for you with longing.

VIVALDI: Nisi Dominus, RV 608 [Psalm 127] Nisi Dominus aedificaverit domum, in vanum laboraverunt qui aedificant eam. Nisi Dominus custodierit civitatem, frustra vigilat qui custodit eam. Vanum est vobis ante lucem surgere. surgite postquam sederitis, qui manducatis panem doloris. Cum dederit dilectis suis somnum: ecce haereditas Domini, filii: merces, fructus ventris. Sicut sagittae in manu potentis: ita filii excussorum. Beautus vir qui implevit desiderium suum ex ipsis: non confundetur cum loquetur inimicis suis in porta. Gloria Patri et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper: et in saecula saeculorum. Amen.

Unless the Lord builds a house, In vain do those who labor build it. Unless the Lord guards a city, Futilely does he who watches guard it. It is pointless for you to get up early: You get up before you have gone to bed, You who eat the bread of misery. For he has granted to those he loves rest: Behold an inheritance from the Lord â€“ sons: A reward, the fruit of the womb. Like arrows in the hand of powerful man: Such are sons born in your youth. Blessed is the man who has filled his desire with these; He will not be confounded when he speaks With his enemies at the gate. Glory be to the Father, and to the Son, And to the Holy Spirit. As it was in the beginning, both now and for ever: And for an age of ages. Amen.

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TEXTS and TRANSLATIONS PURCELL: The Frost Scene (Act III, Scene II), from King Arthur [Libretto by John Dryden] Prelude CUPID What ho! thou genius of this isle, what ho! Liest thou asleep beneath those hills of snow? Stretch out thy lazy limbs. Awake, awake! And winter from thy furry mantle shake. Prelude COLD GENIUS What power art thou, who from below Hast made me rise unwillingly and slow From beds of everlasting snow? See’st thou not how stiff and wondrous old, Far unfit to bear the bitter cold, I can scarcely move or draw my breath? Let me, let me freeze again to death. CUPID Thou doting fool forbear, forbear! What dost thou mean by freezing here? At Love’s appearing, All the sky clearing, The stormy winds their fury spare. Winter subduing, And Spring renewing, My beams create a more glorious year. Thou doting fool, forbear, forbear! What dost thou mean by freezing here? COLD GENIUS Great Love, I know thee now: Eldest of the gods art thou. Heav’n and earth by thee were made. Human nature is thy creature, Ev’rywhere thou art obey’d. CUPID No part of my dominion shall he waste: To spread my sway and sing my praise E’en here I will a people raise Of kind embracing lovers, and embrac’d. Prelude

CHORUS OF COLD PEOPLE See, see, we assemble Thy revels to hold: Tho’ quiv’ring with cold We chatter and tremble. Dance CUPID ‘Tis I, ‘tis I, ‘tis I that have warm’d ye. In spite of cold weather I’ve brought ye together. ‘Tis I, ‘tis I, ‘tis I that have warm’d ye, Ritornello CHORUS ‘Tis Love, ‘tis Love, ‘tis Love that has warm’d us. In spite of the weather He brought us together. ‘Tis Love, ‘tis Love, ‘tis Love that has warm’d us. CUPID & COLD GENIUS Sound a parley, ye fair, and surrender, Set yourselves and your lovers at ease. He’s a grateful offender Who pleasure dare seize: But the whining pretender Is sure to displease. Sound a parley, ye fair, and surrender. Since the fruit of desire is possessing, ‘Tis unmanly to sigh and complain. When we kneel for redressing, We move your disdain. Love was made for a blessing And not for a pain. Ritornello CHORUS ‘Tis Love, ‘tis Love, ‘tis Love that has warm’d us, etc. Third Act Tune: Hornpipe

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PHILHARMONIC BACH: Wachet auf, ruft uns die Stimme, BWV 140 [Philipp Nicolai (Mvts. 1, 4, 7); Anon (Mvts. 2, 3, 5, 6)] 1. Chorale fantasia Wachet auf, ruft uns die Stimme Die Wächter sehr hoch auf der Zinne, Wach auf, du Stadt Jerusalem! Mitternacht heißt diese Stunde; Sie rufen uns mit hellem Munde: Wo seid ihr klugen Jungfrauen? Wohl auf, der Bräutgam kömmt; Steht auf, die Lampen nehmt! Alleluja! Macht euch bereit Zu der Hochzeit, Ihr müsset ihm entgegen gehn! 2. Recitative (Tenor) Er kommt, er kommt, Der Bräutgam kommt! Ihr Töchter Zions, kommt heraus, Sein Ausgang eilet aus der Höhe In euer Mutter Haus. Der Bräut gam kommt, der einem Rehe Und jungen Hirsche gleich Auf denen Hügeln springt Und euch das Mahl der Hochzeit bringt. Wacht auf, ermuntert euch! Den Bräutgam zu empfangen! Dort, sehen, kommt er hergegangen.

1. Chorale fantasia Wake up, the voice calls us Of the watchmen high up on the battlements, Wake up, you city of Jerusalem! This hour is called midnight; They call us with a clear voice: Where are you, wise virgins? Get up, the bridegroom comes; Stand up, take your lamps! Alleluia! Make yourselves ready For the wedding, You must go to meet him! 2. Recitative (Tenor) He comes, he comes, The bridegroom comes! You daughters of Zion, come out, He hastens his departure from on high To your mother’s house. The bridegroom comes, who like a roedeer And a young stag Leaps on the hills And brings to you the wedding feast. Wake up, rouse yourselves To welcome the bridegroom! There, see, he comes this way.

3. Aria (Soprano [Soul], Bass [Jesus])

SOUL Wenn kömmst du, mein Heil?

