Philharmonia Baroque Orchestra & Chorale: Program Book December 2016

DECEMBER 2016

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Historical Performance

Spring 2017

SFCM B AROQUE ENSEMBLE Corey Jamason and Elisabeth Reed directors Baroque Opera Handel: Atalanta Handel’s charming, pastoral opera Atalanta will be presented in a concert version by the Baroque Ensemble.

March 11 and 12 Baroque Concerto Competition Winners Baroque Ensemble Concerto Competition Winners are presented as well as Telemann’s joyful celebration of folk music in his Ouverture des nations anciens et modernes, known as Les Nations.

April 15 Historical Performance & Opera Program Collaboration Purcell: Dido and Aeneas (fully-staged production) April 28 and 30

FACULTY RECITAL Baroque Chamber Music Elizabeth Blumenstock baroque violin Elisabeth Reed baroque cello Corey Jamason harpsichord with Tekla Cunningham ’01 baroque violin March 2

MASTER CLASSES Sponsored by American Bach Soloists Tekla Cunningham ’01 baroque violin February 6 Steven Lehning violone March 13 Jeffrey Thomas conductor April 10

800.899.SFCM | sfcm.edu

2016/2017 SEASON

UP NEXT… HAYDN & MOZART With Elizabeth Blumenstock January 25-29

GYROWETZ Symphony Op. 6, No. 3 MOZART Violin Concerto No. 5 “Turkish” HAYDN Symphony No. 91

Elizabeth Blumenstock

OPERATIC HEROES With Iestyn Davies and Jonathan Cohen March 1-5

HANDEL Arias from Saul and Theodora HASSE Works from Didone Abbandonata ZELENKA Simphonie à 8 Concertanti in A minor ARNE “Vengeance, O come inspire me!” from Alfred CPE BACH Symphony in E major GLUCK Arias and dances from Telemaco and Orfeo

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Iestyn Davies

Jonathan Cohen

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

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Board of Directors and Staff

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About the Music Director

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About the Orchestra

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About the Chorale

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HANDEL’S JOSHUA Pre-concert Talk Preview

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Handel’s Joshua Program

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About Thomas Cooley

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About Daniel Taylor

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About William Berger

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About Yulia Van Doren

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About Gabrielle Haigh

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Nic’s Picks

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The Players and Their Instruments

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Handel’s Joshua Program Notes

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Texts 28 Donor Acknowledgements 36 In Conversation with Kathy & Bill Korbholz

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Gifts to the Annual Fund

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Cover image of Nic McGegan by Suzanne Karp

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FROM the PRESIDENT and EXECUTIVE DIRECTOR

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ur 2016-17 season began unexpectedly with the fire at Berkeley’s First Congregational Church.

Thanks to some incredible hard work on the part of our staff, and thanks too to the support and understanding of our patrons who attend our concerts in Berkeley, we were able to identify new concert venues and to present successful performances at these new venues just two to three weeks after the fire. This despite a tremendous downpour preceding our first Sunday concert, which threatened to outdo the storm in Beethoven’s “Pastoral” Symphony.

This month we are presenting Handel’s rarely performed oratorio, Joshua. First performed in 1748 and popular during Handel’s lifetime and throughout the late eighteenth and early nineteenth centuries, Joshua has been somewhat neglected since then. Its stirring, patriotic theme celebrates the final victory in 1746 of Handel’s patrons, the Hanoverian monarchy, over the Stuart pretenders to the British throne. Philharmonia Baroque Orchestra & Chorale has never previously performed Joshua, and we are excited to be bringing this work to you in December.

Joshua offers us the opportunity to showcase our superb chorale, and there are also many opportunities to highlight our individual musicians, with fanfares for horns and trumpets in the choruses, and solos for flute, violin, and cello in the arias. Then of course there is the famous chorus, “See, the conquering hero comes,” which Handel himself re-used in revivals of his even more popular oratorio, Judas Maccabaeus, and whose melody was used by Beethoven in 1796 for a set of variations for cello and piano. Haydn, when he heard Joshua performed in 1791 during one of his visits to London, was tremendously impressed by the chorus describing the destruction of Jericho. Listen for Handel’s ingenious manner of depicting through music the scene in which Joshua orders the sun and moon to stand still.

Handel, Haydn, and Beethoven all admired Joshua, and we hope that you too will enjoy it. We wish everyone a great New Year, and we look forward to seeing all of you in 2017.

Ross Armstrong

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t is a great honor to join the Philharmonia family and introduce myself to you today in an “official” way. I say “official” because, like many of you, I have been in the audience at Philharmonia Baroque Orchestra & Chorale concerts for years.

I have always known that Philharmonia was a national and international treasure. The Orchestra musicians are always to be placed among the finest period instrument players and singers in the world, and the Chorale is equally esteemed. Under Music Director Nicholas McGegan’s inspired leadership — and that of a starry array of guest conductors and instrumentalists — the Orchestra and Chorale consistently offer technically perfect concerts of thrilling immediacy, excitement and power. That has always been my impression, from the very first time I heard Philharmonia live, which is now more than twenty years ago.

My career in orchestra management began in the mid-1980’s, and I have managed several orchestras since that time. Most recently, I served as Executive Director at San Francisco’s New Century Chamber Orchestra from 1996 to 2014, when I stepped down to care for elderly parents in Boston and to go back to school.

I began my work with Philharmonia on the Orchestra’s recent tour to New England, and heard the Tanglewood performance of Scarlatti’s sublime La Gloria di Primavera. What a wonderful way to be “officially” introduced to the members of the Orchestra and hear the music!

Back at home, the fire at First Congregational Church of Berkeley — our musical home for thirty years — was a horrid disaster and a jolt to our community. If you are a patron at one of our East Bay concert series, I thank you for your forbearance while our home is rebuilt.

Our December concert offers PBO at its best with a Handel oratorio. In this arena, Nicolas McGegan and Philharmonia Baroque Orchestra & Chorale are matchless.

Thank you for joining Philharmonia Baroque Orchestra & Chorale for this performance. I look forward to meeting you — or seeing you again — at the concerts.

Parker E. Monroe

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

BOARD OF DIRECTORS and STAFF BOARD OF DIRECTORS

STAFF

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

Artistic Nicholas McGegan, Music Director

The Waverley Fund

Conductor’s Podium Bruce Lamott, Chorale Director

Robert and Laura Cory

Chorale Director

Members Adam Arthur Bier Parker E. Monroe, ex-officio Martin Cohn Marie Bertillion Collins Nicolas Elsishans Al Garren* Charlotte Gaylord Peter Hibbard Steven John Brian Kincaid Martine Kraus Carlene Laughlin William Lokke Michael Marmor Fred Matteson Nicholas McGegan, ex-officio Christopher Mele-Wagner Sondra Schlesinger Jason Snyder Paul Sugarman Douglas Tanner

Administrative Parker E. Monroe, Interim Executive Director David Challinor, Subscription & Patron Services Manager Myles K. Glancy, Director of Concert Production Lisa Grodin, Director of Education Noelle R. Moss, Director of Development Murrey E. Nelson, Director of Leadership Gifts Jeffrey D. Phillips, Artistic Administrator Dianne Provenzano, Director of Marketing & Public Relations Arturo Rodriguez, Patron Services and Education Coordinator Heli Roiha, Bookkeeper Andrea SĂĄenz, Development & Events Manager William Skeen, Orchestra Librarian Paul Swatek, Director of Finance

*Emeritus Past Board Presidents Paul Sugarman (2008-2012) Martin Cohn (2005-2008) Nancy Kivelson (2002-2005) Fred Matteson (2000-2002) Christine Pallatto (1999-2000) Sherry Bartolucci (1997-1999) Grace Hoagland (1995-1997) Richard D. Maltzman (1993-1995) Dexter B. Dawes (1991-1993) Ann W. Vander Ende (1989-1991) Marie Bertillion Collins (1988-1989) Henry Mayer (1984-1988) Peter Strykers, MD (1982-1984)

Concert Production David v.R. Bowles (Swineshead Productions), Audio Engineer Paolo Brooks, Stage Manager E. J. Chavez, Stage Equipment Coordinator Gabrielle Lochard, House Manager Thomas Malone, Keyboard Technician Hiro Matsui, Substitute Stage Manager Phaedra Strecher, Program Book Designer Frank Wing, Concert Photographer

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

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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Nicholas McGegan Waverley Fund Music Director

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s he embarks on his fourth decade on the podium, Nicholas McGegan — long hailed as “one of the finest baroque conductors of his generation” (The Independent) and “an expert in 18th-century style” (The New Yorker) — is recognized for his probing and revelatory explorations of music of all periods. Last season marked his 30th year as music director of Philharmonia Baroque Orchestra & Chorale and he is also Principal Guest Conductor of the Pasadena Symphony.

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

His 16/17 appearances include the Los Angeles Philharmonic (his 20th anniversary at the Hollywood Bowl); two programs with Pasadena Symphony; Baltimore, St. Louis, and Toronto Symphonies; Calgary Philharmonic; Handel and Haydn Society; Aspen Music Festival; and the Cleveland Orchestra/Blossom Music Festival.

Highlights of Philharmonia Baroque Orchestra & Chorale’s season under McGegan include a fully-staged production of Rameau’s Le Temple de la Gloire, Handel’s oratorio Joshua, and programs with guest soloists Robert Levin (fortepiano) and Isabelle Faust (violin). In addition, McGegan and PBO revive Scarlatti’s La Gloria di Primavera at Tanglewood and appear at Yale’s Norfolk Chamber Music Festival. This fall at Harvard, McGegan will

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serve a residency as the Christoph Wolff Distinguished Visiting Scholar. He also conducts the all-Mozart semi-final round of the 2017 Van Cliburn Piano Competition.

Overseas, McGegan appears with Cappella Savaria at the Esterhazay Palace in Fertod, Bournemouth Symphony Orchestra, Scottish Chamber Orchestra, and the Royal Northern Sinfonia.

McGegan’s prodigious discography features nine releases on Philharmonia Baroque’s label, Philharmonia Baroque Productions (PBP) including the 2011 GRAMMY® Awardnominated recording of Haydn Symphonies nos. 88, 101, and 104. Their latest release features the first-ever recording of the newly rediscovered 300-year-old work La Gloria di Primavera by Alessandro Scarlatti, recorded live at the U.S. premiere. McGegan has also recorded extensively with Capella Savaria, most recently releasing albums of Haydn and Joseph Martin Kraus.

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

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

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

“McGegan coaxed a warm, thrilling sound from the orchestra, so filled with minute twists and turns that it was impossible to disengage.”

—San Jose Mercury News

Photo by RJ Muna

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Photo by Suzanne Karp

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nder the musical direction of Nicholas McGegan for over 30 years, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as America’s leading historicallyinformed 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 35 years ago, the ensemble is the largest of its kind in the United States.

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

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

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symphonies. The Orchestra recently released its modern North American premiere of Alessandro Scarlatti’s La Gloria di Primavera to coincide with its May 2016 tour. PBO commissioned its first work, a one-act opera, To Hell and Back, by acclaimed composer Jake Heggie, in 2006.

