Bach@One

atOne

The Trinity Choir Trinity Baroque orchestra
Julian Wachner, Conductor
Bach Cantatas · Schütz Motets Poetry

Mondays at 1pm March 21–June 20, 2011

TRINIT Y WALL STREET present s

The Trinity Choir & Trinity Baroque Orchestra Julian Wachner, Conductor

atOne
weekly service featuring the cantatas of J.S. Bach, with motets of Heinrich Schütz, and transformative readings by contemporary poets
Mondays at 1pm March 21–June 20, 2011* St. Paul’s Chapel Broadway at Fulton

*

This program booklet May 2 - June 20

welcoMe
WELCOME TO BACh AT ONE, A MId-dAY SERvICE OF CANTATAS, PRAYERS, ANd POETRY.
Bach, a devout Lutheran, composed 200 cantatas using both sacred and secular texts. Many of those cantatas are heard in churches around the world every Sunday, but through Bach at One, your Monday lunch hour can be enriched by timeless cantatas. Motets by Heinrich Schütz, an influential predecessor of Bach will also be presented, as will poetry readings by a group of noted poets. If you enjoy this peaceful and sacred interlude to your day, please know you are warmly invited back—to Bach at One, or to another of the worship opportunities at St. Paul’s or at Trinity Church. In particular, I call your attention to Sunday morning services at 8am and 10am here, and a new service of Compline, or prayers for the end of the day. Compline is an ancient half-hour candlelit service of chant and new music sung by the Trinity Choir. Imagine your day ending with you and others saying together: It is night after a long day. What has been done has been done; what has not been done has not been done; let it be. It is a sentiment that is increasingly rare in our busy world, yet one consistent with the sense of spiritual oasis that St. Paul’s has offered for centuries. Compline takes place here at St. Paul’s Chapel on Sunday evenings at 8pm. Thank you for visiting today. The chapel staff and I look forward to seeing you again. Blessings,

The Rev. Canon Anne Mallonee Vicar

order of Serv ice
PRELudE WELCOME MOTETS REAdINgS OFFERTORY CANTATAS

fe AT Ured Poe TS
MAY 2 MAY 9 MAY 16 MAY 23 MAY 30 JuNE 6 JuNE 13 JuNE 20

Lee Bricchetti Molly Peacock Rick Moody Elaine Sexton Cornelius Eady Joshua Mehigan Major Jackson J. Chester Johnson

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Progr A M NoTeS
Johann Sebastian Bach (1685–1750) has long been regarded as the foundational figure on which all Western Art Music of the so-called “common practice period” has stood. All of the great composers from this massive period (1700–1900) have seen Bach as this type of epic cornerstone, and indeed, his life’s work does provide an encyclopedic lexicon of compositional praxis, defining and illustrating a sophisticated mastery of “tonality,” the underlying presupposition for Mozart, Beethoven, Brahms, and Wagner. Although Bach’s work has always been lauded as the epitome of contrapuntal technique, the reception of Bach and his work has followed a rather bizarre trajectory: from relative obscurity in the years following his death, to the underground appreciation of his keyboard works during the classical period by Baron van Swieten, Mozart, Haydn, and Beethoven; the impressive public re-introduction of the St. Matthew Passion by a young Felix Mendelssohn in 1827, and Bach’s subsequent coronation as a romantic hero-like figure in the 19th century — and as the Godfather of an ethically “pure” music as defined by Schoenberg and his disciples within the Second Viennese School of the early 20th century. When the musicologists got hold of him in the mid-20th century, his work was seen as the objective output of a mathematical genius, and sophisticated studies of Bach’s unconscious neurological patterns and intentional numerological design were the accepted analytical methodology. By the late ’60s and ’70s, the mainstream academic appreciation of his music mirrored the antiecclesiastical thrust of the then current philosophical thought, and thus Bach’s music was objectively consumed, thoroughly divorced from its Theological and Liturgical underpinnings. Indeed, poor Bach was pitied for his seemingly imprisoned, cloistered existence and as a grudgingly accepting servant of the Lutheran church. Still today, in the modern academy, Bach’s expert voice leading—as evidenced in his 4-part harmonizations of the chorales; his use of invertible counterpoint in the relatively simple 2-part inventions; and the epic collection of preludes and fugues written in every key (Das Wohltemperierte Klavier) form the basis of any music undergraduate’s six-semester sequence of music theory. These studies are mathematical in nature, and are not unlike the problem sets of an engineering student at a technological institution. Thus, most musicians have had it drummed into their minds that Bach is the beginning of musical science, and that the trajectory of the development of the bread and butter of the concert repertoire begins with Bach, and specifically Bach’s “discovery” of equal temperament, and his mastery and invention of a hierarchically based tonal system. From the modern performer’s perspective, Bach’s solo suites provide the young string player a requirement for dry technical mastery (albeit with full and constant vibrato) before moving on to the concerto repertoire of Tchaikovsky, Brahms, and Sibelius. And the pianist-in-training gains the ability to realize multiple independent parts by practicing the 3-part Inventions, the Preludes and Fugues and, for fun, perhaps the Italian Concerto. Generally, Bach is still passed down as the old stern schoolmaster — the unreachable inaugurator of all things good and pure in music composition and basic instrumental technique in the Western Art tradition. In the late 20th century, there arose a new paradigm surrounding the work of J. S. Bach which attempted to cast new light on the context of his output, instrumental and vocal. Several watershed 20th-century events, specific to Bach, occurred within the greater movement for the quest of historical authenticity specific to the performance practice of “early” music. Bach, in light of these recent discoveries, moves from the throne of the great “inaugurator” to that of the master “culminator.” In brief, Bach’s own annotated Calov edition of the Bible, (although discovered in 1934), became known in Bach circles following World War II. The resulting studies illuminated that Bach was indeed theologically savvy and that his compositional choices were intentionally focused on a sophisticated understanding of hermeneutics and liturgy. All of the musico-rhetorical devices of the late-17th and early-18th century were then put to use in order to interpret the text in exactly the same manner that a preacher would utilize traditional rhetoric to persuade. Thus, motivic shapes bearing specific emotional Affekt would combine with meaning-laden choices of key, time signature, instrumentation, voice part, number of parts and references to pre-existing tunes (both secular and sacred) to create musical essays rich in text painting, emotionality, and a clear theological message. Second, Joshua Rifkin, through an intensive analysis of Bach’s original performance materials, came to the practical realization that the majority of Bach’s vocal works were intended to be performed primarily with one singer to a part, completely turning the concept of massed choral realizations of Bach’s major works on its head. Thus the