SOUL When are you coming, my salvation?

JESUS Ich komme, dein Teil. SOUL Ich warte mit brennedem Öle.

JESUS I come, your portion. SOUL I wait with burning oil.

JESUS Eröffne den Saal

JESUS Open the hall

SOUL Ich öfne den Saal

SOUL I open the hall

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TEXTS and TRANSLATIONS BOTH Zum himmlischen Mahl SOUL Komm, Jesu! JESUS Komm, liebliche Seele! 4. Chorale (Tenor) Zion hört die Wächter singen, Das Herz tut ihr vor Freuden springen; Sie wachet und steht eilend auf. Ihr Freund kommt vom Himmel prächtig,

BOTH To the heavenly feast. SOUL Come, Jesus! JESUS Come, lovely soul!

Von Gnaden stark, von Wahrheit mächtig. Ihr Licht wird hell, ihr Stern geht auf. Nun komm, du werte Kron, Herr Jesu, Gottes Sohn! Hosianna! Wir folgen all Zum Freudensaal Und halten mit das Abendmahl.

4. Chorale (Tenor) Zion hears the watchmen sing, Her heart leaps for joy; She awakes and gets up in haste. Her friend comes from heaven in his splendor, Strong in mercy, mighty in truth. Her light becomes bright, her star rises. Now come, you worthy crown, Lord Jesus, God’s son! Hosanna! We all follow To the hall of joy And share in the Lord’s supper.

5. Recitative (Bass) So geh herein zu mir, Du mir erwählte Braut! Ich habe mich mit dir Von Ewigkeit vertraut. Dich will ich auf mein Herz, Auf meinem Arm gleich wie ein Siegel setzen Und dein betrübtes Aug ergötzen. Vergiß, o Seele, nun Die Angst, den Schmerz, Den du erdulden müssen; Auf meiner Linken sollst du ruhn, Und meine Rechte soll dich küssen.

5. Recitative (Bass) So come inside to me You bride that I have chosen for myself! I have betrothed myself to you From eternity to eternity. It is you that I want to set in my heart, On my arm like a seal And to delight your grieved eyes. Forget now, o soul, The anguish, the sorrow That you had to suffer; On my left hand you should rest And my right hand should kiss you.

6. Aria (Soprano [Soul], Bass [Jesus]) SOUL Mein Freund ist mein, JESUS Und ich bin dein,

6. Aria (Soprano [Soul], Bass [Jesus]) SOUL My friend is mine, JESUS And I am yours,

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PHILHARMONIC BOTH Die Liebe soll nichts scheiden. SOUL Ich will mit dir in Himmels Rosen weiden, JESUS du sollst mit mir in Himmels Rosen weiden, BOTH Da Freude die Fülle, da Wonne wird sein. 7. Chorale Gloria sei dir gesungen Mit Menschen und englischen Zungen, Mit Harfen und mit Zimbeln schon. Von zwölf Perlen sind die Pforten, An deiner Stadt sind wir Konsorten Der Engel hoch um deinen Thron. Kein Aug hat je gespürt, Kein Ohr hat je gehört Solche Freude. Des sind wir froh, Io, io! Ewig in dulci jubilo.

BOTH Nothing shall divide our love. SOUL I want to graze on heaven’s roses with you, JESUS You will graze on heaven’s roses with me, BOTH There will be fullness of joy, there will be delight. 7. Chorale May gloria be sung to You With the tongues of men and angels, With harps and with cymbals. The gates are made of twelve pearls, In Your city we are companions Of the angels on high around your throne. No eye has ever perceived, No ear has ever heard Such joy. Therefore we are joyful, Hurray, hurray! For ever in sweet rejoicing.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

COGNOSCENTI LUNCHEON Philharmonia Baroque Orchestra & Chorale held its Cognoscenti Luncheon at the Green Room last April. This annual gathering recognizes the extraordinary support of PBOâ€™s most dedicated donors with a sit-down luncheon, camaraderie, and music. The luncheon kicked off with welcome remarks from Executive Director Courtney Beck and Board President Kay Sprinkel Grace, who thanked guests for their generosity and friendship. The first course was accompanied by springtime choral delights from Music Director Nicholas McGegan and members of the Philharmonia Chorale. Guests enjoyed dessert during a preview of the 2018/19 season led by Nic, who shared insights and anecdotes about the new season. We would like to extend our deepest appreciation to our supporters for joining us. We also graciously thank Hiram Simon and WineWise for generously providing the wines enjoyed by everyone. Former Board Member Donna Williams and KDFCâ€™s Ray White

Fred and Linda Sondheimer

Chorale Director Bruce Lamott and John Sebastian

Lunch in the Green Room

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

THE 7TH ANNUAL THOMAS E. HORN /BOB ROSS FOUNDATION

LGBT RECEPTION

Philharmonia was proud to welcome friends to the 7th annual LGBT Reception, where more than 200 patrons joined us in the Thomas E. Horn Bar and Lounge at the Herbst Theatre in San Francisco. This was our largest attendance ever. Guests were greeted with treats, wine, and champagne following our season finale, Beethoven Unleashed. Music Director Nicholas McGegan, Chorale Director Bruce Lamott, guest artists, and PBO musicians also joined the celebration. Director of Concert Production Myles K. Glancy thanked everyone for their extraordinary support of the LGBT community and for making this one of Philharmoniaâ€™s most memorable receptions. We are thrilled that a great time was had by all.

Beatrice Gomory, soprano Chantal Santon Jeffery, and Music Director Nicholas McGegan

We extend our appreciation to Thomas E. Horn and the Bob Ross Foundation for generously sponsoring this event. We also wish to thank Hiram Simon and WineWise for providing the delicious wine and champagne.