A second commissioned work, Red, Red Rose

by Pulitzer Prize-winning composer Caroline Shaw, had its world premiere at Walt Disney Concert Hall in May 2016. In 2014, the Orchestra launched a new alternative concert series – SESSIONS – aimed at new audiences that has become a regular sell-out in the Bay Area and will now become part of PBO’s touring schedule.

Philharmonia’s upcoming 2016-17 season includes a range of programs that showcase the Orchestra’s versatility, including the return of renowned keyboardist Robert Levin; the return of renowned keyboardist Robert Levin and violinist Rachel Podger; Handel’s epic masterpiece, Joshua; and PBO’s first-ever fullystaged opera, Rameau’s The Temple of Glory, in collaboration with Cal Performances, Centre de musique baroque de Versailles and the New York Baroque Dance Company. The Orchestra can also be heard regularly on the Bay Area’s Classical KDFC. PBO maintains a suite of highly-regarded education programs, including its In-School Programs and Student Concerts. These are complemented by the well-received Mobile Mentors program that focuses on ensemble coaching, and Master Classes at universities, and our new partnership with the Juilliard School focused on training emerging talent. Nearly 4,000 children and adults each year benefit from PBO’s education programs.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

ABOUT BRUCE LAMOTT and the CHORALE

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hilharmonia Chorale has always been an integral part of the organization since 1995 and is now recognized by our new name – Philharmonia Baroque Orchestra & Chorale. This welcome change will be seen throughout the season and into the future.

Bruce Lamott has been director of the Philharmonia Chorale since 1997 and also serves as Philharmonia’s Scholar-in-Residence. He first performed with the Orchestra in 1989 as continuo harpsichordist for Handel’s Giustino. In his 30-year tenure with the Carmel Bach Festival, he served as a harpsichordist, lecturer, choral director, and conductor of the Mission Candlelight Concerts. As the founding director of the Sacramento Symphony Chorus, he conducted annual choral concerts of major symphonic choral works and prepared the Symphony Chorus for their subscription season.

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

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.

Bruce Lamott Founded in 1991

by John Butt, a Baroque keyboardist and one of the world’s leading Bach scholars, the 24 members of the Chorale are professional singers with distinguished solo and ensemble experience. Chorale members appear regularly with organizations such as the San Francisco Symphony, Carmel Bach Festival, and American Bach Soloists, and are guest soloists with most of the area’s symphonic and choral organizations.

They appear in roles with regional opera companies and have been members and founders of some of the country’s premiere vocal ensembles, including Chanticleer, the Dale Warland Singers, and Theatre of Voices.

In its first decade, the Chorale’s repertoire included nine Handel oratorios, Bach’s St. John Passion and Christmas Oratorio, and Mozart’s C Minor Mass. The Chorale has appeared with Philharmonia Baroque Orchestra at Walt Disney Concert Hall in Los Angeles, at New York City’s Lincoln Center, and at Segerstrom Concert Hall in Orange Country.

The Chorale appears on the Orchestra’s recordings of Arne’s Alfred, Scarlatti’s Cecilian Vespers, and Beethoven’s Symphony No. 9.

Photo by Frank Wing

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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The New Esterházy Quartet Lisa Weiss & Kati Kyme, violins; Anthony Martin, viola; William Skeen, cello

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Season

January • February • March in Berkeley • SF • Palo Alto for more information or to purchase our recordings please visit

www.newesterhazy.org

Handel’s Joshua Thomas Cooley, tenor Daniel Taylor, countertenor William Berger, baritone Yulia Van Doren, soprano Gabrielle Haigh, soprano Philharmonia Chorale Bruce Lamott, director

Thomas Cooley, Joshua

PRELUDES

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

HANDEL’S JOSHUA: DECEMBER 1-4 BRUCE LAMOTT Bruce Lamott is the director of Philharmonia Chorale and serves as Philharmonia’s Scholar-in-Residence.

He 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 of UC Davis and he recently retired from San Francisco University High School. He is currently a professor of music history at the San Francisco Conservatory of Music and specializes in the vocal and instrumental repertoire of the 18th century.

THE TALK:

Bruce Lamott will discuss Joshua in the context of Handel’s other “militant” oratorios, Judas Maccabeus and Alexander Balus, all written in proximity to the military revolution and civil war that would have overthrown the Hanoverian dynasty and restored the House of Stuart to the English throne. Written in the triumphant aftermath of the Battle of Culloden, Handel’s audience had reason to breathe a sigh of relief as well as indulge in some exuberant rejoicing as they see themselves as another Chosen People.

Thursday, December 1, 6:15 pm Herbst Theatre, San Francisco Friday, December 2, 6:45 pm First United Methodist Church, Palo Alto Saturday, December 3, 6:15 PM First Presbyterian Church, Berkeley Sunday, December 4, 3:15 pm Lafayette-Orinda Presbyterian Church

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

George Frideric Handel (1685–1759) Joshua (HWV52) Nicholas McGegan, conductor

PROGRAM DRAMATIS PERSONÆ Thomas Cooley, tenor Daniel Taylor, countertenor William Berger, baritone Yulia Van Doren, soprano Gabrielle Haigh, soprano

Joshua, Leader of the Israelites Othniel, a young warrior, promised to Achsah Caleb Achsah, Daughter of Caleb Angel

Philharmonia Chorale Bruce Lamott, director

Chorus of Israelites, Chorus of the defeated Israelites, Chorus of the Tribe, Chorus of Youths, Chorus of Virgins Act I INTERMISSION Act II PAUSE Act III

Thursday, December 1, 7:00 PM Herbst Theatre, San Francisco Friday, December 2, 7:30 PM First United Methodist Church, Palo Alto Saturday, December 3, 7:00 PM First Presbyterian Church, Berkeley Sunday, December 4, 4:00 PM Lafayette-Orinda Presbyterian Church, Lafayette These performances are made possible in part by generous support from:

The Ross E. Armstrong Baroque Vocal Works Fund and

Length of performance is approximately two hours 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 digital alarm, cellular telephone or pager before the performance begins.

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GUEST ARTIST THOMAS COOLEY TENOR

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homas Cooley is a singer of great versatility, expressiveness, and virtuosity, in demand internationally for a wide range of repertoire in concert, opera, and chamber music.

Thomas Cooley’s repertoire on the symphonic stage includes works such as Beethoven’s Missa Solemnis and Ninth Symphony, Berlioz’ Requiem, Nuits d’été, and L’enfance du Christ; Haydn’s Seasons; Britten’s War Requiem and Serenade; Stravinsky’s Les Noces; Mendelssohn’s Lobgesang and Elijah; Mozart’s Requiem; Elgar’s Dream of Gerontius; Rihm’s Deus Passus; Mahler’s Lied von der Erde; and Penderecki’s Credo. Recent concert highlights include the world premiere and recording of Christopher Theofanidis’ Creation/Creator with Atlanta Symphony, Kodály’s Psalmus Hungaricus, Bruckner’s Te Deum, and his first foray into Wagner with an excerpt from Parsifal with the St. Louis Symphony.

He has collaborated with internationally prominent conductors including Helmuth Rilling, Donald Runnicles, Osmo Vänskä, Eji Oue, Lan Shui, Michael Tilson-Thomas, Wolfgang Sawallisch, Nicholas McGegan, Robert Spano, David Robertson, Markus Stenz, Carlo Rizzi, Franz Welser-Möst, Manfred Honneck, and Bernard Labadie. He performs regularly with major orchestras and festivals such as the Lincoln Center Mostly Mozart Festival; Atlanta (including an appearance at Carnegie Hall), St. Louis, Pittsburgh, Baltimore, National, Oregon, and Milwaukee Symphonies; the Minnesota Orchestra and St. Paul Chamber Orchestra; Orchestre Symphonique de Quebec; Coppenhagen Philharmonic; Bavarian Radio Symphony; the National Arts Center Orchestra of Ottawa; the Gewandhaus Orchestra Leipzig; and the Osaka Philharmonic.

Particularly renowned for his agility and skill in Baroque music, Mr. Cooley is in demand as an interpreter of the works of Bach and Handel,

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most especially in the role of the Evangelist in Bach’s Passions and in the great oratorios of Handel.

He appears regularly with such historically informed groups as Philharmonia Baroque Orchestra & Chorale, Handel and Haydn Thomas Cooley Society, Music of the Baroque (where he was named Artist-in-Residence for the 2015-16 season), Bethlehem Bach Choir, Akadamie für Alte Musik, Boston Baroque, the Carmel and Oregon Bach Festivals, Les Violons du Roy, and the Munich Bach Choir.

Mr. Cooley’s activity on the operatic stage has largely centered on the roles of Mozart, Handel, and Britten. Other roles he has performed include Count Almaviva in Rossini’s Barbiere di Siviglia, the title role in Bernstein’s Candide, and Tristan in Frank Martin’s Le vin herbè.

In concert this season, Cooley can be heard on the stage of Carnegie Hall with the Indianapolis Symphonic Choir for Britten’s Les Illuminations and Mohammed Fairouz’s Zabur, with the Minnesota Orchestra and Houston Symphony (Messiah), Music of the Baroque (Handel’s Alexander’s Feast and Telemann’s Day of Judgment oratorio), and Berner Kammerchor (Bach’s St John Passion). Cooley also rejoins the Indianapolis Symphonic Choir for Mendelssohn’s Elijah. He reprises the role of Idomeneo in a concert version at the Carmel Bach Festival and performs Handel’s oratorio Joshua with the Philharmonia Baroque Orchestra & Chorale and conductor Nicholas McGegan. Cooley is also a featured guest artist in summer 2016 on the Prairie Home Companion Alaskan cruise.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

GUEST ARTIST DANIEL TAYLOR COUNTERTENOR

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n exclusive recording artist for Sony Classical Masterworks, Daniel Taylor is simply one of the most sought-after countertenors in the world. His discography of more than 100 recordings includes Bach Cantatas/Monteverdi Choir/Gardiner (Deutsche Grammophone Archiv and SDG); Renaissance duets with Bowman/Actor Ralph Fiennes/ TEM (BIS); Handel’s Rinaldo with Bartoli /AAM/ Hogwood (Decca); Cantatas Before Bach with Collegium Vocale /Herrewege (Harmonia Mundi); Sakamoto’s pop-opera Life with the Dalai Lama and Salman Rushdie (Sony); Bach Cantatas with Bach Collegium Japan (BIS); a Bach recital with the Theatre of Early Music and a recital of Shakespeare’s songs (Sony); Vivaldi Gloria with the Bethlehem Bach Choir/Funfgeld (Analekta); Vivaldi’s Stabat Mater (BIS); and four recordings of Handel’s Messiah with Kammerchor Stuttgart/ Bernius (Carus), American Bach Soloists/Thomas (Koch), a CD/DVD with Tafelmusik (Bravo Television), and a live recording with the New York Philharmonic/Rilling. Daniel has recorded the CD/DVD of Bach’s Mass in B minor with the Ensemble Orchestral Paris/Nelson (EMI Virgin) and also a CD with Kammerchor Stuttgart/Bernius (Carus). Recent recordings include Bach Cantatas with the Magdalena Consort/Chandos, Bach’s St. Matthew Passion with Kammerchor Stuttgart/ Bernius (Carus), Handel’s Judas Maccabeus with Clarion/Fox (Telarc) and Handel’s Messiah with the Handel & Haydn Society/Christophers (Coro) and the Montreal Symphony/Nagano (Universal).