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performance ideal for his vocal music is subjectively based and emotionally rich — the opposite of traditional objective, Apollonian renderings of his music by large choral societies. And, perhaps most fascinating from a performer’s point of view—Bradley Lehman’s recent deciphering of the “squiggle” on the original cover of Das Wohltemperierte Klavier provided the solution to Bach’s handling of the tuning “wolf” or “comma” that exists in pure tuning systems, thus debunking the myth that Bach created “equal” temperament. Bach’s tuning system, although individual and specific to Bach, was no different in methodology than all of his colleagues and predecessors, all of whom were collectively attempting to provide a solution to a fully useable 12-note keyboard that could realize the entire circle of fifths. (For more on this subject see Bach’s temperament, Occam’s razor, and the Neidhardt factor by John O’Donnell.) What this means is that all of Bach’s key choices are based in an old-fashioned sense of rhetorical tuning and key association. B minor “sounds” serious and studied, while D major reflects jubilation and victory, E b represents the Trinity, F major represents the Pastoral etc…

So in this early 21st-century series where we present J. S. Bach’s cantatas and other vocal music — we enter this arena with a collective pre-disposition to realize these works within liturgical surroundings, with an awareness of the performance practice of Bach’s time, and shedding off the previously accepted Apollonian shroud of objective recreation by intentionally interpreting and emotionally realizing the Dionysian, pietistic, and eschatological dangers that lurk within this body of repertoire. We welcome you and look forward to having you join us on this adventure.
—JuLIAN WAChNER

Director of Music and the Arts

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SuggESTEd REAdINg FOR BACh AT ONE ANd ThE St. Matthew PaSSion (AvAILABLE TO vIEW ON dEMANd AT TRINITYWALLSTREET.ORg)
Boyd, Malcolm (ed.), Oxford Composer Companions: Bach, Oxford UP, 1999 Butt, John (ed.), The Cambridge Companion to Bach, Cambridge UP, 1997. Butt, John: Bach in the twenty-first century. BuNachwelt iv (2005), 169-182. Butt, John: Bach’s vocal scoring: what can it mean? EarlyM xxvi/1 (1998), 99-107. Butt, John: Performer’s View: Bach and the Performance of Meaning. AmerBachSocNL Fall (2001), 5, 10. Chafe, Eric Thomas. “Bach’s Ascension Oratorio (BWV 11): God’s Kingdoms and their Representation” Bach Perspectives 8 8. (2010). Chafe, Eric Thomas. “Bach and Hypocrisy Appearance and Truth in Cantatas 136 and 179.” The Century of Bach and Mozart (2008): 121-144. Chafe, Eric Thomas. Analyzing Bach Cantatas. Oxford University Press, 1999. Chafe, Eric Thomas. Tonal Allegory in the Vocal Music of J.S. Bach. University of California Press, 1991. Chafe, Eric. “Key Structure and Tonal Allegory in the Passions of J.S. Bach: An Introduction,” Current Musicology 31 (1981) 39-54. Hans T. David, Arthur Mendel & Christoph Wolff, The New Bach Reader, Norton, 1998. Kenyon, Nicholas (ed.), Authenticity and Early Music, Oxford UP, 1988. Leaver, Robin, J.S. Bach and Scripture: Glosses from the Calov Bible Commentary. St. Louis, 1985. Leaver, Robin: “Music and Lutheranism,” in The Cambridge Companion to Bach, ed. John Butt, pp. 35-45. Lehman, Bradley: Bach’s extraordinary temperament: our Rosetta Stone. Early Music Feb 2005 (Part I), May 2005 (Part II) Marissen, Michael and Melamed, Daniel, An Introduction to Bach Studies, Oxford UP, 1998. Marissen, Michael: Blood, People, and Crowds in Matthew, Luther, and Bach. LutheranQ xix/1 (2005), 1-22. Marissen, Michael: On the Musically Theological in J. S. Bach’s Cantatas. LutheranQ xvi/1 (2002), 48-64. Marissen, Michael: The theological character of J. S. Bach’s Musical Offering. BachStudies ii (1995), 85-106. Marshall, Robert: The Music of Johann Sebastian Bach, Schirmer, 1989. Michael Marissen, “Religious Aims in Mendelssohn’s 1829 Berlin-Singakademie Performances of Bach’s St. Matthew Passion,” The Musical Quarterly 77 (1993) pp. 718- 726. Parrot, Andrew, The Essential Bach Choir, Oxford University Press, 2004 Pelikan, Jaroslav: “Meditation on Human Redemption in the Saint Matthew Passion,” Bach among the Theologians. Philadelphia, 1986. pp. 89-101. Pelikan, Jaroslav: “The Four Seasons of J. S. Bach,” “The Musical Heritage of the Reformation,” in Bach Among the Theologians, pp. 2-28 and ”Rationalism and Aufklärung in Bach’s Career,” pp. 29-41. Pelikan, Jaroslav: “Confessional Orthodoxy in Bach’s Religion,” Bach among the Theologians. Philadelphia, 1986. pp. 42-55 and “Pietism, Piety, and Devotion in Bach’s Cantatas,” pp. 56-71 Taruskin, Richard, Text and Act, Oxford UP, 1995. Wolff, Chistoph (ed.), The World of the Bach Cantatas, Norton, 1995-. Wolff, Christoph: Bach’s cantata ‘Ein feste Burg’: History and Performance Practice. AmerChoralReview xxiv/2-3 (1982), 27-38. Wolff, Christoph: J. S. Bach and the legacy of the seventeenth century. BachStudies ii (1995), 192-201. Wolff, Christoph: Musical Forms and Dramatic Structure in Bach’s St. Matthew Passion. Bach xix/1 (1988), 6-20. Wolff, Christoph: The Organ in Bach’s Cantatas. Wolff (1991), 317-323.