Guests enjoying the LGBT Reception

Peter Winkelstein, Contralto Avery Amereau, and Ildebrando Dâ€™Arcangelo

Guests with Chorale Director Bruce Lamott and David v.R. Bowles

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Q&A IN CONVERSATION WITH NEW PBO SUBSCRIBERS Marc Sinykin and Kevin Osinski

Q: Welcome to the PBO family! Tell us a little bit about yourselves. A: Marc and I are both retired software engineers from Silicon Valley. I was a developer at Oracle Corporation and Marc was an engineering manager at Apple. We live in Portola Valley. I have nurtured a love of classical music since childhood, and particularly since I took courses in music appreciation as an undergraduate at Northwestern University. I didn’t learn how to play an instrument as a child, but I have tried to pick up some basic piano proficiency during my retirement. I find that playing music deepens my appreciation of listening to it and seeing it performed. Q: What was your first introduction to PBO? A: Marc is a balletomane, while I am more interested in music. It was through ballet that we first saw PBO perform. Although I was familiar with PBO from hearing their recordings on KDFC over the years, I only really got to know them after seeing them perform the scores to several Mark Morris ballets at Cal Performances. Morris is known for his choreography of full-length ballets to Baroque scores, particularly Handel oratorios, and whenever his group performs these ballets in Berkeley they call on PBO to perform the music live. It’s a great match of two world-class ensembles. The first Morris/PBO collaboration that we attended was L’Allegro, il Penseroso ed il Moderato, which we’ve seen twice. Glorious music, great singing, and Morris’ choreography is witty and energetic. We have also enjoyed their co-productions of Handel’s Acis and Galatea and Purcell’s Dido and Aeneas.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Q: Do you have a favorite composer or prefer a certain period of music? A: Not surprisingly, I am quite fond of Baroque-era music, particularly Bach and Handel. My interests are quite broad, however, and there are composers I love from the Renaissance era through the 20th and 21st centuries. I like music with layers of meaning, whether they be intricate harmonies, complex percussion, clever orchestration, or brilliant melodic structure. So Charles Ives, Samuel Barber and Arvo Pärt move me as much as Beethoven, Mozart or Bach. Q: Is there a memorable Philharmonia moment or concert that is meaningful to you? A: Our first PBO performance at Bing Concert hall on November 5, 2014 was a revelation, both in terms of hearing PBO perform in the stunning Bing acoustics and being amazed by the virtuosity of the vocal soloist. We came to hear the first Brandenberg Concerto, but what I remember most about the evening was Andreas Scholl’s brilliant singing of the Cantata No. 170 and arias from Handel’s Giulio Cesare. It reawakened my love of Baroque vocal music, and deepened my appreciation of historicallyinformed instrumental performance. Q: What compelled you to subscribe this season? A: A number of factors contributed to our decision to become PBO subscribers. We have attended many PBO concerts over the last five years through our subscription to Stanford Live, but when the 2018-19 seasons for both organizations were announced I came to realize that my primary interest is in PBO, and that the performances I most enjoyed over the years at Stanford were always the PBO concerts. So this year we decided to shift our subscription focus from Stanford to PBO. I also see this as a good opportunity to experience PBO performances in the quite different acoustical setting of First United Methodist Church. Q: Finally, what performance during the 2018/19 season caught your eye? A: Frankly, they all look great! I was originally considering a more limited subscription, perhaps just to the Bing concerts, but after more consideration I couldn’t choose any concerts I wanted to skip. If I had to pick the one evening I’m most looking forward to it would be Anne Sofie von Otter this spring. She’s a ravishing vocalist, of course, but the other thing that really intrigues me about this program is the breadth of material: from Purcell to Pärt. Should be quite a night!

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Photo credit: Frank Wing

JOIN THE PHILHARMONIA FAMILY! Your annual gift to PBO makes our music possible and opens doors to artistic access, private performances, and invitation-only receptions with our beloved musicians and guest artists. Join us on a journey of musical discovery!

FRIENDS OF PHILHARMONIA MEMBERSHIP BENEFITS CAMERATA $75 to $149 • Invitation to one Open Rehearsal $100 to $199 *NEW Level! • Donor-only flash sales throughout the season • PBO-branded exclusive window decal $200 to $399 • Exclusive Season Highlights CD • Acknowledgment in the season opening/ closing program books $400 to $649 • Season-long recognition in Philharmonia’s program books • 15% discount on all Philharmonia merchandise & CDs • Invitation for two (2) to an exclusive conversation & small bites with PBO’s Artistic Team $650 to $999 • Invitation for two (2) to a Premium Open Rehearsal with wine, hors d’oeuvres, and opportunity to mingle with Orchestra/ Chorale members & guest artists • Special PBO-branded lapel pin to wear at concerts, recognizing your valued support $1,000 to $1,599 *NEW Level! • Invitation for two (2) to an additional Premium Open Rehearsal with wine, hors d’oeuvres, and opportunity to mingle with Orchestra/Chorale members & guest artists • Two (2) complimentary tickets to share with friends (best available) COGNOSCENTI $1,600 to $3,000 • Invitation for two (2) PBO’s exclusive annual Cognoscenti Luncheon featuring a seated lunch, private concert and season sneak

preview led by Nicholas McGegan • Invitation for two (2) to a lively musical history exploration & small bites with Chorale Director/Scholar-in-Residence Bruce Lamott • Subscription renewal & seating upgrade priority AMATI $3,000 to $5,499 • Invitation to Philharmonia’s exclusive Amati Concert including strolling supper, private concert, dessert, and mingling with guest artists at a unique venue • Sponsor a PBO musician for the season: prominent recognition at all concerts where your musician appears, plus special champagne toast with your musician at a Premium Open Rehearsal • Invitation to join Philharmonia on tour including invitations to all private events and activities, and opportunity to travel with the Orchestra ARCANGELI $5,500 to $11,499 • Invitation to a private party with guest artists • Invitation for two to Munch n’ Muse, an intimate lunch and conversation with Music Director and/or Chorale Director/Scholar-inResidence (space is limited) GUARNERI $11,500 to $14,999 • Sponsorship or dedication of a single season concert: Recognition from the stage, venue signage and in program books, exclusive access to artists and conductor, pre-concert dinner with PBO staff or board members, signed CDs and photo opportunities CRISTOFORI $15,000 to $24,999 • Festival pass to attend all dress rehearsals