Daniel can also be heard on recordings of Bach’s St. John Passion with the Bethlehem Bach Choir/ Funfgeld (Analekta), a soundtrack with Cirque du Soleil (Universal), and a recital recording for Sony entitled Come Again, Sweet Love.

Recognized as “Canada’s star countertenor” and “Canada’s most prolific recording artist”, Daniel has received invitations from the world’s preeminent early and contemporary music ensembles, appearing in opera (Metropolitan Opera, Glyndebourne, San Francisco, Rome, Welsh National Opera, Canadian Opera, Opera North, Montreal

Opera and Munich); oratorio (Gabrieli Consort, Monteverdi Choir/English Baroque Soloists, Bach Collegium Japan, Les Arts Florissants, Berlin Akademie fur Alte Musik, Orchestra of the Age of Enlightenment, King’s Consort); symphonic works Daniel Taylor (Cleveland, St. Louis, Lisbon, Philadelphia, Tonhalle Zurich, Toronto, Gothenburg, Rotterdam, Montreal); recital (Vienna Konzerthaus, Frick Collection, New York, Forbidden Concert Hall, Beijing, Lufthansa Baroque Festival, Carnegie and Wigmore Hall, London) and film (Podeswa’s Five Senses for Fineline - winner at Cannes and also of a Genie).

As an educator, Daniel has offered master classes at the Beijing Conservatory, the Sao Paolo Conservatory, at the Royal Academy, the Guildhall and the Royal College of Music. He has also given classes at leading Universities across North America.

Daniel is Head of Early Music and Professor of Voice at the University of Toronto, Visiting Professor at the University of Ottawa and an Artist-in-Residence at the L’Opera de Montreal.

Daniel is Artistic Director and Conductor of the Choir and Orchestra of the Theatre of Early Music, which he founded in 2002 and which performs more than 30 concerts every year in concert halls all over the world. He is also Artistic Director of the Quebec International Festival of Sacred Music.

Visit Daniel Taylor at www.theatreofearlymusic. com | www.schwalbeandpartners.com/daniel-taylor-countertenor

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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GUEST ARTIST WILLIAM BERGER BARITONE

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ailed by Gramophone Magazine as “one of the best of our younger baritones”, William Berger is distinguished by his rich vocal timbre and charismatic stage presence. A compelling interpreter of song, Berger is equally at home on the operatic stage and has performed at renowned festivals, opera houses and concert halls including English National Opera, Liceu Barcelona, Opera Vlaanderen, Opéra de Toulon, and the Lucerne, Aix-en-Provence and Edinburgh International Festivals.

Recent career highlights included William’s return to the Liceu Barcelona for his role debut as Don Alfonso in Così fan tutte, Brahms’ Ein Deutsches Requiem conducted by Dmitri Jurowski, his company debut at Teatro Sao Carlos Lisbon as Oreste in Gluck’s Iphigénie en Tauride, Aeneas opposite Susan Graham’s Dido at Disney Concert Hall L.A., the title role in Imeneo for the Göttingen International Handel Festival and his role debut as Marcello in Robert Carsen’s acclaimed production of La Bohème for Opera Vlaanderen.

In addition to performing Escamillo in Cape Town Opera’s production of Carmen, the 2016/17 Season also includes his return to California for performances of Handel’s Joshua with the Philharmonia Baroque Orchestra, Jonathan Dove’s opera Flight for Opera Omaha and La Bohème for Opera de Rouen.

Other notable engagements include a German recital tour with pianist Julius Drake, performing in Berlin, Munich, Hamburg and Bonn, Duruflé’s Requiem with the Pacific Symphony Orchestra in California, Finzi’s Requiem da Camera with the London Mozart Players, Papageno for Opéra de Toulon, Messiah with the Ulster Orchestra, Mozart Requiem with the Philharmonie Zuidnederland and Carpentier’s La descente d’Orphée aux Enfers with conductor Christian Curnyn and the Early Opera Company at the Wigmore Hall.

Berger’s skill as a musical interpreter and his imaginative approach to programming has led to critical acclaim for both his solo albums.

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Insomnia: A Nocturnal Voyage in Song, describes in a sequence of seventeen songs the restless night experienced by a man as he reflects on the absence of his unnamed love.

It was included in The Guardian’s Top Ten Classical CDs of the Year 2012 and was described as “pure gold” by The Arts Desk and William Berger “magnetic” by The Scotsman. This was followed by the release of Hommage à Trois, which features arias and duets by three of the finest composers of the 18th century: Mozart, Haydn and Cimarosa. The disc, recorded with the Scottish Chamber Orchestra and conductor Nicolas McGegan, was awarded five stars

by Opera Now, and described as “one of the most delightful recital discs of the past year” by International Record Review. His most recent CD release, Duet with soprano Lucy Crowe was selected as Editor’s Choice and awarded a full 5 stars by BBC Music Magazine, describing it as “…true vocal chamber music making, a small miracle to be cherished.”

In addition to his two solo releases, Berger’s discography includes Handel’s Alexander’s Feast and The Triumph of Time and Truth with Ludus Baroque for Delphian, Samson and Dettingen Te Deum for Carus, Poulenc’s Carmelites for Chandos and on DVD, Admeto for C Major and L’incoronazione di Poppea for Opus Arte.

William Berger has collected a multitude of prizes and awards, including the 2010 Ernst Haefliger Competition in Switzerland, the Kathleen Ferrier Society Bursary for Young Singers, the Countess of Munster Trust Scholarship, the Musicians Benevolent Fund Grant and the Ernest Oppenheimer Memorial Trust Award. William is a graduate and Associate of the Royal Academy of Music and a former member of the Young Singers Programme at English National Opera.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

GUEST ARTIST YULIA VAN DOREN SOPRANO

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ecognized by Opera as “a star-to-be” following her Lincoln Center debut, young Russian-American soprano Yulia Van Doren’s debut with the Toronto Symphony Orchestra was acclaimed as a “revelation... a ravishing lyric voice and an ease with vocal ornamentation that turned her into an enchanted songbird” (Toronto Star).

For her last minute step-in with the Cleveland Orchestra, the Cleveland Plain Dealer praised Van Doren as an artist of “melting poignancy” and added, “To Van Doren, one could easily have listened for hours.”

Ms. Van Doren’s 2016/17 season features appearances with the Toronto Symphony (Messiah), Philharmonia Baroque Orchestra (Handel’s Joshua), Milwaukee Symphony (Poulenc’s Gloria), Charlotte Symphony (Mendelssohn’s Elijah), and Arion Baroque Orchestra in a Canadian tour of Bach’s Mass in B Minor. Ms. Van Doren also revives her role in Mark Morris Dance Group’s Dido and Aeneas at Brooklyn Academy of Music.

A dedicated interpreter of repertoire off the beaten path, career highlights include creating the lead female role in the world premiere of Shostakovich’s Orango with the Los Angeles Philharmonic, directed by Peter Sellars and released on Deutsche Grammophon; two Grammy-nominated opera recordings with the Boston Early Music Festival; the modern revival of Monsigny’s opera Le roi et le fermier at Opera de Versailles, Lincoln Center and the Kennedy Center (recorded for Naxos); a tour of Handel’s Orlando with Philharmonia Baroque Orchestra to the Mostly Mozart, Ravinia and Tanglewood festivals; a leading role in Scarlatti’s Tigrane at Opera de Nice; nationally-televised performances at the Cartagena International Music Festival with soprano Dawn Upshaw, an important mentor; and creating a leading role in the world premiere staging of Lera Auerbach’s The Blind, an a cappella opera, in the Lincoln Center Festival. Especially recognized for her work in the ba-

Yulia Van Doren roque repertoire, Ms. Van Doren has performed with the majority of the North American Baroque festivals and orchestras, and has the distinction of being the only singer awarded a top prize in all four US Bach vocal competitions.

Other recent debuts and engagements include performances with the San Francisco, Toronto, Houston, Cincinnati, Nashville, Baltimore, Indianapolis, and Milwaukee Symphonies; the Cleveland Orchestra; the Los Angeles Master Chorale; Washington D.C.’s Folger Consort; and two trips to the Netherlands for performances with the Radio Kamer Filharmonie.

Born in Moscow, Yulia Van Doren was raised in the United States in a music-filled household in which she and her seven younger siblings were taught by her Russian mezzo-soprano mother and American jazz pianist father. Ms. Van Doren is honored to be an Astral Artist, a Paul and Daisy Soros Fellow, and as the recipient of a Beebe Grant she spent the 2011-2012 season based in Paris.

Visit Yulia at www.yuliavandoren.com | schwalbeandpartners.com/yulia-van-doren-soprano

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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GUEST ARTIST GABRIELLE HAIGH SOPRANO

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abrielle is making her debut with Philharmonia Baroque Orchestra & Chorale in these concerts. She is currently working toward a Master’s degree in Vocal Performance at the San Francisco Conservatory of Music. She earned her Bachelor of Arts degree in Classics in 2014 from Cambridge University, where she served as a choral exhibitioner in the renowned Clare College Choir. With the Clare College Choir she can be heard as soloist on several CDs on the Harmonia Mundi label; she toured throughout Australia, France, the Netherlands, Belgium, Italy, Luxembourg, and the U.S., and performed as soloist in Bach’s St. John Passion and B Minor Mass, and in Handel’s Birthday Ode to Queen Anne with the European Union Baroque Orchestra. She has appeared as soloist in the Brahms Requiem in Kings College Chapel under Stephen Cleobury, as Mabel in The Pirates of Penzance with the Cambridge University Gilbert & Sullivan Society, Carlotta in Phantom of the Opera, and soloist in Villa Lobos‘ Bachianas Brasileiras No. 5 for the Clare College Music Society. In 2015 she sang the lead role of Diana in Charpentier’s Actéon and won the UNIfest “Best Female Performance” award singing the lead role of Julia Jellicoe in Gilbert & Sullivan’s The Grand Duke at the International Gilbert & Sullival University Festival. Ms. Haigh will join Lamplighters Music Theatre for their production of Patience in 2017. She currently studies with Sylvia Anderson at the San Francisco Conservatory; her voice teachers have included Marla Berg, Nicola-Jane Kemp, Stephen Varcoe, and Barbara Rearick.

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PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Gabrielle Haigh

NIC’S PICKS RECORDINGS There are two recordings of Joshua but they are both rather hard to find: Handel: Joshua Emma Kirkby, James Bowman, Aidan Oliver, John Mark Ainsley, Michael George, Choir of New College Oxford, The King’s Consort, conducted by Robert King (Hyperion, 1991) Handel: Joshua James Gilchrist, Konstantin Wolff, Myung-Hee Hyun,

Alex Potter, Georg Poplutz, Kölner Kammerchor, Collegium Carthusianum, conducted by Peter Neumann (MDG, 2008)

BOOKS The main book to include a chapter on Joshua is Handel’s Dramatic Oratorios and Masques by Winton Dean* (OUP, 1990). It is a wonderful book, very thorough and written with tremendous erudition, wit and style. The author was a

good friend of mine for many years. He always maintained that a good performance of a Handel opera or oratorio made him hungry and in need of a good glass of beer.