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liS T of workS (Se A SoN)
MARCh
21 BWv 21 SWv 369 SWv 372 BWv 80 SWv 370 SWv 371 BWv 131 SWv 377 SWv 373 SWv 378 BWv 198 SWv 374 SWv 379 SWv 381 BWv 182 SWv 375 SWv 376 SWv 387 BWv 4 SWv 390 SWv 386 BWv 42 SWv 385 SWv 388 SWv 383 BWv 106 SWv 394 SWv 395 SWv 396 SWv 397 BWv 158 BWv 51 BWv 170 BWv 50 BWv 11 BWv 812 BWv 150 BWv 230 SWv 382 SWv 380 BWv 191 BWv 147

Ich hatte viel Bekümmernis Es wird das Szepter von Juda nicht entwendet werden Verleih uns Frieden genädiglich Ein feste Burg ist unser Gott Er wird sein Kleid in Wein waschen Es ist erschienen die heilsame Gnade Gottes all Menschen Aus der Tiefen rufe ich, Herr, zu dir Herr, auf dich traue ich Gib unsern Fürsten und aller Obrigkeit Fried und gut Regiment Die mit Tränen säen Trauerode: Laß, Fürstin, laß noch einen Strahl Unser keiner lebet ihm selber So fahr ich hin zu Jesu Christ O lieber Herre Gott, wecke uns auf Himmelskönig, sei willkommen Viel werden kommen von Morgen und von Abend Sammlet zuvor das Unkraut Herzlich lieb hab ich dich, o Herr Christ lag in Todes Banden Unser Wandel ist im Himmel Die Himmel erzählen die Ehre Gottes Am Abend aber desselbigen Sabbats Das Wort ward Fleisch Das ist je gewißlich wahr und ein teuer wertes Wort Ich bin eine rufende Stimme Gottes Zeit ist allerbeste Zeit—Actus tragicus Sehet an den Feigenbaum und alle Bäume Der Engel sprach zu den Hirten Auf dem Gebirge hat man ein Geschrei gehöret Du Schalksknecht, alle diese Schuld habe ich dir erlassen Der Friede sei mit dir Jauchzet Gott in allen Landen Vergnügte Ruh, beliebte Seelenlust Nun ist das Heil und die Kraft Lobet Gott in seinen Reichen French Suite no. 1 in D (Introducing new harpsichord) Nach dir, Herr, verlanget mich Motette: Lobet den Herrn, alle Heiden Tröstet, tröstet mein Volk Also hat Gott die Welt geliebt (Aria) Gloria in excelsis Deo Herz und Mund und Tat und Leben

28

APRIL
4

11

18

25

MAY
2

9

16 23 30

JuNE
6 13

20

5

MUSic ANd The ArTS S TAff
Julian Wachner Robert Ridgell Marilyn Haskel Director of Music and the Arts Organist and Director of Music Education Program Manager, Liturgical Arts and New Initiatives Richard Lippold Administrator, Music and the Arts Adam Alexander Program Coordinator, Music and the Arts

TriNiT y choir
SOPRANO

Elizabeth Baber (191) Martha Cluver (191) Jolle Greenleaf (106, 191) Mellissa Hughes (150, 191) Molly Quinn (147) Melanie Russell (42, 51, 191) Melissa Attebury (11, 150, 191,147) James Blachly (106) Luthien Brackett (191) Virginia Warnken (42, 170, 147, 191)

TENOR

Eric Dudley (42, 147, 191 & Conducts 150) Matthew Hensrud (11, 147, 191) Timothy Hodges (131, 106, 191) Stephen Sands (150) Raymond Bailey Wesley Chinn Charles Wesley Evans (147, 191) Steven Hrycelak (150) Thomas McCargar (158, 11) Jonathan Woody (42, 147, 191) Richard Lippold (106)

BASS

ALTO

Cantata numbers in parentheses indicate soloists.