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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

$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

BUILDING PHILHARMONIAâ€™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

The Estate of Norman T. Larson

The Robert A. Birman

Clifford Leventhal

Executive Director Chair Linda Brewer

The Estate of Susan B. Levy William Lokke

Donald Buhman & Wray Humphrey William Bush

Dr. Terri McGinnis The Estate of Mrs. A. P. Morse

The Estate of Donald E. Casey The Estate of Marie Mendenhall Cleasby Kathleen & Martin Cohn Hon. Marie Bertillion Collins & Leonard Collins Steven A.R. Edwards The Phillip M. Eisenberg Trust Nicolas Elsishans & Christopher Hayes Dr. Harvey & Deana Freedman The Estate of Alper Garren The Estate of Rudolf & Nellie Glauser The Estate of Eva & James Goodwin Kay Sprinkel Grace Margaret Hegg Steve John & Jason Snyder The Estate of Marie Kieraldo

Barbara & Nigel Renton Maxine & James Risley The Estate of Maxine Rosston The Estate of Shirley Sarvis Adrienne & Theodore Savetnick Sondra & Milton Schlesinger The Estate of Carol Seitz Ross Smith Robert Speer & John Wong Linda & Paul Swatek Claudine Torfs Anita L. Velazquez Lawrence K. Wallace & Portia H. Leet Mr. Theodore Weber, Jr. The Estate of Michael J. Weller

Kathy & Bill Korbholz

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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

NAMED CHAIRS The Waverley Fund Conductor’s Podium Egon & Joan von Kaschnitz Concertmaster Chair Michael F. and Jane B. Marmor Principal Clarinet Chair Zheng Cao Memorial Cello Chair Clare Frieman Kivelson and Irene Valente Angstadt Memorial Principal Oboe Chair Susan B. Levy Violin Chair Osher Cello Chair Endowment

THE PHILHARMONIA CHORALE ENDOWMENT FUND Anonymous

ENDOWMENT SUPPORTERS Susan & Paul Sugarman Donna Williams

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

LIFETIME BENEFACTORS Philharmonia Baroque Orchestra & Chorale thanks the following visionary supporters whose cumulative giving totals $100,000 or more. Anonymous (2) Dr. Ross E. Armstrong Nicholas Bez Kathleen & Martin Cohn Richard Colburn Hon. 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 Grace & Laurance Hoagland

Marie & Palmer Hotz Brian M. Kincaid & Elizabeth C. Theil The Kivelstadt Family Trust Norman T. Larson Kit & Hayne Leland John B. Levy The Estate of Susan B. Levy, in honor of Fred Sondheimer David Low & Dominique Lahaussois The Marmor Foundation; Drs. Michael & Jane Marmor 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 Paul and Susan Sugarman Family Philanthropic Fund Linda & Paul Swatek Carol & Douglas Tanner Claudine Torfs Joan & Egon von Kaschnitz The Waverley Fund

DR. ROSS E. ARMSTRONG MEMORIAL FUND DONORS Philharmonia gratefully acknowledges the generosity of our patrons who contributed to this special fund in support of our major artistic and education initiatives. Anonymous (10) Li-Hsia Wang & Henry Abrons Caroline Acker Frank Adams & Susan Bryan Paul Anderson Luz Argyriou Shirley Armitano Ms. Margaret S. Barbee Joanne Barnes Marcia & Richard Baugh Mrs. Mary Baxter Courtney Beck & Jonathan Harris Jeannie Berest Ruth Berger John Beviacqua Elinor Blake Linda Blum William Bonds Patricia Bradley Dave Braker James Brighton Lorie & David Brillinger George & Phyllis Brown Jared Brubaker Mary Jo & Bruce Byson Rick Callison

Marilyn & Kenneth Campbell Adrian Card & Peter Brodigan Craig Carper Mr. & Mrs. Roger L. Chretien Karl Christiansen Carol & Orlo Clark Robert Clark Patricia & Peter Coffin Ms. Sonja Cook Jerrold Cooper Michael Cooper Peter Crabtree & Barbara Ann Beno Janet Dafoe & Ronald Davis Ann & Loring Dales Mr. & Mrs. Walter Davies Helen Davis Margaret DeStaebler J.P. Richards Dillingham Evelyn Dilworth Jerome & Thao Dodson Lester Dropkin Arlene Dunn Mariko Eastman Charles Edens Mary Williams & Peter M. Elias

Daryl Schilling & Gretchen Elliott Jan & Ernst Epstein Viola and Jerald Evans Mary & Jurgen Exner Mary Falvey Vincent Fausone Flora & Robert Feldman Amy Fine Ann & James Funsten Bruce Garetz Charlotte Gaylord & Barrie Cowan Betty Gerard Mrs. Toby Gidal Jianne Gimian Carol B. Glanville Christine & Victor Gold Blechman Goldberg Family Fund Brenda Goldstein & David Shragai Michael Gordon Hilda Gould Kay Sprinkel Grace Bonnie & David Granahan William Greenberg Michael Greene

