Arthur Haas, harpsichord, Jan 19, 2018

Robert Blocker, Dean

facult y a rtist ser ies

Arthur Haas, harpsichord James Taylor, tenor Daniel S. Lee, baroque violin Martha McGaughey, viola da gamba

Friday, January 19, 2018 • 7:30 pm Morse Recital Hall

faculty artist series

Arthur Haas, harpsichord January 19, 2018 • Morse Recital Hall

Dieterich Buxtehude c. 1637–1707

Trio Sonata in B-flat major for violin, viola da gamba, and harpsichord, BuxWV 255 I. Vivace II. Lento III. Allegro Daniel S. Lee, baroque violin Martha McGaughey, viola da gamba

Buxtehude

Singet dem Herrn ein neues Lied (O sing unto the Lord a new song), BuxWV 98 James Taylor, tenor Daniel S. Lee, baroque violin Martha McGaughey, viola da gamba

Elisabeth Jacquet de La Guerre 1665–1729

Sonata No. 1 in D minor for violin and continuo (1707) I. Prélude II. Presto III. Aria IV. Presto Daniel S. Lee, baroque violin Martha McGaughey, viola da gamba

As a courtesy to the performers and audience, silence electronic devices.

Please do not leave the hall during selections. Photography or recording of any kind is prohibited.

Faculty Artist Series

Jean-Philippe Rameau 1683–1764

“Concert No. 3,” from Pièces de clavecin en Concerts, RCT 9 I. La La Poplinière II. La Timide: 1er Rondeau, 2e Rondeau III. 1er Tambourin, 2e Tambourin en Rondeau Daniel S. Lee, baroque violin Martha McGaughey, viola da gamba intermission

François Couperin 1668–1733

“Premier Concert,” from Concerts Royaux, IFC 4 I. Prélude II. Allemande III. Sarabande IV. Gavotte Daniel S. Lee, baroque violin Martha McGaughey, viola da gamba

Marin Marais 1656–1728

Pièces de viole, Book III I. Prelude II. Courante III. Sarabande IV. Gigue Martha McGaughey, viola da gamba

yale school of music

Heinrich I.F. von Biber 1644–1704

Sonata No. 1, “The Annunciation,” from Mystery Sonatas (c. 1676) I. Preludium II. Variation III. Finale Daniel S. Lee, baroque violin Martha McGaughey, viola da gamba

Georg Philipp Telemann 1681–1767 text by Matthäus Arnold Wilckens

Gott will Mensch und sterblich werden, TWV 1:694 James Taylor, tenor Daniel S. Lee, baroque violin Martha McGaughey, viola da gamba

Artist Profiles

Arthur Haas, harpsichord

Daniel S. Lee, baroque violin

Arthur Haas is one of the most soughtafter performers and teachers of Baroque music in the United States today. He received the top prize in the Paris International Harpsichord Competition in 1975 and then stayed in France for a number of years as an active member of the growing European early music scene. While in Paris, he joined the Five Centuries Ensemble, a group acclaimed for its performances and recordings of Baroque and contemporary music. He is a member of the Aulos Ensemble, one of America’s premier periodinstrument ensembles, whose recordings of Bach, Vivaldi, Telemann, and Rameau have won critical acclaim in the press, as well as Empire Viols and Aula Harmoniæ.

Along with many solo and chamber concerts throughout North America, he recently toured in Korea and Peru, and in 2014 and 2016 was featured in concerto performances with the China National Symphony in Beijing. He has recorded harpsichord music

by Jean-Henry D’Anglebert, Forqueray, Purcell and his contemporaries, Elisabeth Jacquet de La Guerre, François Couperin, and most recently the three books of Pièces de Clavecin of Jean-Philippe Rameau.

Annual summer workshop and festival appearances include the International Baroque Institute at Longy, The Portland (ME) Bach Festival, and the Amherst Early Music Festival, where he served as artistic director of the Baroque Academy from 2002–2011. Mr. Haas is a Professor of Harpsichord and Early Music at Stony Brook University and a Visiting Professor of Harpsichord at the Yale School of Music.