A good biography of the Duke of Cumberland is by Rex Whitworth (William Augustus, Duke of Cumberland: A Life, 1992). *Available at the Lobby Boutique.

Handel For The

Holidays

We’re pulling out all PBO Handel CD’s for our boutique tonight! Pick up our recordings of Handel’s Water Music, Atalanta, Teseo Highlights, Arias with Lorraine Hunt Lieberson and Nicholas McGegan’s recordings of Samson and Acis and Galatea.

BUY 3 OR MORE HANDEL CDS AND SAVE 20%

Also, check out our CD clearance basket and take home PBO recordings for as little as $5!

ALL AT THE LOBBY BOUTIQUE!

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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THE PLAYERS and THEIR INSTRUMENTS DECEMBER 2016 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

David Sego

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

VIOLONCELLO

Jolianne von Einem

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

Lisa Grodin

Colin Nicholls in London, 1980, after Amati

Tanya Tomkins, bc Lockley Hill, London, England, 1798 Paul Hale

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

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

Farley Pearce

Carlo Antonio Testore, Milan, Italy, 1720

William Skeen

Katherine Kyme Tyler Lewis

Anonymous, Italy, c. 1800

Anthony Martin

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

Carla Moore †

Johann Georg Thir, Vienna, Austria, 1754

Maxine Nemerovski

Timothy Johnson, Bloomington, Indiana, 1999; after A. Stradivari

Linda Quan

Jacob Stainer, Absam, Tyrol, 1655

Sandra Schwarz

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

Noah Strick

Antonio Garcias Rosius, Mendocino, California, 1988; after A. Stradivari Anonymous, Northern Italy, c. 1680 Zheng Cao Memorial Cello Chair

DOUBLE BASS Kristin Zoernig, bc

Joseph Wrent, Rotterdam, Holland, 1648

Anthony Manzo

Carlo Ferd. Tanegia, 1766; Tom Wolf, 2007

FLUTE Stephen Schultz *

Martin Wenner, Singen, Germany, 2012; after C, Palanca, c. 1750

Mindy Rosenfeld

Celia Bridges, Cologne, Germany, 1988

Roderick Cameron, Mendocino, California, 1985; after G.A. Rottenburgh, Brussels, Belgium, c.

1745

Lorenzo Carcassi, Florence, Italy; 1765

OBOE

Gabrielle Wunsch

VIOLA Maria Ionia Caswell *

Anonymous, Mittenwald, c. 1800

David Daniel Bowes

Richard Duke, London, c. 1780

Ellie Nishi

Anonymous, Germany, 18th Century

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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

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

THE PLAYERS and THEIR INSTRUMENTS DECEMBER 2016

BASSOON

PHILHARMONIA CHORALE

Danny Bond, bc

Generously sponsored by the Philharmonia Baroque Orchestra & Chorale Community Fund for Choral Music

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

HORN

SOPRANO

R. J. Kelley *

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

Paul Avril

Richard Seraphinoff, Bloomington, Indiana, 1997; after J. W. Haas, c. 1720

TRUMPET

Angela Arnold

Jennifer Ashworth

Radoslava Biancalana Tonia d’Amelio

Barbara Rowland

Helene Zindarsian

ALTO

Kathryn Adduci *

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

Fred Holmgren

Fred Holmgren, Massachusetts, 2005; after J. L. Ehe III, 1746

TIMPANI

Natasha Hoehn

Katherine McKee Susan Thampi Casie Walker

Heidi Waterman Celeste Winant

Kent Reed

George Potter, Aldershot, England, ca. 1850; after Cornelius Ward, London, England, 1837; with mallets after Vienna, 18th century [Given to David vR Bowles and Nicholas McGegan by Dr. Edmund A. Bowles, generously lent to us for this project]

HARPSICHORD

TENOR Kevin Gibbs Corey Head

Jimmy Kansau

David Kurtenbach Mark Mueller

Jonathan Smucker

Hanneke van Proosdi, bc

John Phillips, Berkeley, 1996; after Giust; Italy, 11th Century. [Generously lent by Nicholas McGegan]

BASS

ORGAN

Sepp Hammer

Ignacio Prego, bc

John-Elliott Kirk

Gerrit C. Klop, Holland, 1990 [Generously lent by the UC Berkeley Music Department] * Principal † Principal 2nd Violin bc – basso continuo

Paul Boyce

Chad Runyon Jesse Turner Ian Walker

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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HANDEL’S JOSHUA BRUCE LAMOTT

anyone who would attack the city of Debir; she is the only woman to be mentioned in the twenty-four chapters of the Book of Joshua.

Her cousin, Othniel, took Caleb up on the offer, thus providing Handel with both a love interest and the fourth of his principal characters for his oratorio Joshua.

George Frideric Handel

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eading through the Biblical Book of Joshua is not for the faint of heart. Before the children of Israel could settle in Canaan, the land of milk and honey, the Promised Land became the land of blood and carnage, at the behest of Jehovah at the hand of the Israelite hero Joshua.

The first twelve chapters of the book are an accounting of numerous forays by thousands of his troops into the towns and cities of the Canaanite inhabitants, often ending with the ominous postscript, “He left no one remaining.”

Joshua was the protégé of Moses during the Israelites’ exodus from Egypt, and his successor after he died in Moab. Joshua and Caleb—one of the spies whom Moses first sent to scout out Canaan—were the only surviving adults of the original Hebrew refugees, who had been wandering in the wilderness of Sinai for forty years. A ruthless tactician, Joshua’s military exploits succeeded in subjugating the entire area, which he then distributed by lottery to eleven of the twelve tribes of Israel. Caleb, of the tribe of Judah and esconced in Hebron, offered his daughter Achsah as a reward to

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However, it was up to his librettist, the Rev. Thomas Morell, D.D., to spin the scant account of only three Bible verses mentioning Achsah and Othniel into a love story and to interweave it between the vivid accounts of Joshua’s military triumphs. Morell had already supplied texts for Handel’s oratorios Judas Maccabeus (1746), quite possibly the Occasional Oratorio (1745), and Alexander Balus (1747) before Joshua (1747), all of which have militaristic themes.

Military victories were very much on the minds of the English, still reeling from of a civil war begun with the landing of Prince Charles Edward Stuart (aka Bonnie Prince Charlie), whose claims to the English throne could have overthrown the Hanoverian court. The Battle of Culloden (April 16, 1746) ended once and for all this “Jacobite Rebellion,” but patriotic spirits were running high. It is in this time that “God Save the King” first appears in print, setting the standard for national anthems throughout Europe, including Haydn’s Emperor’s Hymn.

Handel composed the music for Joshua at his usual prodigious rate, completing the entire oratorio within a month, albeit freely borrowing material from his own previous works as well as those of other composers, as was his usual practice. His score indicates that he began on July 19, and finished by August 19, 1747. The three acts are focused on three discrete dramatic themes pertaining to the conquest of Canaan: the arrival of the Israelites and their reflections on the exodus from Egypt, the military prowess of Joshua encompassing three different battle scenarios, and the celebration of Joshua’s heroism and Jehovah’s protection.

The brief orchestral Introduzione—the shortest instrumental curtain-raiser in all of Handel’s dramatic works—gives no hint of the drama yet to come. Handel’s inscription “A tempo di Ouverture” is its only resemblance, as it lacks

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

PROGRAM NOTES the grandeur, length, and form of the typical French-style overture. The first act begins with hopeful relief: relief from forty years of wandering in the wilderness and its daily diet of manna, and the hopes of the Israelites, who had crossed the Jordan River on miraculously dry land, a parallel to their crossing of the Red Sea pursued by Egyptian chariots. However, this momentary calm is interrupted by an angel delivering Jehovah’s commission to Joshua “that Jericho must fall, and fall by thee; the tyrant king and all his heathen train, at their own idol altars shall be slain.” Handel’s music fortunately distracts us from Rev. Morell’s penchant to go for the easy rhyme. Even Handel took him to task for his affinity for iambs, as in “The Lord commands, and Joshua leads;/ Jericho falls, the tyrant bleeds.” The first act ends with an amorous interlude for Othniel and Achsah, allowing Handel to exercise some naturalistic tone painting as Achsah sings of the linnet (solo violin) and the thrush (solo flute) awakening the morning, and the couple declare their love amidst “limpid streams” flowing with freedom.

Their pastoral idyll is interrupted by a flourish of trumpets—one of several to come—calling Othniel and the men of Israel to arms.

The second act contains some of Handel’s best dramatic writing. Three separate sieges—against the cities Jericho and Ai, and the concerted effort of five kings of the Amorites—are condensed into a single narrative, and Handel manipulates the elements of recitative, aria, and chorus to create three operatically dramatic scenes. In fact, these scenes are even more dramatic than those in his operas, as he was not constrained by the conventions of opera seria (serious opera); characters do not have to exit after their arias, the arias themselves are not cast in the dramatically static da capo (ABA) form, and, unlike opera of the period—he has at his disposal an ever-present chorus of Israelites to amplify the imagery and emotions of each scene.

The second act abounds with vivid portrayals of trembling nations, crumbling walls, rising flames, and martial fanfares. One of the most effective scenes is at the end of the second act, when Joshua, needing to extend the day to complete his annihilation of the Amorites, commands the sun and moon to halt in their orbits, as described in Joshua 10:13: “And the sun stood still, and the moon stopped, until the nation [of Israel] took

Thomas Morell, 1762 by James Basire (17301802); after William Hogarth. vengeance on their enemies.” The static sun is depicted by a sustained high A in the violins, later reinforced by the oboes and trumpets; the continuo section (bassoons, cellos, and basses) sustains a low D to represent the stock-still moon. Meanwhile a vigorous battle rages and the chorus narrates the defeated Amorites: “Breathless they pant, they fall, they die.”

While in other Handel oratorios the chorus may change roles, from Hebrews to Babylonians for example, the chorus in Joshua remains exclusively the voice of the Israelites. Within this context, however, they are given a variety of musical styles and moods. In addition to Biblical narration, the chorus praises Jehovah as one people in block chords and imitative fugues.

Handel gives other choruses the form of the English verse anthem, in which Joshua initiates a melody and the chorus amplifies it. Somewhat ironically, though most of the choruses are celebratory, one of the most affective is that of the momentarily defeated Israelites. After an attempted first assault on the city of Ai, Jehovah withdraws his protection because one in their midst had looted Jericho against orders. The despairing confusion (“our glory’s lost”) is reinforced by the minor key, slow tempo,

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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PROGRAM NOTES descending chromatic (moving by half-steps) bassline, and the scoring with flutes, rare for chorus accompaniment. This low point in the drama acts as a foil to Joshua’s exhortation “to redoubled rage return.” The chorus responds with martial zeal, their burning fury depicted by agitated strings.

One of the greatest hits of Joshua, “See, the conqu’ring hero comes” was actually recycled from Handel’s oratorio Judas Maccabeus of the previous year, and that, in turn came from a March in Georg Muffat’s Componimenti musicali, one of Handel’s favorite sources of inspiration.

Handel himself predicted its popularity when he, while agreeing with music historian John Hawkins that he had written better stuff, said, “You will live to see it a greater favourite with the people than my other fine things.” Beethoven later wrote variations for cello and piano on this popular melody, which appears in the third act of the oratorio, first as a “Chorus of Youths” accompanied by a bold duet of horns, then a delicate “Chorus of Virgins” with transverse flutes and organ, and finally with the whole ensemble with timpani ad libitum.