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

DR. ROSS E. ARMSTRONG MEMORIAL FUND DONORS Ms. Dorothy D. Gregor John Hagopian David Halligan Carol Handelman Ulrike & Michael Hanley Kathie Hardy William L. Hartrick Richard E. Healey Catherine A. Hebert Valerie & Dr. Richard Herr Judith & Clifford Higgerson Richard Holden & Mary Artist Carol Hollenberg Joan & David Hollinger Carolyn Holm Harry Howe & Michèle Stone Thatcher & Olivia Hurd Betty Hutson Emilio Torres Inglis & Adrienne Inglis Beverly & Jay James Naomi Janowitz & Andrew Lazarus Lili Jensen Kai Johansen Ms. Jean A. Johnson Andrea Julian Sal Kadri Adela & Joel Karliner Nancy Hunt Kiesling Mr. Michael A. Kimbell Bob Klang Stanley Klezmer John Klopacz Mary Kneip Naphtali Knox Mr. John MacGregor & Mr. Kerry K. Ko Barbara Koerber Elaine Fischer Kohn & James Kohn Ms. Marcia Kolb Leslie Kurke May & Larry Lamoreux Mr. John Lee Lannon Leiman Kit & Hayne Leland Douglas Leslie David Lieberman & Carol Brownstein Ms. Leslie Lind Mr. & Mrs. Roy Little Carol Lokke William Lokke Dennis Loo Carolyn & David Lougee Martha & Arthur Luehrmann Janet Lynch

Paul Magu Charles Martell Mr. George Martin Frederick Matteson & Anne Davidson Barr Alan Selsor & Marlon Maus William McCoy Sylvia Rose Margaret & Winton McKibben Kathleen & Mike McNamara Robert Meyers Evelyn Mickevicius Samuel Miller & Maude Pervere Kay Aoki Mitchell Ms. Margaretta K. Mitchell Mia & Robert Morrill Margaret Morrow Rebecca Moyle & Tyler Lange Kathleen Much & Stanley Peters Rolf Muller Rosalie Nelson Mr. Joseph Newell & Dr. Eric Collier John A. Newmeyer Kirstin Nichols Ruth Nott Georgia Heid & Mary Belle O’Brien Erika Odian Elizabeth and Michael O’Malley Barbara Paschke Kirk Patterson Mr. Robert G. Patton Karen & Mark Perlroth Mr. Trond Petersen & Ms. Mary Visher Jeff Phillips Lawrance Phillips Naomi & David Pockell Marcia & Robert Popper Michael Poremba & Anna Moniuszka Jan Willem Prak & Karen Burtness Prak Peter M. Ray Carlene & Bruce Reeves Nigel & Barbara Renton Carole & Talbot Richardson Anmarie Roache Mr. & Mrs. Ronald Romano Marion Ross Georgene & John Rostkowski Leslie & William Rupley Sally Katorski Sachs Andrea & Mario Sáenz June & Robert Safran Valerie & Peter Samson

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Pamela Sawyer & Margaret Rowland Marc Schachman Ellen Beilock & Sheldon Schaffer Randy Schekman Paul J. Schmidt Kary Schulman Erik Selvig Barbara Shaw Jade & Chris Simonson Alice Sklar Alice Smith James Snow Robert Speer & John Wong Pam Speich Joan Sperans Gayle & George Staehle Barbara Cohen & Richard M. Stanley Susan LeRoy Stewart & Michael Stewart William Sullivan Carol & Douglas Tanner Judith Tate Joseph & Donna Terdiman Kathleen Thompson Kirsten Thompson Robert Thompson John Tibbetts & Barbara Bernstein Mr. Chris Timossi Marta Tobey Millicent Tomkins Claudine Torfs Rebecca Tracy Jennifer Trainor Susan Tripp Mary van Voorhees Mr. Paul Veres Barbara Vukich Linda Walsh Maura FitzGerald & Tom Walsh Laura Waste James & Cheryl Weaver Evelyn Wegienka Louise & Daniel Weiler John & Marilyn Whitcher Gayle Wiesner Patricia Wilkinson Mary Anne & Hugh Winig Maylene Wong The Yaquian Family Gail & Peter Yessne Susan & David Young

UPCOMING

concerts

Rachel Barton Pine

VIENNESE pivot FEBRUARY 6–10

MOZART Overture to The Marriage of Figaro CLEMENT Violin Concerto in D major SCHUBERT Symphony No. 6 in C major

Nicholas McGegan, conductor Rachel Barton Pine, violin

ANNE SOFIE von Otter MARCH 6–10

Anne Sofie von Otter Aryeh Nussbaum Cohen

HANDEL Overture to Partenope HANDEL arias and duets from Partenope, Semele, and Solomon HANDEL Concerto Grosso Op. 3, No. 2 in B flat major PÄRT Summa PÄRT Vater Unser PÄRT Es sang vor langen Jahren SHAW Red, Red Rose SHAW The Rose i PURCELL Suite from The Fairy Queen

Nicholas McGegan, conductor Anne Sofie von Otter, mezzo-soprano Daniel Moody, countertenor

HANDEL’S Saul APRIL 6–13 HANDEL Saul

ORDER TICKETS (415) 392-4400 philharmonia.org

Nicholas McGegan, conductor Sherezade Panthaki, soprano (Michal) Yulia Van Doren, soprano (Merab) Aryeh Nussbaum Cohen, countertenor (David) Aaron Sheehan, tenor (Jonathan) Jonathan Smucker, tenor (Witch of Endor, Abner, Amalekite) Daniel Okulitch, baritone (Saul) Christian Pursell, bass-baritone (Samuel/Doeg) Philharmonia Chorale, Bruce Lamott, director

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, 2017 and October 9, 2018.