TriNiT y BAroqUe orcheS Tr A
MAY 2, 2011 BWv 42
vIOLIN

MAY 9, 2011 BWv 106
CELLO vIOLONE

Robert Mealy, concertmaster Owen Dalby, principal second Claire Jolivet Johanna Novom Theresa Salomon Jessica Troy, principal Daniel Elyar Katie Rietman Anne Trout Avi Stein Washington McClain, principal Priscilla Smith Dennis Godburn John Thiessen, principal Nathan Botts Timothy Will James Baker

Jacques Wood Motomi Igarashi John Mark Rozendaal

vIOLA dA gAMBA Lisa Terry, principal ORgAN RECORdER

vIOLA

Avi Stein Matthias Maute, principal Sophie Larivière

CELLO BASS ORgAN OBOE

MAY 16, 2011 BWv 158
vIOLIN CELLO ORgAN OBOE

Daniel Lee, concertmaster Jacques Wood Donsok Shin Washington McClain

BASSOON TRuMPET

TIMPANI

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TriNiT y BAroqUe orcheS Tr A
MAY 23, 2011 BWv 51 & 170
vIOLIN

JuNE 6, 2011 BWv 150
vIOLIN

Robert Mealy, concertmaster Cynthia Roberts, principal second Owen Dalby Claire Jolivet Daniel Lee Jessica Troy, principal Daniel Elyar Katie Rietman Anne Trout Avi Stein Washington McClain Nathan Botts

Daniel Lee, concertmaster Liv Heym Ezra Seltzer Avi Stein Andrew Schwartz

CELLO ORgAN BASSOON

vIOLA

CELLO BASS ORgAN OBOE d’AMORE TRuMPET

JuNE 13, 2011 BWv 230
CELLO BASS ORgAN

Ezra Seltzer Douglas Balliett Bradley Brookshire

MAY 30, 2011 BWv 50, 812 & 11
vIOLIN

JuNE 20, 2011 BWv 191 & 147
vIOLIN

Robert Mealy, concertmaster Claire Jolivet, principal second Johanna Novom Theresa Salomon Jae-Won Bang Daniel Elyar, principal Alissa Smith Ezra Seltzer Anne Trout Avi Stein Sandra Miller, principal Anne Briggs Washington McClain, principal Priscilla Smith Sarah Davol Andrew Schwartz John Thiessen, principal Nathan Botts Caleb Hudson James Baker Peter Watchorn

Robert Mealy, concertmaster Cynthia Roberts, principal second Daniel Lee Claire Jolivet Theresa Salomon Jessica Troy, principal Daniel Elyar Ezra Seltzer Wen Yang Avi Stein Sandra Miller, principal Anne Briggs Gonzalo Ruiz, principal Priscilla Smith Andrew Schwartz John Thiessen, principal Nathan Botts Brian Shaw Maya Gunji

vIOLA

vIOLA

CELLO BASS ORgAN FLuTE

CELLO BASS ORgAN FLuTE

OBOE

OBOE

BASSOON TRuMPET

BASSOON TRuMPET

TIMPANI

TIMPANI hARPSIChORd

John Thiessen, orchestral contractor

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Te x TS ANd Tr ANSl ATioNS
MONdAY, MAY 2, 2011 Das Wort ward Fleisch, SWV 385
Das Wort ward Fleisch und wohnet unter uns, und wir sahen seine Herrlichkeit, eine Herrlichkeit, als des eingebornen Sohns vom Vater voller Gnade und Wahrheit.
–John 1:14

Heinrich Schütz (1585-1672)
The Word was made flesh, and dwelt among us, and we beheld his glory, the glory as of the only begotten of the Father, full of grace and truth.

Das ist je gewißlich wahr und ein teuer wertes Wort, SWV 388
Das ist je gewißlich wahr und ein teuer wertes Wort, daß Christus Jesus kommen ist in die Welt, die Sünder selig zu machen, unter welchen ich der fürnehmste bin. Aber darum ist mir Barmherzigkeit widerfahren, auf daß an mir fürnehmlich Jesus Christus erzeigete alle Geduld zum Exempel denen, die an ihn glauben sollen zum ewigen Leben. Gott dem ewigen Könige, dem Unvergänglichen und Unsichtbaren und allein Weisen sei Ehre und Preis in Ewigkeit! Amen.
–I Timothy:15–17

This is a faithful saying, and worthy of all acceptation, that Christ Jesus came into the world to save sinners; of whom I am chief. But that is my mercy, that in me first Jesus Christ showeth all patience for an example to them which should hereafter believe in him to life everlasting. Now unto the King eternal, immortal, invisible, the only wise God, be honour and glory for ever and ever. Amen.