Morell gives the four solo roles in Joshua no personal conflict, and unlike their counterparts in opera seria, they do not go through a cycle of emotional affects. Joshua is unrelievedly proud and mighty. “Insufferable,” says the great Handel scholar Winton Dean, “...with nothing to do but give orders to all and sundry, including the sun and moon.” Nonetheless, the heroic role of Joshua further establishes Handel as an originator of the modern tenor voice. Othniel, originally sung by mezzo-soprano Caterina Galli, has some lovely tunes, especially the popular “Heroes, when with glory burning,” a charming and decidedly un-heroic dance tune (gavotte), providing respite between sieges.

Dean says that this was the eighth time Handel had used this versatile tune, also found in works by Antonio Cesti, Alessandro Scarlatti, and Reinhard Keiser. The pastoral intermezzo of Achsah and Othniel prior to the Battle of Jericho add a refreshing element of naturalism and the musical simplicity of ballad opera, the popular entertainment that contributed to the demise of Handel’s Italian operas. The role of Caleb was written for Handel’s go-to bass for a dozen oratorios, Henry Theodore Reinhold. The extremities of his musical and dramatic range

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Joshua commanding the sun to stand still, by Hieronymus Ferrini (1687-1730); after Carlo Marath.

are exploited in arias ranging from bravura (“See the raging flames arise”) to contemplative (“Shall I in Mamre’s fertile plain”).

More of a pageant than a plot, Joshua abounds with dramatic contrasts, brilliant orchestration, and a celebration of The Chosen People led by a heroic leader, not much of a stretch for the audience of Georgian England to identify themselves.

Destruction of the Walls of Jericho, by Julius Schnoor von Carolsfeld (1794-1872).

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Philharmonia is proud to raise a glass in honor of

Official Wine Sponsor for the 2016-17 season

HANDEL’S JOSHUA TEXTS ACT ONE 1. Introduction

SCENE 1 Joshua, Caleb, Othniel, Achsah, High Priest, Chiefs and Elders of Israel.

2. Chorus of Israelites (after the miraculous passage of the Jordan, and entrance into Canaan) Ye sons of Israel, ev’ry tribe attend, Let grateful songs and hymns to Heav’n ascend!

In Gilgal, and on Jordan’s banks proclaim One first, one great, one Lord Jehovah’s name.

3. Recitative Joshua Behold, my friends, what vast rewards are giv’n To all the just, who place their faith in Heav’n!

Oh, had your sires obey’d divine command, They too, like you, had reach’d the promis’d land; But rebels to the laws th’Almighty gave, They, in the desert, met an early grave.

Caleb O Joshua, both to rule and bless ordain’d!

When Moses the eternal mansions gain’d, What boundless gratitude to Heav’n we owe, That did in thee a chief so wise bestow!

Courage and conduct shine in thee complete, Justice and mercy fill thy judgment seat.

4. Air Caleb O first in wisdom, first in pow’r!

Jehovah ev’ry blessing show’r Around Thy sacred head!

The neighb’ring realms with envy see The happiness and liberty O’er all thy people spread.

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5. Recitative Achsah Matrons and virgins, with unwearied pray’r, Solicit Heav’n for thee, their fav’rite care.

The first lawgiver broke th’Egyptian chain; And, by thy hallow’d aid, we Canaan gain.

6. Air Achsah Oh, who can tell, oh, who can hear Of Egypt, and not shed a tear?

Or, who will not on Jordan smile, Releas’d from bondage on the Nile?

7. Recitative Joshua Caleb, attend to all I now prescribe; One righteous man select from ev’ry tribe, To bear twelve stones from the divided flood, Where the priests’ feet, and holy cov’nant stood; In Gilgal place them! Hence twelve more provide, And fix them in the bosom of the tide!

These when our sons shall view with curious eye, Thus the historic columns shall reply: 8. Solo and Chorus Joshua To long posterity we here record The wondrous passage, and the land restor’d: Israelites To long posterity we here record The wondrous passage, and the land restor’d: In wat’ry heaps affrighted Jordan stood, And backward to the fountain roll’d his flood.

9. Accompagnato Joshua So long the memory shall last, Of all the tender mercies past.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

HANDEL’S JOSHUA TEXTS 10. Air

14. Accompagnato

Joshua While Kedron’s brook to Jordan’s stream Its silver tribute pays, Or while the glorious sun shall beam On Canaan golden rays, So long the memory shall last Of all the tender mercies past.

Angel Leader of Israel, ‘tis the Lord’s decree, That Jericho must fall, and fall by thee, The tyrant king, and all his heathen train, At their own idol-altars shall be slain, Th’embattI’d walls, and tow’rs, that reach the sky, Shall perish, and in dusty ruin lie; Scatter’d in air, their ashes shall be tossed, The place, the name, and all remembrance lost.

SCENE 2

15. Recitative

Othniel, Joshua. Angel appearing.

11. Recitative Othniel But, who is he, tremendous to behold, A form divine in panoply of gold?

With dignity of mien, and stately grace, He moves in solemn, slow, majestic pace; His auburn locks his comely shoulders spread, A sword his hand, a helmet fits his head; His warlike visage, and his sparkling eye Bespeak a hero, or an angel nigh.

12. Air

Joshua To give command, prerogative is thine, And humbly to obey, the duty’s mine.

16. Air Joshua Haste, Israel haste, your glitt’ring arms prepare!

With valour abounding, The city surrounding, Deal death and dreadful war!

17. Chorus of Israelites The Lord commands, and Joshua leads, Jericho falls, the tyrant bleeds.

Othniel Awful, pleasing being say, If from Heav’n thou wing’st thy way!

Deign to let thy servant know, If a friend, or pow’rful foe!

SCENE 3 Othniel, Achsah.

13. Recitative Angel Joshua, I come commission’d from on high, The captain of the host of God am I; Loose from thy feet thy shoes, for all around, The place whereon thou stand’st is holy ground.

Joshua Low on the earth, oh, prostrate let me bend, And thy behests with reverence attend!

18. Accompagnato Othniel In these blest scenes, where constant pleasure reigns, And herds and bleating flocks adorn the plains; Where the soft season all its blessings sheds, Refreshing rivers, and enamell’d meads, Here, in the covert of some friendly shade, Direct me, love, to Achsah, blooming maid!

Achsah O Othniel, Othniel!

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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HANDEL’S JOSHUA TEXTS Othniel ‘Tis my name I hear!

Othniel, in melting accents, strikes my ear.

Achsah O Othniel, valiant youth, May Heav’n reward thy love and truth!

19. Recitative

23. Duet Achsah and Othniel Our limpid streams with freedom flow, And feel no icy chains; No moulded hail, no fleecy snow, Pollute our fruitful plains.

The years one vernal circle move, And still the same like Othniel’s/Achsah’s love.

Othniel ‘Tis Achsah’s voice! Who, but that heav’nly fair, Could breathe so tender and so sweet a pray’r?

Trumpets flourish.

Achsah But see, he comes! He heard, and knows his pow’r.

Othniel The trumpet calls; now Jericho shall know What ‘tis to have a lover for a foe.

The city conquer’d, I shall hope to find Thy father Caleb, like his Achsah, kind.

20. Accompagnato Othniel Hail, lovely virgin of this blissful bow’r!

How sweet the music of thy tuneful tongue!

Achsah These praises to the feather’d choir belong.

21. Air Achsah Hark, ‘tis the linnet and the thrush!

In dulcet notes, They pour their throats, And wake the morn on ev’ry bush.

From morn to eve they chaunt their love, And fill with melody the grove.

Hark, ‘tis the linnet. . . da capo

24. Recitative

25. Chorus of Israelites May all the host of Heav’n attend him round, And angels waft him back, with conquest crown’d!

ACT TWO SCENE 1 Before Jericho. Joshua, Caleb, Achsah, Chiefs and Chorus.

The Priests bearing the Ark of the Covenant.

22. Recitative

26. Recitative

Othniel O Achsah, form’d for ev’ry chaste delight, T’inspire the virtuous thought and charm the sight!

Thy presence gilds the variegated scene, To the green olive adds a brighter green, White to the lily, blushes to the rose, With deeper red the rich pomgranate glows; The fruits their flavour, flow’rs their odour prove, And here we taste true liberty and love.

Joshua ‘Tis well; six times the Lord hath been obey’d, Low in the dust the town shall soon be laid.

Now the seventh sun the gilded domes adorns, Sound the shrill trumpets, shout, and blow the horns.

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A solemn march during the circumvection of the Ark of the Covenant.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

HANDEL’S JOSHUA TEXTS 27. Solo and Chorus

32. Solo and Chorus

Joshua (the walls of Jericho falling) Glory to God! Israelites Glory to God! The strong cemented walls, The tott’ring tow’rs, the pond’rous ruin falls.

The nations tremble at the dreadful sound, Heav’n thunders, tempests roar, and groans the ground.

Joshua Almighty Ruler of the skies, Accept our vows and sacrifice!

28. Recitative Caleb The walls are levelI’d, pour the chosen bands, With hostile gore imbrue your thirsty hands, Set palaces and temples in a blaze, Sap the foundations, and the bulwarks raze.

But oh, remember, in the bloody strife, To spare the hospitable Rahab’s life.

Israelites Thy mercy did with Israel dwell, When the first-born of Egypt fell.

But oh, what wonders did the Lord At the Red Sea to us afford!

He made our passage on dry ground, While Pharaoh and his host were drown’d.

He through the dreary desert led, He slaked our thirst, with manna fed.

His glory did on Sinai shine, When we receiv’d the law divine.

SCENE 3

29. Air

Joshua, Caleb.

Caleb See, the raging flames arise, Hear, the dismal groans and cries!

The fatal day of wrath is come, Proud Jericho hath met her doom.

33. Recitative Caleb Joshua, the men dispatch’d by thee to learn The strength of Ai, and country to discern, Elate with pride, deluded by success, Despis’d their pow’r and made the people less.

Easy of faith, we trust what they relate, And now the hasty error find too late: Our troops with shame repuls’d! Oh, fatal day!

Hark, Israel mourns, triumphs the King of Ai!

30. Air Achsah To vanity and earthly pride, How short a date is giv’n!

The firmest rock, that shall abide, Is confidence in Heav’n.

34. Chorus of the defeated Israelites How soon our tow’ring hopes are cross’d!

The foe prevails, our glory’s lost!

Again shall Israel bondage know, Oh, sheathe the sword, unbend the bow.

Exeunt.

SCENE 2 The Passover. Joshua, Caleb, Othniel, Achsah, High Priest, Priests, Chiefs, Elders, and a full assembly of people.

31. Recitative Joshua Let all the seed of Abrah’m now prepare To celebrate this feast, with pious care.

Ages unborn, by this example led, Shall bleed the lamb, and bake th’unleaven’d bread.

35. Recitative Joshua Whence this dejection? Rouse your coward hearts, Let courage edge your swords, and point your darts.

Remember Jericho, and sure success Shall crown your arms; the Lord our cause shall bless.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

31

HANDEL’S JOSHUA TEXTS 36. Air and Chorus Joshua With redoubled rage return, Ev’ry breast with fury burn, And the heathen soon shall feel The force of your avenging steel.