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

National Endowment for the Arts

$5,000 - $9,999

The Koret Foundation

E. Nakamichi Foundation

CORPORATE PARTNERS

WineWise, Hiram Simon and Brian Greenwood

MATCHING GIFTS

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

PHILANTHROPY PARTNERS

BOS 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 Marin Community Foundation Morgan Stanley Charitable Gift Fund Ruppenthal Foundation for the Arts The San Francisco Foundation Silicon Valley Community Foundation Schwab Charitable Gift Fund T. Rowe Price Program for Charitable Giving TIAA Charitable Fund Vanguard Charitable Endowment Program

GIFTS IN KIND

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

We gratefully acknowledge the support we receive from:

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

WITH GRATITUDE Founder’s Circle ($100,000+) The AAG Trust✢ The Estate of Dr. Ross E. Armstrong▲ Conductor’s Circle ($50,000-$99,999) Anonymous (1) David Low & Dominique Lahaussois♦ Gladyne Kenderdine Mitchell✢ Mark Perry & Melanie Peña The Waverley Fund▲ Stradivari ($25,000-$44,999) Grace & Laurance Hoagland✢ Cristofori ($15,000-$24,999) Nicolas Elsishans & Christopher Hayes Kay Sprinkel Grace✢ Kate & David Gross▲ Nancy & Richard Heath♦ Anne & Jeffrey Katz Brian M. Kincaid & Elizabeth C. Theil▲ David Morandi✢ Rebecca Moyle & Tyler Lange Michael Sack▲ Sondra Schlesinger♦ Claudine Torfs✢ Guarneri ($10,000-$14,999) Carol & Peter Berkenkotter▲ Kathleen & Martin Cohn✢ Hon. Marie Bertillion Collins & Leonard Collins▲ Mrs. Jonathan B. Gifford✢ John & Joan Goddard, The Goddard Foundation▲

Christina & Kenneth Hecht▲ Mr. Thomas Horn and the Bob Ross Foundation Marie & Palmer Hotz▲ Martine Kraus The Estate of Elmira Lake✢ William Lokke✢ Frederick Matteson & Anne Davidson Barr♦ Elizabeth Anderson Mayer▲ Jean Shuler✢ Carol & Douglas Tanner♦ Donna Williams

Stephen H. Goldman Foundation Lynn Gotchall♦ Margaret Hegg✢ Susanne Hering & John Phillips♦ Steve John & Jason Snyder Margaret & Edmond Kavounas♦ Sheila & Michael Lagios▲ Kit & Hayne Leland✢ Jack Levin The Marmor Foundation; Drs. Michael & Jane Marmor♦ Maxine Risley▲ Susan LeRoy Stewart & Michael Stewart✢ The Estate of Frances C. Strauss▲ Linda & Paul Swatek▲

Arcangeli ($5,500-$9,999) Paola & Richard Kulp✢ Didier LeGall Stephanie & Jim Marver Kathryn & Donley Parmentier✢ William Perry♦ , in memory of Leonilla Perry Betty & Jack Schafer▲ Paul and Susan Sugarman Family Philanthropic Fund♦ The TL Trust✢

Cognoscenti ($1,500-$2,999) Kendall & Claire Allphin Ari & Kristin Baron♦ Darla & Richard Bastoni♦ Bloom Jewish Music Foundation William Bush✢ Suzanne and Italo Calpestri, in memory of Dr. Ross E. Armstrong Richard Caplin, M.D✢ Kyra & Ken Carson♦ Annelle Clute✢ Glyde Cooper✢ Charles Crane♦ Corinne Cooley Derringer♦ The Rev’d Richard Fabian▲ Marta Falicov✢ The Estate of James Goodwin✢ Janet & Joseph Grodin▲ Joyce & Douglas Hamilton▲

Amati ($3,000-$5,499) Anonymous (3) Mary & Roger Ashley✢ Corey & Tim Benjamin✢ Adam Arthur Bier & Rachel Bier Lem Sarah FitzGerald & Quincy Bragg♦ Jean-Marc Frailong & Richard Halton♦ Charlotte Gaylord & Barrie Cowan♦ Edith Gladstone♦ The Estate of Rudolf & Nellie Glauser♦ ♦ - 10+ YEARS

✢ - 20+ YEARS

▲ - 30+ YEARS

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

WITH GRATITUDE Ian Hinchliffe & Marjorie Shapiro▲ Emily Kenyon & David Lipsky Kathy & Bill Korbholz✢ Carlene Laughlin Tom Lee▲ Ellen & Barry Levine♦ Joan Mansour♦ Willinda & Peter McCrea✢ Richard Meiss & Peter Rudy✢ Theo & Lisa Melas-Kyriazi Tina & Stephen Morris♦ Janet & Bill Nicholls✢ Phillip Phythian & Ann Hardham✢ Helen & Dan Quinn✢ Catherine & Raymond Roberts▲ Louise Adler Sampson✢ Adrienne & Theodore Savetnick✢ Linda & William Schieber Jade & Chris Simonson✢ Sylvia J. Spengler✢ Jonathan Stebbins & Jessica Donovan✢ Mr. Theodore Weber, Jr✢ Wendy & Mason Willrich▲ Ms. Judith B. Workman Cathe & Gavin Wright✢ Jane H. Zuckert♦, in memory of Warren M. Zuckert Camerata ($650-$1,499) Anonymous (1) Frank Adams & Susan Bryan▲ Barbara Barkovich✢ Mrs. Mary Baxter✢ Janet & Chris Bensick▲ Five Arts Foundation/Helen Berggruen♦ Stephen Bischoff✢ Linda Blum Marlene Bollhoffer✢