Ich bin eine rufende Stimme, SWV 383
Ich bin eine rufende Stimme in der Wüsten: Richtet den Weg des Herren. Ich taufe mit Wasser; aber er ist mitten unter euch getreten, den ihr nicht kennet, der ist’s der nach mir kommen wird, welcher vor mir gewesen ist, des ich nicht wert bin, daß ich seine Schuhriemen auflöse.
–John 1:23, 26–27

I am the voice of one crying out in the wilderness, “Make straight the way of the Lord, I baptize with water. Among you stands one whom you do not know, the one who is coming after me; who is preferred before me, I am not worthy to untie the thong of his sandal.”

Cantata No. 42: Am Abend aber desselbigen Sabbats
1. Sinfonia 2. Rezitativ (Tenor) Am Abend aber desselbigen Sabbats, da die Jünger versammlet und die Türen verschlossen waren aus Furcht für Verfolgung, kam Jesus und trat mitten ein. 3. Arie (Alt) Wo zwei und drei versammlet sind In Jesu teurem Namen, Da stellt sich Jesus mitten ein
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Johann Sebastian Bach (1685-1750)
1. Sinfonia 2. Recitative (Tenor) On the evening, however, of the same Sabbath, when the disciples had gathered and the door was locked out of fear of persecution, Jesus came and walked among them. 3. Aria (Alto) Where two or three are gathered together in Jesus’ dear name, there Jesus will stand among them

Und spricht darzu das Amen. Denn was aus Lieb und Not geschicht, Das bricht des Höchsten Ordnung nicht. 4. Arie – Duett (Sopran, Tenor) Verzage nicht, o Häuflein klein, Obschon die Feinde willens sein, Dich gänzlich zu verstören, Und suchen deinen Untergang, Davon dir wird recht angst und bang: Es wird nicht lange währen. 5. Rezitativ (Bass) Man kann hiervon ein schön Exempel sehen An dem, was zu Jerusalem geschehen; Denn da die Jünger sich versammlet hatten Im finstern Schatten, Aus Furcht für die Verfolgern, So trat mein Heiland mitten ein, Zum Zeugnis, daß er seiner Kirche Schutz will sein. Drum laßt die Feinde wüten! 6. Arie (Bass) Jesus ist ein Schild der Seinen, Wenn sie die Verfolgung tritt. Ihnen muß die Sonne scheinen Mit der güldnen Überschrift: Jesus ist ein Schild der Seinen, Wenn sie die Verfolgung trifft. 7. Choral Verleih uns Frieden gnädiglich, Herr Gott, zu unsern Zeiten; Es ist doch ja kein andrer nicht, Der für uns könnte streiten, Denn du, unsr Gott, alleine. Gib unsern Fürsten und all’r Obrigkeit Fried und gut Regiment, Daß wir unter ihnen Ein geruhig und stilles Leben führen mögen In aller Gottseligkeit und Ehrbarkeit. Amen.

and say Amen to them. For whatever happens out of love and necessity does not break the law of the Highest. 4. Aria – Duet (Soprano, Tenor) Do not despair, O little flock, although your enemies might plan to destroy you utterly, and seek your undoing, for which you are rightfully anxious and fearful: it will not last long. 5. Recitative (Bass) One can find a perfect message in what happened in Jerusalem; for the disciples had gathered there in dark shadows, out of fear of their persecutors, then my Savior walked into their midst as a sign that He will be the protector of His Church. Therefore let the enemy rage! 6. Aria (Bass) Jesus is the shield of His own, when persecution follows them. For them the sun must shine with a golden message: Jesus is the shield of His own, when persecution follows them. 7. Chorale Grant us peace graciously, Lord God, in our time; there is indeed no other who could fight for us than You, our God, alone. Give our rulers and all lawgivers peace and good government, that under them we might lead a quiet and peaceful life in all blessedness and honor. Amen.
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

MONdAY, MAY 9, 2011 Sehet an den Feigenbaum und alle Bäume, SWV 394
Sehet an den Feigenbaum und alle Bäume, wenn sie jetzt ausschlagen, so sehet ihrs an ihnen und merket, daß jetzt der Sommer nahe ist. Also auch ihr, wenn ihr dies alles sehet angehen, so wisset, daß das Reich Gottes nahe ist. Himmel und Erde vergehen, aber meine Wort vergehen nicht.
–Luke 21:29–31, 33
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Heinrich Schütz
Behold the fig tree and all the trees; as soon as they sprout leaves you can see for yourselves and know that summer is already near. So also, when you see these things taking place, you know that the kingdom of God is near. Heaven and earth will pass away, but my words will not pass away.

Der Engel sprach zu den Hirten, SWV 395
Der Engel sprach zu den Hirten: Ich verkündige euch große Freude, denn euch ist heute der Heiland geborn, welcher ist Christus, der Herr in der Stadt David und er heißt: Wunderbar, Rat, Kraft, Held, ewig Vater, Friedefürst. Alleluja
–Luke 2:10–11; Isaiah:9, 16

Heinrich Schütz
And the angel said to the shepherds, Behold, I bring you good tidings of great joy; For unto you is born this day a Saviour, which is Christ the Lord, in the city of David and he says: “Wonderful, counselor, power, hero, eternal Father, Prince of Peace. Alleluia.”

Auf dem Gebirge hat man ein Geschrei gehöret, SWV 396
Auf dem Gebirge hat man ein Geschrei gehöret, viel Klagens, Weinens und Heulens, Rahel beweinete ihre Kinder und wollt sich nicht trösten lassen, denn es war aus mit ihnen.
–Matthew 2:18

On the mountain was a voice heard, lamentation, and weeping, and great mourning; Rachel weeping for her children, and would not be comforted, because they are not.