Award-winning violinist Daniel S. Lee enjoys a varied career as a soloist, leader, collaborator, and educator. Praised for his “ravishing vehemence” and “soulful performance” (The New York Times), he has appeared as a soloist and leader with Early Music New York, the Freiburg Baroque Orchestra, the Quodlibet Ensemble, and the Yale Schola Cantorum, among others. As the core violinist of the Sebastians, the critically acclaimed period ensemble that he founded and co-directs, Lee won the Audience Prize at the 2012 Early Music America Baroque Performance Competition and was a finalist at the 2011 York Early Music International Competition. A piccolo violin specialist, he has performed as a soloist in Bach’s Brandenburg Concerto No. 1 and Cantata 140 (Wachet auf, ruft uns die Stimme) and has given the modernday premiere of his own transcription of Johann Pfeiffer’s concerto. He has studied at the Juilliard School (B.M.), the Yale School of Music (M.M. and A.D.), and the University of Connecticut (D.M.A) and has given lectures and master classes at Connecticut College, Purchase College (SUNY), the University of Kansas, and the University of North Carolina at Chapel Hill. He is currently on the early music faculty at the Yale School of Music.

Martha McGaughey, viola da gamba Martha McGaughey spent many formative years in Europe where she studied both with Jordi Savall at the Schola Cantorum in Basel, and with

Artist Profiles

Wieland Kuijken in Brussels. While living there for Handel’s Messiah, other highlights in Paris, she was a member of the Parishave included Mendelssohn’s Elijah with based Five Centuries Ensemble, known the Chicago Symphony Orchestra, Berlioz’s for its performances of both early and Requiem with the Los Angeles Philharcontemporary music. She has performed monic, and Mozart’s Requiem with the with the Waverly Consort, Concert Royal, Philadelphia Orchestra, Hans Graf and the Aulos Ensemble, and the New York the Houston Symphony, and Bernard Collegium. Ms. McGaughey has collabLabadie and the Colorado Symphony. orated with the British viol consort Phantasm in several concerts and on a James Taylor can be heard on more than CD of the consort music of William Byrd. thirty recordings. For Hänssler, he has She is a founding member of the New recorded Dvorak’s Stabat Mater, Bach’s York-based Empire Viols. She has also Christmas Oratorio, Magnificat, and St. recorded for the Fonit Cetra and Erato John Passion; and Handel’s Messiah with labels and for EMI. Ms. McGaughey has Helmuth Rilling. On the Harmonia taught at the Ecole Nationale de Musique Mundi label he has recorded Bach’s Easter in Angoulême (France), at the Eastman Oratorio, Beethoven’s Missa Solemnis, and School of Music, and at Stanford University. Mendelssohn’s Paulus under Philippe Since 1986, she has been on the faculty at Herreweghe. New releases include Britten’s The Mannes College of Music in New War Requiem with Helmuth Rilling for York. She has twice been a Regents’ Hänssler; the Mozart Requiem with the Lecturer at the University of California, Saint Paul Chamber Orchestra led by San Diego, and teaches regularly at Andreas Delfs on Limestone Records; Amherst Early Music and at other summer Beethoven’s Missa Solemnis with the workshops including the Viola de Gamba Nashville Symphony on the Naxos label; Society of America’s Annual Conclave. and the rarely heard Baroque opera Ariadne

by Johan Georg Conradi with the Boston Early Music Festival led by Paul O’Dette James Taylor, tenor on ArkivMusik.

Tenor James Taylor devotes much of his career to the oratorio and concert literature and is one of the world’s most soughtafter Bach Evangelists.

In recent seasons, Mr. Taylor made his New York Philharmonic debut in Bach’s Saint Matthew Passion led by Kurt Masur, bringing a “sweet, light yet penetrating voice to the role of the Evangelist” (The New York Times). In addition to returning

Mr. Taylor attended Texas Christian University as a student of Arden Hopkin.