Ann & Winslow Briggs✢ Melissa & Richard Bruins♦ Mary Belle Bulwinkle & Michael Dukes Mr. & Mrs. Roger L. Chretien♦ Joan & Edward Conger♦ Margaret Conkey & Lester Rowntree✢ The Ruth Crosby Fund✢ Peter & Jayne Davis Bob Dawson & Linda Nakell▲ Marvin Dennis Jacqueline Desoer Jerome & Thao Dodson♦ Fred & Dinna Eisenhart Margaret Garms♦ Bernice Greene▲ Ms. Dorothy D. Gregor Ann & Roy G. Hammonds, Jr✢ William L. Hartrick♦ Susan & David Hodges✢ Albert Hoffman▲ Arlene & David Holloway✢ Susan & Ernst Hoyer Robert W. Jarman Andrea Julian✢ Chrystal & James Kafka✢ Maureen & David Kennedy♦ Barbara Kosnar & Tom Goldman Lila LaHood Robert Larson♦ James Leak Mr. John Lee Hollis Lenderking♦ Claire & Herbert Lindenberger✢ Carol Lokke▲ Martha & Arthur Luehrmann♦ Mr. John McKnight▲ Neanna & Allan Miles✢ Julius Moshinsky & Suzanne Renne▲ Brenda & James Nirenstein✢

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Ms. Eleanor Forrest Nishi♦, in memory of Marian & Shunji Nishi Judith & Stuart Offer♦ Kirk Patterson♦ Stephen Pegors & Trista Berkovitz✢ Mary & David Phillips♦ William Quackenbush♦ Barbara Rauhala Nigel & Barbara Renton▲ Anmarie Roache Paul J. Schmidt Reed Schmidt✢ David A. Shapiro, M.D. & Sharon L. Wheatley Susanna & Dave Singer Marc Sinykin & Kevin Osinski Marian & Abraham Sofaer Gayle & George Staehle✢ Barbara Cohen & Richard M. Stanley Nancy Stanwood Tricia Tanoury Claire Taylor & Charles G. Schulz♦ Susan & Paul Teicholz Joseph & Donna Terdiman✢ Lava Thomas & Peter Danzig♦ Robert Thompson Ruth & Alan Tobey, Tobey Fund♦ Dr. David L. White & Martha Truett▲ Ellen & Mike Turbow✢ Ben & Beth Wegbreit♦ Camerata ($350-$649) Anonymous (5) R. Tyler Andersen & Diane Green✢ Mary Austin Leslie Avant♦ Zachary Baker♦

WITH GRATITUDE Troy Barbee Ellen & Gunther Barth✢ Marcia & Richard Baugh✢ Rick & Rickie Ann Baum Laura Becker & Joel Parrott✢ Christine A. Beckstrom Allen & Jacqueline Bertillion♦ Christel Bieri✢ Sheila Botein & David Oakes, M.D.♦ Derek Bowers & Noni Wu ♦ Craig Bowman & Susan Schoenung✢ Patricia Bradley▲ Prudence Breitrose✢ Donald Buhman & Wray Humphrey♦ Patricia & Richard Campbell✢ Dr. Bruce & Susan Carter✢ Dorothy & William Clemens✢ Patricia Clemo & Robert Cooley✢ Sheri & George Clyde▲ Patricia & Peter Coffin▲ Michael Condie▲ Mr. Hugh J. Coughlin Jane Coulter♦ Peter Crabtree & Barbara Ann Beno✢ Mary Cranston & Roger van Craeynest Janet Dafoe & Ronald Davis✢ Mr. & Mrs. Walter Davies✢ Dr. & Mrs. Stanley Davis♦ Dexter & Jean Dawes▲ Tom & Ronnie Devitt J.P. Richards Dillingham✢ Jeanette & Peter Dunckel▲ Michael & Allyson Ely Sylvia & Paul Emery▲ Jan & Ernst Epstein✢ Jacqueline & Christian P. Erdman▲ Mary & Jurgen Exner✢ David Favrot & Kathi BrownFavrot

Kathleen McGreevy▲ Richard McKee♦ Kurt Melchior Robert B. Mison Katherine & Bridger Mitchell✢ Charles & Honor Morehouse✢ Kathleen Much & Stanley Peters✢ Alice Nadler♦ Mr. Joseph Newell & Dr. Eric Collier Joan Norton✢ Georgia Heid & Mary Belle O’Brien✢ Elizabeth and Michael O’Malley✢ Pat & Larry Pagendarm✢ Mr. Robert G. Patton✢ Mr. Trond Petersen & Ms. Mary Visher Steven Peterson & Peter Jaret▲ Sandra & George Petty▲ Naomi & David Pockell✢ Anastasia Polakis Linda O. Polsby✢ Michael Poremba & Anna Moniuszka♦ Jan Willem Prak & Karen Burtness Prak Maureen & Donald Querio✢ Joan & Marty Ragno Angèle & Michael Rice James Ringland Kenneth Robin✢ Pam & Jim Robson♦ Heli Roiha & Terry McKelvey James Rytuba Valerie & Peter Samson♦ Stefan Hastrup & Gary Schilling Charlie Schlangen Peter Schrag & Patricia Ternahan♦