Du Schalksknecht, alle diese Schuld habe ich dir erlassen, SWV 397
Du Schalksknecht, alle diese Schuld hab ich dir erlassen, weil du mich batest. Solltest du denn dich nicht auch erbarmen über deinen Mitknecht, wie ich mich über dich erbarmet habe.
–Matthew 18:32–33

O thou wicked servant, I forgave thee all that debt, because you pleaded with me: Shouldest not thou also have had compassion on thy fellow servant, even as I had pity on thee?

Cantata No. 106: Gottes Zeit ist allerbeste Zeit
Actus tragicus 1. Sonatina 2a. Chor Gottes Zeit ist die allerbeste Zeit. In ihm leben, weben und sind wir, solange er will. In ihm sterben wir zur rechten Zeit, wenn er will. 2b. Arioso (Tenor) Ach, Herr, lehre uns bedenken, daß wir sterben müssen, auf daß wir klug werden. 2c. Arie (Bass) Bestelle dein Haus; denn du wirst sterben und nicht lebendig bleiben! 2d. Chor und Arioso (Sopran) Es ist der alte Bund: Mensch, du mußt sterben! Ja, komm, Herr Jesu! (Instrumental Chorale: Ich hab mein Sach’ Gott heimgestellt Er mach’s mit mir wie’s ihm gefällt Soll ich all hier noch länger lebn Nicht wider strebn Seim Willn tu ich mich ganz ergebn.)
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Johann Sebastian Bach
Funeral Cantata 1. Sonatina 2a. Chorus God’s time is the best of all times. In Him we live, move and are, as long as He wills. In Him we die at the appointed time, when He wills. 2b. Arioso (Tenor) Ah, Lord, teach us to consider that we must die, so that we might become wise. 2c. Aria (Bass) Put your house in order; for you will die and not remain alive! 2d. Chorus and Arioso (Soprano) It is the ancient law: human, you must die! Yes, come, Lord Jesus! (Instrumental Chorale: I have brought my affairs home to God, He does with me as it pleases Him, if I should live yet longer here, I shall not struggle against it; rather I do His will with total devotion).

3a. Arie (Alt) In deine Hände befehl ich meinen Geist; du hast mich erlöset, Herr, du getreuer Gott. 3b. Arioso und Choral (Bass, Alt) Heute wirst du mit mir im Paradies sein. Mit Fried und Freud ich fahr dahin In Gottes Willen, Getrost ist mir mein Herz und Sinn, Sanft und stille. Wie Gott mir verheißen hat: Der Tod ist mein Schlaf worden. 4. Chor Glorie, Lob, Ehr und Herrlichkeit Sei dir, Gott Vater und Sohn bereit’, Dem Heilgen Geist mit Namen! Die göttlich Kraft Mach uns sieghaft Durch Jesum Christum, Amen.

3a. Aria (Alto) Into Your hands I commit my spirit, You have redeemed me, Lord, faithful God. 3b. Arioso and Chorale (Bass, Alto) Today you will be with Me in Paradise. With peace and joy I depart in God’s will, My heart and mind are comforted, calm, and quiet. As God had promised me: death has become my sleep. 4. Chorus Glory, praise, honor, and majesty be prepared for You, God the Father and the Son, for the Holy Spirit by name! The divine power makes us victorious through Jesus Christ, Amen.
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

MONdAY, MAY 16, 2011 Cantata No. 158: Der Friede sei mit dir
1. Rezitativ (Bass) Der Friede sei mit dir, Du ängstliches Gewissen! Dein Mittler stehet hier, Der hat dein Schuldenbuch Und des Gesetzes Fluch Verglichen und zerrissen. Der Friede sei mit dir, Der Fürste dieser Welt, Der deiner Seele nachgestellt, Ist durch des Lammes Blut bezwungen und gefällt. Mein Herz, was bist du so betrübt, Da dich doch Gott durch Christum liebt? Er selber spricht zu mir: Der Friede sei mit dir! 2. Arie (Bass) und Choral (Sopran) Welt, ade, ich bin dein müde, Salems Hütten stehn mir an, Welt, ade! ich bin dein müde, Ich will nach dem Himmel zu, Wo ich Gott in Ruh und Friede Ewig selig schauen kann. Da wird sein der rechte Friede Und die ewge, stolze Ruh. Da bleib ich, da hab ich Vergnügen zu wohnen, Welt, bei dir ist Krieg und Streit, Nichts denn lauter Eitelkeit,

Johann Sebastian Bach
1. Recitative (Bass) Peace be with you, O anxious conscience! Your Intercessor stands here, who the record-book of your guilt and the curse of the law has reconciled and torn up. Peace be with you, The prince of this world, which obstructed your soul, is through the Lamb’s blood conquered and appeased. My heart, why are you so troubled, when God so loves you through Christ? He Himself says to me: peace be with you! 2. Aria (Bass) and Chorale (Soprano) World, farewell, I am tired of you, the tents of Salem stand before me, World, farewell! I am tired of you, I want to go to heaven, where in rest and peace, forever happy, I shall behold God. true peace and eternal, glorious rest will be there. There I shall stay, there I shall delight to dwell, World, war and conflict are yours, nothing but pure vanity;