A Fulbright Scholar, he studied at the Hochschule für Musik. He is an associate professor of voice and coordinator of the vocal track in early music, oratorio, and chamber ensemble at the Yale School of Music.

texts and translations

Dieterich Buxtehude Singet dem Herrn ein neues Lied (O sing unto the Lord a new song), BuxWV 98

Psalm 98: 1–4 English translation from the 1662 Book of Common Prayer

1 Singet dem Herrn ein neues Lied, denn er macht Wunder. Er sieget mit seiner Rechten und mit seinem heiligen Arm.

1 O sing unto the Lord a new song; for he hath done marvellous things: his right hand, and his holy arm, hath gotten him the victory.

2 The Lord hath made known his salvation: his righteousness hath he openly shewed in the sight of the heathen.

3 He hath remembered his mercy and his truth toward the house of Israel: all the ends of the earth have seen the salvation of our God. 4 Make a joyful noise unto the Lord, all the earth: make a loud noise, and rejoice, and sing praise.

2 Der Herr lässet sein Heil verkündigen, für den Völkern lässt er seine Gerechtigkeit offenbaren.

3 Er gedenket an seine Gnade und Wahrheit dem Hause Israel. Aller Welt Enden sehen das Heil unsers Gottes.

4 Jauchzet dem Herren, alle Welt; singet, rühmet und lobet!

Georg Philipp Telemann Gott will Mensch und sterblich werden, TWV 1:694

Text by Matthäus Arnold Wilckens English translation by David Bellinger

Aria (Presto) Gott will Mensch und sterblich werden daß der Mensch in seinem Wehe nicht vergehe; Welch ein Merkmahl hoher Treu!

Fordre, kanns dein Witz erreichen, dir ein Zeichen hier auf Erden, oder droben in der Höhe, das so gross als dieses sei.

God wishes to become like man and mortal so that man might not perish in his spiritual woe.

What a sign of the highest degree of faith!

Ask now, can your wits fathom this, here upon earth or high up above, what could be as great as this.

texts and translations

Recitative Nein, wenn ich gleich der Morgenröte Flügel nähme und bis ans Äusserste des wilden Meeres käme, Ja, könnt’ ich mich gen Himmel schwingen und wiederum von da bis in den tiefsten Raum des Abgrunds dringen, So find ich überall doch nichts so wunderreich, als daß der unerschaff’ne Gott, Jehovah, Zebaoth, zur Kreatur um uns, um uns geworden!

Ach ja, Immanuel tritt in der Menschen Orden und machete sie von ihrer Sklaverei in seinem Siege frei.

Die beiden wütenden Tyrannen, die uns in Furcht gebracht, der wilde Tod und jener Fürst der Nacht, Erheben sich, durch ihn besiegt, von dannen.

Wohlan, ihr von dem Herrn so hochgeschätze Seelen, Verlaßt die schwarzen Trauerhöhlen, Verhnügnet euch am Glanze dieser Freudensonne, dies grosse Wunderwerk erfordert grosse Wonne!

No, if I rose on the wings of dawn and came to the far reaches of the raging sea, and were I able to soar up to Heaven and from there plummet into the deepest abyss, then I would find nothing so wonderful as the uncreated God, Jehovah, Lord of Hosts, who became a creature for our sakes!

Yes, indeed, Immanuel takes on human form and sets mankind free from slavery in his victory.

The two furious tyrants who have kept us in fear of them, brutal Death, and that Prince of Darkness, rise up against but are defeated by him, and thus removed.

Well then, you Souls, so highly esteemed by the Lord leave now the dark caverns of mourning, enjoy the warm glow of this joyful sun, this great miracle requires great jubilation!

Aria (Vivace) Immanuel ist da!

Triumph, Halleluja!

Erfreuet euch, ihr Himmelsthronen samt allen, die auf Erden wohnen, sind durch ihn dem Himmel wieder nah; Immanuel ist da!

Immanuel is here!

Triumph, alleluia!

Rejoice, you heavenly thrones, Along with all who dwell on earth, through him we are again much closer to heaven.

Immanuel is here!

Was unsrer Seelen Angst erwekket, hat Jesus in den Staub gestrekket, auf welchen schon der Väter Hoffnung sah Triumph!

That which awakens fear in our souls, has been reduced to dust by Jesus In whom our elders have placed their hopes.

Robert Blocker, Dean

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