Israelites We with redoubled rage return, All our breasts with fury burn.

The heathen nation soon shall feel The force of our avenging steel.

Exeunt.

SCENE 4 Othniel, Achsah.

37. Recitative Othniel Now give the army breath; let war awhile Smooth his rough front, and wear a cheerful smile.

The interval, if Achsah but approve, I’ll consecrate to virtue and to love.

38. Air Othniel Heroes when with glory burning, All their toil with pleasure bear; And believe, to love returning, Laurel wreaths beneath their care.

War to hardy deeds invites, Love the danger well requites.

Heroes. . . da capo 39. Recitative

That sinks beneath a falling show’r And rears its drooping head, Thy presence doth my pow’rs control, Darts joy, like lightning, through my soul, And all my cares are fled.

SCENE 5 To them Caleb.

41. Recitative Caleb Sure I’m deceiv’d, with sorrow I behold!

Let not this folly in the camp be told, Now all the youth of Israel are in arms, That Othniel, lost in dalliance, shuns th’alarms.

Othniel Oh, why will Caleb my fix’d passion blame?

This spotless object justifies my flame.

Caleb No more, it wounds thy fame! Daughter, retire!

SCENE 6 Caleb, Othniel.

Caleb Oh, let thy bosom glow with warlike fire!

Thou know’st what craft the men of Gibeon us’d To obtain their league, which else had been refus’d; Soon did that treaty through the heathen ring, Adonizedeck, of Jerusalem king, With the confed’rate pow’rs of most renown Have sworn to ruin the revolted town.

Firm to our faith, it never shall be said, That our allies in vain implor’d our aid.

Achsah Indulgent Heav’n hath heard my virgin pray’r, And made my Othniel its peculiar care.

When he is absent, sighs my hours employ, When he returns, transporting is the joy.

Othniel Perish the thought! While honour hath a name, IsraeI’s, or Gibeon’s cause is still the same.

40. Air

Othniel Nations, who in future story, Would recorded be with glory, Let them through the world proclaim:

Achsah As cheers the sun the tender flow’r,

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42. Air

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

HANDEL’S JOSHUA TEXTS “Friendship is the road to fame.”

45. Chorus of Israelites

SCENE 7

Hail, mighty Joshua, hail! Thy name Shall rise into immortal fame.

Our children’s children shall rehearse Thy deeds in never-dying verse, And grateful marbles raise to thee, Great guardian of our liberty!

Joshua, Caleb, Othniel, Chiefs, Elders and Chorus.

The armies of the Israelites and Canaanites prepared for battle.

43. Recitative Joshua Brethren and friends, what joy this scene imparts, To meet such brave, such firm united hearts!

What though the tyrants, an unnumber’d host, Their strength in horse, and iron chariots, boast?

Now shines the sun, that fixeth Canaan’s doom, Trust in the Lord, and you shall overcome.

Flourish of warlike instruments.

Caleb Thus far our cause is favour’d by the Lord.

Advance, pursue, Jehovah is the word!

Flourish of warlike instruments.

44. Solo and Chorus Joshua O thou bright orb, great ruler of the day, Stop thy swift course, and over Gibeon stay!

And, O thou milder lamp of light, the moon, Stand still, prolong thy beams in Ajalon.

Israelites Behold, the list’ning sun the voice obeys, And in mid heav’n his rapid motion stays.

Before our arms the scatter’d nations fly, Breathless they pant, they yield, they fall, they die.

ACT THREE SCENE 1

46. Air Achsah Happy, oh, thrice happy we, Who enjoy sweet liberty!

To your sons this gem secure, As bright, as ample, and as pure.

Happy. . . da capo 47. Recitative Joshua Caleb, for holy Eleazer send, And bid the chiefs of Israel all attend, To execute th’Almighty’s great command, And lot among the tribes the conquer’d land.

Caleb With thee, great leader, when Jephunneh’s son Was sent to view the nations thou hast won; Hebron obtain’d, we all its produce sought, Thick-cluster’d grapes, figs, and pomgranates brought.

The men, their prowess carefully survey’d, And deem’d the conquest easy to be made.

Here would I stop — but, oh, unhappy fate!

The tim’rous spies a diff’rent tale relate, Increas’d the danger, multiplied the foe, And fill’d some dastard souls with panic woe.

Joshua Firm as a rock, when billows lash its side, Thou didst persist, and all their threats defied.

The men appeas’d, said Moses, man of God: “Caleb, the land whereon thy feet have trod —Mark what I say! for ‘tis the will of Heav’n!— Shall be to thee, and to thy children giv’n.”

Behold! The promise of the man divine I ratify, and Hebron now is thine.

Joshua, Caleb, Othniel, Achsah and Chorus.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

33

HANDEL’S JOSHUA TEXTS Caleb My cup is full; how blest is this decree!

How can my thanks suffice the Lord, and thee?

SCENE 2

48. Air

52. Chorus of Israelites

Caleb Shall I in Mamre’s fertile plain, The remnant of my days remain?

And is it giv’n to me to have A place with Abrah’m in the grave?

For all these mercies I will sing Eternal praise to Heav’n’s high King.

Father of mercy, hear the pray’r we make, And save the hero for his country’s sake.

Joshua, Caleb, Achsah and Chorus.

53. Recitative

For all these mercies we will sing Eternal praise to Heav’n’s high King.

Joshua In bloom of youth, this stripling hath achiev’d What scarce, in future times, shall be believ’d.

Mankind no sooner did pronounce his name, But he stood foremost in the rolls of fame.

Tyrants he humbled, with the world’s applause, And sav’d his country’s liberty and laws.

50. Recitative

54. Chorus

Othniel O Caleb, fear’d by foes, by friends ador’d, Well have we paid this tribute to thy sword; But still, to make thine heritage complete, Debir remains, Debir, the giant’s seat.

Youths See, the conqu’ring hero comes!

Sound the trumpets, beat the drums.

Sports prepare, the laurel bring, Songs of thriumph to him sing.

Caleb Worn out in war, I find my strength decline; Counsel alone, the gift of age, is mine.

Is there a warrior willing to pursue The conquest, and that stubborn town subdue?

For him, for his, I amply will provide, And to crown all, Achsah shall be his bride.

Virgins See the godlike youth advance!

Breathe the flutes, and lead the dance; Myrtle wreaths, and roses twine, To deck the hero’s brow divine.

49. Chorus of the Tribe of Judah

Othniel Glorious reward, the task be mine alone!

Transporting thought! Caleb, the town’s thy own.

51. Air Othniel Place danger around me, The storm I’ll despise.

What arm shall confound me, When Achsah’s the prize?

Place danger. . . da capo

34

Full Chorus See, the conqu’ring hero comes!

Sound the trumpets, beat the drums.

Sports prepare, the laurel bring, Songs of triumph to him sing.

See. . . da capo

SCENE THE LAST To them Othniel.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

HANDEL’S JOSHUA TEXTS 55. Recitative

58. Duet

Caleb Welcome, my son, my Othniel, good and great, The ornament and champion of the state!

Take thy reward, the noblest Heav’n can raise, And lasting love adorn your happy days.

Othniel O peerless maid, with beauty blest, Of ev’ry pleasing charm possest!

Othniel What tongue can utter, or what heart conceive The joy with which this blessing I receive?

Achsah Blest be the pow’r that kept thee safe from harms, Blest be the pow’r that gave thee to my arms.

56. Air Achsah Oh, had I Jubal’s lyre, Or Miriam’s tuneful voice!

To sounds like his I would aspire, In songs like hers rejoice.

My humble strains but faintly show, How much to Heav’n and thee I owe.

Achsah O gen’rous youth, whom virtue fires, And love and liberty inspires!

Both As first in valour thou art deem’d, For truth thou art no less esteem’d.

59. Recitative Caleb While lawless tyrants, with ambition blind, Mock solemn faith, waste worlds, and thin mankind, Israel can boast a leader, just and brave, A friend to freedom, and ordain’d to save.

Thus bless’d, to Heav’n your voices raise In songs of thanks, and hymns of praise.

60. Chorus

57. Recitative Othniel While life shall last, each moment we’ll improve In equal gratitude, and mutual love.

The great Jehovah is our awful theme, Sublime in majesty, in pow’r supreme.

Hallelujah!

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

35

CAMPAIGN for the 21st CENTURY DONORS

Philharmonia Baroque Orchestra & Chorale gratefully acknowledges the lead contributors listed below whose extraordinary and generous commitments will pave the way for a strong and innovative future.

$1,000,000+ The Waverley Fund Nicholas McGegan Conductor’s Podium

$500,000—$999,999 Anonymous (1) Ross Armstrong, 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

36

$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 The Grace and Laurance Hoagland Fund Margaret & Edmond Kavounas, Recording & Media Circle Kit & Hayne Leland William Lokke Betty & Jack Schafer William Quackenbush The Estate of Shirley Sarvis $5,000—$9,999 The Rev’d Richard Fabian Charlotte Gaylord & Barrie Cowan Lynn Gotchall Brian M. Kincaid & Elizabeth C. Theil Carlene Laughlin Ellen & Barry Levine Katherine & Bridger Mitchell Janet & Bill Nicholls Judith & Stuart Offer Mary & David Phillips Ellen & Mike Turbow Chris Mele-Wagner Wendy and Mason Willrich Gifts recognized above represent commitments in excess of $5,000 to the Campaign for the 21st Century from August 1, 2010 through September

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Tax-Free IRA Gifts Help Sustain PBO as THE Leading Period-Instrument Ensemble in U.S. You have been fortunate enough to contribute money into your Individual Retirement Account for all those years at work, and it’s grown to a tidy sum. However, once you reach 70 ½ the government would like their cut! PBO can help alleviate that sting because donations are exempt from federal income taxes. Depending on your financial situation, this might be a smart tax move for you.

Here’s what you need to know about IRA rollover gifts: • You must be 70 ½ or older when you make your gift.

• You can transfer up to $100,000 annually.

• Donations count towards the required minimum distribution (RMD) but don’t increase your adjusted gross income.

• Your IRA custodian must make the distribution directly to PBO.

To learn more about IRA gifts, or to request a sample letter to send to your IRA custodian, contact Noelle Moss, Director of Development at nmoss@philharmonia.org or 415-252-1288 ext 314.

BUILDING PHILHARMONIA’S FUTURE ENDOWED FUNDS AND NAMED CHAIRS

Contributing to the Endowment Fund or naming a chair creates a legacy that will preserve the unique sound of Philharmonia for generations to come. Philharmonia Baroque Orchestra & Chorale gratefully recognizes the following named chairs and donors to the endowment.

NAMED CHAIRS The Waverley Fund Conductor’s Podium* Egon & Joan von Kaschnitz Concertmaster Chair* Michael F. and Jane B. Marmor Principal Clarinet Chair*

Clare Frieman Kivelson and Irene Valente Angstadt Memorial Principal Oboe Chair

Zheng Cao Memorial Cello Chair

Susan B. Levy Violin Chair

Osher Cello Chair Endowment*

THE PHILHARMONIA CHORALE ENDOWMENT FUND* Anonymous ENDOWMENT SUPPORTERS Susan & Paul Sugarman* Donna Williams* * Denotes endowed chairs or funds, or donors to the general endowment, with commitments through the Campaign for the 21st Century.