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Da prang ich gezieret mit himmlischen Kronen. In dem Himmel allezeit Friede, Freud und Seligkeit. 3. Rezitativ und Arioso (Bass) Nun, Herr, regiere meinen Sinn, Damit ich auf der Welt, So lang es dir, mich hier zu lassen, noch gefällt, Ein Kind des Friedens bin, Und laß mich zu dir aus meinen Leiden Wie Simeon in Frieden scheiden! Da bleib ich, da hab ich Vergnügen zu wohnen, Da prang ich gezieret mit himmlischen Kronen. 4. Choral Hier ist das rechte Osterlamm, Davon Gott hat geboten, Das ist hoch an des Kreuzes Stamm In heißer Lieb gebraten, Das Blut zeichnet unsre Tür, Das hält der Glaub dem Tode für, Der Würger kann uns nicht mehr schaden. Halleluja!

there I shall sparkle resplendent with a heavenly crown. in heaven eternally is peace, joy, and happiness. 3. Recitative and Arioso (Bass) Now, Lord, govern my mind, so that I may, in the world, as long as it still pleases You to leave me here, be a child of peace, and let me depart out of my sorrows in peace to You like Simeon! There I shall stay, there I shall delight to dwell, there I shall sparkle resplendent with a heavenly crown. 4. Chorale Here is the true Easter-lamb, offered up by God, which was, high on the cross’ stalk roasted in hot love, the blood marks our door, faith holds it against death, the strangler can no longer harm us. Hallelujah!
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

MONdAY, MAY 23, 2011 Cantata No. 51: Jauchzet Gott in allen Landen
1. Arie (Sopran) Jauchzet Gott in allen Landen! Was der Himmel und die Welt An Geschöpfen in sich hält, Müssen dessen Ruhm erhöhen, Und wir wollen unserm Gott Gleichfalls itzt ein Opfer bringen, Daß er uns in Kreuz und Not Allezeit hat beigestanden. 2. Rezitativ (Sopran) Wir beten zu dem Tempel an, Da Gottes Ehre wohnet, Da dessen Treu, So täglich neu, Mit lauter Segen lohnet. Wir preisen, was er an uns hat getan. Muß gleich der schwache Mund von seinen Wundern lallen, So kann ein schlechtes Lob ihm dennoch wohlgefallen. 3. Arie (Sopran) Höchster, mache deine Güte Ferner alle Morgen neu. So soll vor die Vatertreu Auch ein dankbares Gemüte Durch ein frommes Leben weisen, Daß wir deine Kinder heißen.
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Johann Sebastian Bach
1. Aria (Soprano) Exult in God in every land! Whatever creatures are contained by heaven and earth must raise up this praise, and now we shall likewise bring an offering to our God, since He has stood with us at all times during suffering and necessity. 2. Recitative (Soprano) We pray at your temple, where God’s honor dwells, where this faithfulness, daily renewed, is rewarded with pure blessing. We praise what He has done for us. Even though our weak mouth must gape before His wonders, our meager praise is still pleasing to Him. 3. Aria (Soprano) Highest, renew Your goodness every morning from now on. Thus, before this fatherly love, a thankful conscience shall display, though a virtuous life, that we are called Your children.

4. Choral (Sopran) Sei Lob und Preis mit Ehren Gott Vater, Sohn, Heiligem Geist! Der woll in uns vermehren, Was er uns aus Gnaden verheißt, Daß wir ihm fest vertrauen, Gänzlich uns lass’n auf ihn, Von Herzen auf ihn bauen, Daß uns’r Herz, Mut und Sinn Ihm festiglich anhangen; Drauf singen wir zur Stund: Amen, wir werdn’s erlangen, Glaub’n wir aus Herzensgrund. 5. Arie (Sopran) Alleluja!

4. Chorale (Soprano) Glory, and praise with honor be to God the Father, Son, and Holy Spirit! He will increase in us what He has promised us out of grace, so that we trust fast in Him, abandon ourselves completely to Him, rely on Him within our hearts, so that our heart, will, and mind depend strongly on Him; therefore we sing at this time: Amen, we shall succeed, if we believe from the depths of our hearts. 5. Aria (Soprano) Alleluia!
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

Cantata No. 170: Vergnügte Ruh, beliebte Seelenlust
1. Arie (Alt) Vergnügte Ruh, beliebte Seelenlust, Dich kann man nicht bei Höllensünden, Wohl aber Himmelseintracht finden; Du stärkst allein die schwache Brust. Drum sollen lauter Tugendgaben In meinem Herzen Wohnung haben. 2. Rezitativ (Alt) Die Welt, das Sündenhaus, Bricht nur in Höllenlieder aus Und sucht durch Haß und Neid Des Satans Bild an sich zu tragen. Ihr Mund ist voller Ottergift, Der oft die Unschuld tödlich trifft, Und will allein von Racha! sagen. Gerechter Gott, wie weit Ist doch der Mensch von dir entfernet; Du liebst, jedoch sein Mund Macht Fluch und Feindschaft kund Und will den Nächsten nur mit Füßen treten. Ach! diese Schuld ist schwerlich zu verbeten. 3. Arie (Alt) Wie jammern mich doch die verkehrten Herzen, Die dir, mein Gott, so sehr zuwider sein; Ich zittre recht und fühle tausend Schmerzen, Wenn sie sich nur an Rach und Haß erfreun. Gerechter Gott, was magst du doch gedenken, Wenn sie allein mit rechten Satansränken Dein scharfes Strafgebot so frech verlacht. Ach! ohne Zweifel hast du so gedacht: Wie jammern mich doch die verkehrten Herzen!