Mary Ellen Fine▲ Jennifer Finger & Scott Bucey Julie & Jim Fulford♦ Jeanne & Frederick Gabali✢ Bruce Garetz♦ Douglas Giancoli♦ Ellen Solomon Ginsberg & David Ginsberg Carol B. Glanville✢ Blechman Goldberg Family Fund♦ Dr. Anna Gonosova♦ Nancy & Nicholas Haritatos✢ Joan Herron Janet & Robert Hines Richard Holden & Mary Artist✢ Harry Howe & Michèle Stone, in memory of Dr. Ross E. Armstrong Lili Jensen♦ Adela & Joel Karliner✢ Julia Katz Mollie Katzen, in honor of Nicholas McGegan The Ketcham Family Fund▲ Nancy Hunt Kiesling♦ Dr. & Mrs. Kiraly♦ Susan Klee & David Stoloff▲ Mary Kneip The Estate of Phyllis Koch Barbara Koepsell✢ Sharon & Ron Krauss Rose Lavandero & Ted Kurtz Adelheid & Mark Levi✢ David Lieberman & Carol Brownstein▲ Carolyn & David Lougee✢ Harvey L. Lynch♦ MacInnis-Heinle Trust A♦ Joan & Roger Mann Josephine Maxon♦ Ashley McCumber & Craig Davina Garth McCune✢ ♦ - 10+ YEARS

✢ - 20+ YEARS

▲ - 30+ YEARS

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Handel’s Messiah

WITH GRATITUDE

in Grace Cathedral

Louise Shalit✢ Susan Sherman Allene Sieling Stephen Smoliar & Linda Dembo Linda & Fred Sondheimer▲ Emily Sparks & Vincent Fogle✢

Robert Speer & John Wong♦ JEFFREY Barbara Tanaka✢THOMAS Michael F. Thompson Martha Doerr Toppin♦ Susan Tripp✢ Elizabeth Velarde✢ Maura FitzGerald & Tom Walsh▲

Linda Walsh✢

music director Bill & Judy Botsford Warren Ann & Thomas Watrous✢ John & Marilyn Whitcher Melanie & Ron Wilensky Cari Williams & Richard Potter Frank Zepeda

WEDNESDAY ~ THURSDAY ~ FRIDAY DECEMBER 14, 15, 16, 2016 at 7:30 P.M.

♦ - 10+ YEARS

✢ - 20+ YEARS

▲ - 30+ YEARS

messiahingrace.org (415) 621-7900

BRAVO! DLA Piper Piper DLA proudly supports supports proudly Philharmonia Baroque Philharmonia Baroque Orchestra Orchestra & & Chorale Chorale during their their magnificent season. during magnificent 2016/17 2018/19 season.

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

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

✢

voices of music

2018-2019 concert season

hanneke van proosdij & david tayler, directors

november 15, 17, 18: early beethoven sonatas

co-presented with the valley of the moon music festival cynthia miller freivogel, tanya tomkins & eric zivian

december 20, 22, 23: virtuoso concertos a grand holiday concert carla moore, dominic favia & alana youssefian corelli, vivaldi & telemann

january 25-27: musical crossroads

music from the 14th through 18th centuries from america, armenia, azerbaijan, bulgaria, ireland, scotland and slovenia, as well as a new work by dutch-american composer hanneke van proosdij. with cheryl ann fulton, harps; imamyar hasanov, kamancha; peter maund, percussion; laura risk & alana youssefian, fiddle and baroque violin

march 28, 29, 31: as steals the morn

arias & concertos of handel and bach amanda forsythe & thomas cooley, soloists with emi ferguson & marc schachman

tickets at www.voicesofmusic.org

san francisco ď ˘ berkeley ď ˘ palo alto performed on original instruments 415.260.4687

MusicSources For 32 years, MusicSources has presented the world’s finest harpsichordists, using beautiful historic keyboards from our collection. Join us for our splendid season of 2018–2019. SUNDAY, JANUARY 13, 2019 – 5:00 PM

Ingrid Matthews, baroque violin Byron Schenkman, harpsichord

Founders of Seattle Baroque Orchestra, Matthews and Schenkman have been musical partners for over 20 years. Beloved by audiences and musicians, they return to Berkeley having made a legendary impression on local audiences with their Berkeley Festival debut in 1993. Join us for musical fireworks of the 17th century, for which they share a mutual passion.

SUNDAY, MARCH 3, 2019 – 5:00 PM

Arthur Haas, harpsichord Distinguished harpsichordist Arthur Haas is well known to Bay Area audiences and he has influenced many younger generations of musicians from his teaching at various masterclasses and as faculty at the Eastman School of Music and the Yale School of Music, among many others. He will perform a fascinating recital of descriptive and program music of the Baroque Era.

FRIDAY, MARCH 15, 2019 – 8:00 PM

Guy Whatley

virginals & chamber organ Originally from Wales, Guy Whatley is now based in Arizona and is a leading authority on music of the Tudor Era. He will present to us a feast of English music from the 17th century, played on instruments from the MusicSources Collection. FUTURE CONCERTS SUNDAY, MAY 26, 2019 – 5:00 PM

Lene Langballe & Gilbert Martinez The King’s Letters: Music from the Time of Christian IV, King of Denmark cornetto, cornetto muto, recorder, harpsichord & chamber organ

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

www.MusicSources.org

THE

30th

SEASON 2018–2019

Jeffrey Thomas, Music Director

Handel’s MESSIAH in San Francisco’s Grace Cathedral

MARY WILSON

SOPRANO

ERIC JURENAS

AARON SHEEHAN

COUNTERTENOR

DECEMBER 12–14 at 7:30 p.m.

TENOR

JESSE BLUMBERG BARITONE

americanbach.org/Messiah (800) 595-4TIX

A Baroque

NEW YEAR’S EVE at the Opera Aryeh Nussbaum Cohen countertenor Mary Wilson soprano Arias & Overtures by Gluck, Handel, Rameau, Scarlatti , & Vivaldi

americanbach.org/NYE or City Box Office DECEMBER 31 at 4:00 p.m. (415) 392-4400 Herbst Theater, San Francisco