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

Anonymous (2)

Christine & Kenneth Hecht

Elizabeth Anderson Mayer

Ross Armstrong

The Grace & Laurence Hoagland Fund

Chris McCrumb & Elizabeth Velarde

Marie & Palmer Hotz

Gladyne K. Mitchell

The Kivelstadt Family Trust

Holbrook T. Mitchell

Norman T. Larson

Mary Perry & Melanie Peña

Kit & Hayne Leland

Sondra & Milton Schlesinger

Laura & Robert Cory

John B. Levy

Jane & Jack Stuppin

Al Garren

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

Susan & Paul Sugarman

Nicholas Baz Kathleen & Martin Cohn Richard Colburn Marie Bertillion Collins & Leonard Collins

Mona Geller Mrs. Jonathan B. Gifford Joan & John Goddard, The Goddard Foundation Kay Sprinkel Grace Kate & David Gross

38

David Low & Dominique Lahaussois The Marmor Foundation, Drs. Michael and Jane Marmor Frederick Matteson & Anne Davidson Barr

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Linda & Paul Swatek Carol & Douglas Tanner Egon & Joan von Kaschnitz The Waverley Fund

BUILDING PHILHARMONIA’S FUTURE LAURETTE GOLDBERG SOCIETY

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

Anonymous (4) Ross Armstrong Corey & Tim Benjamin The Robert A. Birman Executive Director Chair Norman Bookstein & Gillian Kuehner Don Buhman Linda Brewer William Bush David Challinor

Kathleen & Martin Cohn Marie Bertillion Collins & Leonard Collins Steven A. R. Edwards Dr. Harvey & Deana Freedman Kay Sprinkel Grace Margaret Hegg Kathy & Bill Korbholz George Kovatch & Robert Wiskozil Norman T. Larson Clifford Leventhal

William Lokke Barbara & Nigel Renton Maxine & James Risley Adrienne & Ted Savetnick Sondra & Milton Schlesinger Barbara Silverberg Frances C. Strauss Linda & Paul Swatek Ann W. Vander Ende Claudine Torfs Theodore Weber

Philharmonia would also like to recognize the following estate gifts that have supported our work: The Estate of Donald E. Casey

The Estate of Mrs. A. P. Morse

The Estate of Marie Mendenhall Cleasby

The Estate of Maxine Rosston

The Phillip M. Eisenberg Trust

The Estate of Shirley Sarvis

The Estate of Eva & James Goodwin

The Estate of Carol Seitz

The Estate of Marie Kieraldo

The Estate of Michael J. Weller

The Estate of Susan B. Levy

Leave a Legacy to PBO Planning for the future is vital, not only for individuals but for organizations like PBO as well. Turn your passion for the Orchestra into a lasting legacy and help us make the future as bright as the present by naming PBO in your estate plans.

Estate gifts make it possible for PBO to: • enhance our regular season programming • introduce PBO to new audiences nationally and internationally, and • take necessary artistic risks.

Legacy giving is easy to set up and can even benefit you during your lifetime.

Help us today to ensure that the art of historically informed performance is available for many, many years to come.

For more information on making a legacy gift to PBO, please visit www.philharmonia.org/ legacy-giving. To be included in the Laurette Goldberg Society if you’ve already named Philharmonia in your estate plan or for help doing so, please contact Noelle R. Moss, Director of Development, at (415) 252-1288 ext 314 or nmoss@philharmonia.org.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

39

LEAVING A LEGACY…

A CONVERSATION WITH PLANNED GIVING DONORS, KATHY & BILL KORBHOLZ

&A

Ticket sales only cover one-third of our operating expenses and PBO relies annual commitments, endowment income and planned gifts to bring you the music that you love year after year. With a little planning and one (or more) estate planning options, patrons can leave a legacy that will ensure the art of historically-informed performance is available for many, many years to come.

Kathy & Bill Korbholz, longtime subscribers from the Peninsula, recently informed PBO of their willingness to invest in Philharmonia long-term through a planned gift, and so we sat down with the Korbholzes to learn a little bit more about them and what inspired their commitment to PBO. If reading Kathy & Bill’s story inspires you to make a planned gift (or reminds you that you’ve already done so), please let our Development department know so that we can acknowledge you for your extraordinary generosity.

So when we moved up to the Bay Area in 1991, it was inevitable that we would link up with PBO. Why do we love PBO? It’s because there is no other series of concerts that we attend where every performance is so uplifting. I always leave the venue in high spirits.

Q: Which early music instrument is your favorite and why?

Bill: Because of my piano training, I have an Kathy & Bill Korbholz

Q: Tell me a little about yourselves and what drew you to Philharmonia originally. What keeps you coming to our concerts year after year?

Bill: As a youngster, I took classical piano

lessons, and so developed a love of music, with the baroque and classic periods being my favorites. I was a math major in college, and one of my electives was a class on the music of J. S. Bach. For my term project, I wrote a paper on the importance of numbers to Bach and their hidden appearances in his music. I was fascinated with the blending of beautiful tonality with structure, symmetry, and numerical symbolism.

Kathy and I were both brought up in Southern California and we were avid concertgoers there.

40

affinity for keyboard instruments. I always enjoy it when Nic or Hanneke play continuo, or of course when we have a soloist like fortepianist Robert Levin. But truth be told – and no offense, Nic – the concert that I am most excited about this season is with violinist and leader Rachel Podger.

She brings such a spirit of happiness and grace with her, not to mention her total mastery of her instrument.

Q: What prompted you to include PBO in your estate plans?

Kathy: Bill and I are devoted fans and

supporters of PBO, and have been since enjoying our first concert in the early 1990s. We are pleased to contribute each season, and we’re proud to be doing what we can to ensure PBO’s future. That’s why we’ve left a legacy gift in our estate plan.

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

WinterGala

20 17

new music for old instruments

with Dominique Labelle Friday, March 10, 2017 6:30pm – midnight St. Regis Hotel 125 Third Street, San Francisco, CA This year’s gala will showcase PBO’s latest initiative “New Music for Old Instruments” and honor acclaimed soprano Dominique Labelle for her extraordinary artistic contributions. PBO Music Director Nic McGegan will lead members of the Orchestra and Ms. Labelle who will perform the world premiere of a piece by Pulitzer Prize winning composer Caroline Shaw.

the evening also includes:

• Silent auction showcasing one-of-a-kind items • •

and cocktail reception An exquisite three-course dinner and student musician performance A premium Scotch tasting following dinner

All funds raised help bring PBO’s unique brand of music to concert halls and classrooms in San Francisco, Berkeley, Stanford and points beyond.

to purchase tickets or for more information:

Please visit www.philharmonia.org/annual-gala or contact Andrea Sáenz at asaenz@philharmonia.org or (415) 252-1288 ext 300

GIFTS TO THE ANNUAL FUND Philharmonia expresses its warmest thanks 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 very grateful to the following donors whose gifts were received between August 1, 2015 and October 1, 2016.

CORPORATE, FOUNDATION & GOVERNMENT GRANTS $100,000 & Above Bloomberg Philanthropies Grants for the Arts/San Francisco Hotel Tax Fund The William & Flora Hewlett Foundation $75,000—$99,999 The Wallis Foundation $25,000—$74,999 Bailard, Inc Fidelity Investments Charitable Gift Fund Ann & Gordon Getty Foundation The Bernard Osher Foundation $10,000—$24,999 Bank of America Bank of America Charitable Gift Fund Bell Investment Advisors Gaia Fund National Endowment for the Arts Schwab Charitable Fund Vanguard Charitable Endowment Program The Wells Fargo Foundation $5,000—$9,999 The Bob Ross Foundation E. Nakamichi Foundation Jewish Community Federation & Endowment Fund Jewish Community Foundation of the East Bay The San Francisco Foundation

Up to $4,999 California Community Foundation Jewish Communal Fund Morgan Stanley GIFT Silicon Valley Community Foundation Wilmington Trust

CORPORATE PARTNERS Bailard, Inc. Bell Investment Advisors

MATCHING GIFTS Adobe Systems Incorporated Chevron Humankind Matching Gift Program IBM Corporation Oracle Corporation

GIFTS IN KIND Norman Bookstein Boisset Family Estates Classic Malts DLA Piper Ebby St. Pierre Graphic Design Goodby, Silverstein & Partners KDFC Nancy Mims, Deliberate Whispers Panoramic Interests RJ Muna Photography St. Regis Hotel WineWise, Hiram Simon & Brian Greenwood

We gratefully acknowledge the support we receive from:

42

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

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

ARCANGELI ($5,500− $9,999)

Anonymous (1)

Anonymous (1)

Ross E. Armstrong ✢

Carol & Peter Berkenkotter

Gladyne K. Mitchell ✢ The Estate of Maxine Rosston The Waverley Fund ✢

Dominique Lahaussois & David Low

Kay Sprinkel Grace ✢

Mark Perry & Melanie Peña

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

Carlene Laughlin

Frederick Matteson & Anne Davidson Barr ♦

Claudine Torfs

David Morandi ✢

▲

♦

Carol & Douglas Tanner ♦

Kate & David Gross ✢

The TL Trust ♦

The Estate of Marie Kieraldo

AMATI ($3,000−$5,499)

Donna Williams

Marie & Palmer Hotz ▲

Brian M. Kincaid & Elizabeth C. Theil ✢

Elizabeth Anderson Mayer

▲

Nicholas McGegan & David Bowles ♦ Maxine Risley

▲

Jean Shuler

✢

Robert Thompson Paul Wilson

▲

Ari & Kristin Baron

Nancy & Clayton Bavor ♦ Don & Joan Beerline ♦ Adam Arthur Bier & Rachel Bier Lem

Charles Crane ♦

Ana & Roger Chretien

Corinne Cooley Derringer ♦

▲

Catherine & D. Michael Enfield ♦ The Rev’d Richard Fabian

Olga Conrad ♦

Marta Falicov

Lynn Gotchall ♦ ✢ - 20+ YEARS

Darla & Richard Bastoni ♦

Kyra & Ken Carson ♦

Annelle Clute ♦

|

Troy Barbee

Richard Caplin, M.D. ✢

Corey & Tim Benjamin ♦

♦ - 10+ YEARS

▲

William Bush ✢

Mary & Roger Ashley ✢ Elizabeth, Kay & Mike Buckley

Sondra & Milton Schlesinger ♦

Linda & Paul Swatek

Donald Buhman & Wray Humphrey

Anonymous (1)

Eric Leve

▲

Betty & Jack Schafer ✢

Anonymous (1)

✢

Paul and Susan Sugarman Family Philanthropic Fund ♦

John & Joan Goddard, The Goddard Foundation ▲

Margaret & Edmond Kavounas

Leonilla & William Perry ♦ Susan LeRoy Stewart & Michael Stewart ✢

Nicolas Elsishans & Christopher Hayes

Anne & Jeffrey Katz

COGNOSCENTI ($1,500−$2,999)

Jade and Chris Simonson

Bonnie & Jim Bell

Dr. Bill Isenberg and Ruth Isenberg

Rebecca Moyle & Tyler Lange

Kathryn & Donley Parmentier ✢

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

▲

Howard Schachman ♦

The Marmor Foundation; Drs. Michael & Jane Marmor ♦

The Grace & Laurance Hoagland Fund ✢

Christina & Kenneth Hecht

Christopher & Michael Mele-Wagner

William Lokke ✢

Nancy & Richard Heath ♦

Al Garren ✢

Sheila & Michael Lagios

Paola & Richard Kulp ✢

✢

Jean-Marc Frailong & Richard Halton ♦ Charlotte Gaylord & Barrie Cowan ♦

Marie Bertillion Collins & Leonard Collins ▲

Martine Kraus

Norman T. Larson

▲

Martin & Kathleen Cohn ✢

The Goodman Family, Supporting Foundation of The Jewish Community Foundation of the East Bay ♦

STRADIVARI ($25,000−$44,999)

Mrs. Jonathan B. Gifford

Sarah FitzGerald & Quincy Bragg ♦

▲

✢

The Estate of James Goodwin

|

▲ - 30+ YEARS

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

43

WITH GRATITUDE Joyce & Douglas Hamilton ✢

CAMERATA ($650−$1,499)

Maureen & David Kennedy ♦

Susanne Hering & John Phillips ♦

Anonymous (3)

Alice & Richard Kulka

Margaret Hegg ♦

Barbara Koepsell ♦

Robert & Elaine Allen Family Foundation

Ian Hinchliffe & Marjorie Shapiro ✢

Steve John & Jason Snyder

Marguerite & Marc Kaufman ♦ Laura Leff

Christine & Jerry Baker

Angela Little

Mrs. Mary Baxter

▲

Stephen Bischoff

C.R. Gus Manning & Rena Kirkpatrick ✢

Patricia Bradley

Rod McChesney

Willinda & Peter McCrea

Barbara & Thomas Metcalf ♦

Tom Lee

Hugh McLean

Helen & John Meyer

▲

Neanna & Allan Miles

✢

Ann & Winslow Briggs

Phillip Phythian & Ann Hardham ✢

Melissa & Richard Bruins ♦

Glyde Cooper

Lisa Moresco & Gerry Agosta Tina & Stephen Morris ♦ Kurt Mueller-Vollmer

Louise Adler Sampson

Janet & Bill Nicholls

Reed & Barbara Schmidt Ross Smith ♦

Judith & Stuart Offer ♦

Jessena Finn ♦

Muriel Waller ♦

Mr. Theodore Weber, Jr.

✢

Melanie & Ron Wilensky

Wendy & Mason Willrich ✢

Jane & Warren Zuckert ♦

✢

✢

Maureen & Donald Querio ♦

Georgia Heid & Mary Belle O’Brien

William & Ray Riess

✢

Ann & Roy G. Hammonds, Jr

✢

✢

Nina Hemenway & Chesley Herbert

✢

Anmarie Roache Michael Sack

✢

Julie & Preston Sargent Fritzi & Edgar Schoen ♦ Sara & John Schram

✢

Michael & Susan Schwartz

Alison & Peter Hill

Silvija & Roger Hoag

Roseanne & Ray Perman William Quackenbush ♦

Janet & Joseph Grodin

Barbara & Gregory Tanaka ✢

Eileen Peck

Heather Preston

Margaret Garms ♦

Bill Gray & Kathy Hibbs

Jonathan Stebbins & Jessica Donovan ✢

✢

Scott Sochar

Susan & Ernst Hoyer

Marian & Abraham Sofaer

Sara Jotoku

Cheri & Burnie Sparks

Robert Jarman

44

✢

Rob & Barbara Grant

✢

✢

Ellie Nishi ♦

Paul Feder & Freye Anderson ✢

✢

Brenda & James Nirenstein

✢

John Drago ♦

Adrienne & Theodore Savetnick ♦

Elinor & Bruce Wilner

Jeanne Newman

The Ruth Crosby Fund ♦

✢

✢

Katherine & Bridger Mitchell ♦

✢

Margaret Conkey & Lester Rowntree ♦

Grace M. Parr ♦

✢

Theo & Lisa Melas-Kyriazi

✢

Joan & Edward Conger ♦

Harvey Lynch

✢

Richard Meiss & Peter Rudy

✢

George Cogan

✢

Sylvia J. Spengler

Josephine Maxon ♦ ▲

Lynne Carr

✢

✢

✢

Martha & Arthur Luehrmann ♦

✢

Prudence Breitrose ✢

Claire & Herbert Lindenberger Carol Lokke

✢

✢

Marlene Bollhoffer

Joan Mansour

Mary Anne Miller & James Suekama

Hollis Lenderking ♦

Janet & Chris Bensick

Susie & Peter Lynn

Kit & Hayne Leland ♦

Jonathan Arons & Claire Max ♦ Barbara Barkovich

Ellen & Barry Levine ♦

Maribelle and Stephen Leavitt ♦

Kendall & Claire Allphin R. Tyler Andersen & Diane Green ✢

Kathy & Bill Korbholz ✢

Bob Larson ♦

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

John Sommer

▲

✢

WITH GRATITUDE Gayle & George Staehle

David Stein & Bill Stewart ♦

Jo Ann Stewart & Judy Nelson Tricia Tanoury Claire Taylor

✢

Peter Crabtree & Barbara Ann Beno Robert Cronin

Andrea Julian

Joseph & Donna Terdiman

Lava Thomas & Peter Danzig ♦ Ellen & Mike Turbow

✢

Susan & Harry Dennis ♦

Nancy Hunt Kiesling ♦

Jacqueline Desoer

Cathe & Gavin Wright

Steven A.R. Edwards Sylvia & Paul Emery

✢

Dr. & Mrs. Kiraly ♦

Susan Klee & David Stoloff

✢

Iris and Hal Korol

✢

Barbara Kosnar & Tom Goldman

✢

Danine & James Langdell

Mary & Jurgen Exner ♦

($350−$649) Anonymous (2)

Frank Adams & Susan Bryan

▲

Carol Cosman & Robert Alter ♦ Shirley Armitano

Janet Farbstein

♦

Mary Ellen Fine

✢

Adelheid & Mark Levi ♦

Carol & Hal Louchheim

Mr. & Mrs. Thomas Foote

Zachary Baker ♦

Marcia & Richard Baugh

Jeanne & Frederick Gabali

Janice & William Belmont

✢

Jici Gao

✢

Lise Perlman & Peter J. Benvenutti

Shirley & William George Betty Gerard

Helen Berggruen ♦

Fraser Bonnell

Connie & John Buchanan

Patricia & Richard Campbell Dr. Bruce & Susan Carter

✢

✢

Patricia & Peter Coffin Michael Colbruno ♦

✢ ▲

Emily Gladstone Cole ♦

▲

✢

✢

✢ ✢

Dorothy & Rolf Muller ♦

Ms. Mary H. Hardy

Nancy & Nicholas Haritatos Alan Harper & Carol Baird Jake Heggie

Alice Nadler ♦ ✢

Laurie Nash

Victor Ninov

Joan Norton

✢

Peter Pastreich & Jamie Whittington

Joan & David Hollinger ✢ - 20+ YEARS

Margaret McKinnon

Richard McKee

Julius Moshinsky & Suzanne Renne ▲

Carol Handelman ♦

|

✢

Robert Mison

BK Moran & Charles Haas

♦ - 10+ YEARS

✢

Mr. William Miranda

Margaret Heineman

▲

✢

Kathleen McGreevy

Steven Menzel

Ms. Dorothy D. Gregor

Forrest Hainline

Sheri & George Clyde

Robert Cook & Blanca Haendler

✢

✢

Sally Marshall

Mr. John McKnight

Andrew Griffin

✢

Dorothy & William Clemens Patricia Clemo & Robert Cooley

Bernice Greene ✢

Suzanne & Stanley Mantell

Bruce McCoy ♦

Dr. Anna Gonosova ♦ ✢

Joan & Roger Mann ✢

Beverly and Fritz Maytag

✢

The Stephen and Margaret Gill Family Foundation

Linda Blum

Francis Lundy

✢

♦

Garth McCune ✢

Douglas Giancoli ♦

Christel Bieri ♦

✢

Carolyn & David Lougee

✢

Dr. Harvey & Deana Freedman ✢

✢

Clifford Leventhal

David Favrot & Kathi Brown-Favrot Jennifer Finger & Scott Bucey

Mary Austin

✢

Phyllis Koch

Bette & Bob Epstein

▲

✢

Robert Kidd & Joan Story

Gina Earle & Thomas Schmidt ♦

John and Marilyn Whitcher

Michael Condie

Sheila Keppel

Jeanette & Peter Dunckel

Dr. David L. White & Martha Truett ✢

Beverly Zellick

Emily Kenyon & David Lipsky

Diane de Forest ♦

✢

✢

Chrystal & James Kafka ♦

▲

Dorothy Dayton

✢

✢

Leila & David Javitch ✢

Lloyd Day

♦

Marion Taylor

Arlene & David Holloway

Jane Coulter ♦

✢

|

▲ - 30+ YEARS

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

45

WITH GRATITUDE Kirk Patterson ♦

Terry Lynne Pedersen Marion Peleo Robin Perry

Sandra and George Petty

✢

Bernard Peuto

Helen & Dan Quinn

✢

Scott Robinson

✢

Pam & Jim Robson ♦ James Rytuba

Maura FitzGerald & Tom Walsh ▲

✢

Donna & Gerald Silverberg

✢

Bill & Judy Botsford Warren

▲

✢

✢

John Tibbetts & Barbara Bernstein ♦ Ruth and Alan Tobey, Tobey Fund ♦ Jennifer Trainor ♦ Carl Van Os

✢

Philharmonia is honored to recognize those gifts made in memory of the following individuals: Alan J. Bearden

Ida Jean Newton

Caroline Cox

Ethel L. Schachman

Dr. Alan Bradley Robert Fink, M.D. William Forkin Ann Kadyk

Katharine McLean Barbara Morgan

46

Elizabeth Waller

Anne Warner & Charlotte Centeno

Laurie Sizemore

Sarah & Stephen Taber

✢

Barbara Rauhala Kenneth Robin

Louise Shalit

Rosemary & Claude Stoller

✢

Nancy Chappell Roberts

Loekie & Johan Van Proosdij

Linda & Fred Sondheimer

Naomi & David Pockell ♦ Nelson & Linda Polsby

Paul J. Schmidt

Mark Schoenrock & Claudia Fenelon

✢

Marian and Shunji Nishi Jonas K. Stern Peter Strykers

Egon von Kaschnitz Don Watson

Mary E. Wilson

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE

Ann & Thomas Watrous

✢

✢

Ben & Beth Wegbreit ♦ Evelyn Wegienka ♦ Randy White Mary Wilson

Sarah Young ♦

Suzanne & Michael Ziegler ♦ John Zimmermann & Diana Graham ✢

Philharmonia is pleased to recognize those gifts made in honor of the following individuals: Ross E. Armstrong Lisa Grodin

Nicholas McGegan

Paul & Susan Sugarman

Handel’s Messiah in Grace Cathedral JEFFREY THOMAS music director

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

messiahingrace.org (415) 621-7900

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

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

48

PHILHARMONIA BAROQUE ORCHESTRA & CHORALE