Johann Sebastian Bach
1. Aria (Alto) Delightful rest, beloved pleasure of the soul, you cannot be found among the sins of hell, but rather in the concord of heaven; you alone strengthen the weak breast. Therefore the pure gifts of virtue shall have their dwelling in my heart. 2. Recitative (Alto) The world, that house of sin, erupts only in hellish songs, and attempts, through hatred and envy, to carry Satan’s image upon itself. Its mouth is full of adder’s venom, which often mortally attacks the innocent, and will only utter Vengeance! Righteous God, how far has humanity distanced itself from You; You love, yet its mouth proclaims curses and enmity and wishes only to trample a neighbor under its feet. Alas! this crime is difficult to atone for. 3. Aria (Alto) How the perverted hearts afflict me, which are so sorely, my God, set against You; I truly tremble and feel a thousand pangs, when they rejoice only in vengeance and hate. Righteous God, what might You be thinking, when they, with the very intrigues of Satan, only scorn Your sharp proscriptions so boldly. Alas! Without a doubt You have thought: how the perverted hearts afflict Me!

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4. Rezitativ (Alt) Wer sollte sich demnach Wohl hier zu leben wünschen, Wenn man nur Haß und Ungemach Vor seine Liebe sieht? Doch, weil ich auch den Feind Wie meinen besten Freund Nach Gottes Vorschrift lieben soll, So flieht mein herze Zorn und Groll Und wünscht allein bei Gott zu leben, Der selbst die Liebe heißt. Ach, eintrachtvoller Geist, Wenn wird er dir doch nur sein Himmelszion geben? 5. Arie (Alt) Mir ekelt mehr zu leben, Drum nimm mich, Jesu, hin! Mir graut vor allen Sünden, Laß mich dies Wohnhaus finden, Woselbst ich ruhig bin.

4. Recitative (Alto) Who should hereafter wish, indeed, to live here, when only hatred and hardship is the answer to love? Yet, since even my enemy, like my best friend, I should love according to God’s commandment, thus my heart flees from anger and bitterness, and wishes only to live with God, who is Love itself. Ah, spirit filled with mildness, when only will He grant you His heavenly Zion? 5. Aria (Alto) It sickens me to live longer, therefore take me away, Jesus! I shudder before all sins, let me find this dwelling-place where I myself shall be at peace.
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

MONdAY, MAY 30, 2011 Cantata No. 50: Nun ist das Heil und die Kraft
1. Chor Nun ist das Heil und die Kraft und das Reich und die Macht unsers Gottes seines Christus worden, weil der verworfen ist, der sie verklagete Tag und Nacht vor Gott.
–Revelation 12:10

Johann Sebastian Bach
1. Chorus Now is the salvation and the power and the kingdom and the might of our God and of His Christ come, since he is cast down who accused them day and night before God.
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

Introducing the Moermans–Zuckermann MMIX Harpsichord Peter Watchorn, Harpsichord French Suite no. 1 in D minor, BWV 812
Prelude Allemande Courante Sarabande Minuet 1 - Minuet 2 - Minuet 1 Gigue Improvisation

Johann Sebastian Bach

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Cantata No. 11: Lobet Gott in seinen Reichen
ASCENSION ORATORIO 1. Chor Lobet Gott in seinen Reichen, Preiset ihn in seinen Ehren, Rühmet ihn in seiner Pracht; Sucht sein Lob recht zu vergleichen, Wenn ihr mit gesamten Chören Ihm ein Lied zu Ehren macht! 2. Rezitativ (Tenor) Der Herr Jesus hub seine Hände auf und segnete seine Jünger, und es geschah, da er sie segnete, schied er von ihnen. 3. Rezitativ (Bass) Ach, Jesu, ist dein Abschied schon so nah? Ach, ist denn schon die Stunde da, Da wir dich von uns lassen sollen? Ach, siehe, wie die heißen Tränen Von unsern blassen Wangen rollen, Wie wir uns nach dir sehnen, Wie uns fast aller Trost gebricht. Ach, weiche doch noch nicht! 4. Arie (Alt) Ach, bleibe doch, mein liebstes Leben, Ach, fliehe nicht so bald von mir! Dein Abschied und dein frühes Scheiden Bringt mir das allergrößte Leiden, Ach ja, so bleibe doch noch hier; Sonst werd ich ganz von Schmerz umgeben. 5. Rezitativ (Tenor) Und ward aufgehoben zusehends und fuhr auf gen Himmel, eine Wolke nahm ihm weg vor ihren Augen, und er sitzet zur rechten Hand Gottes. 6. Choral Nun lieget alles unter dir, Dich selbst nur ausgenommen; Die Engel müssen für und für Dir aufzuwarten kommen. Dir Fürsten stehn auch auf der Bahn Und sind dir willig untertan; Luft, Wasser, Feuer, Erden Muß dir zu Dienste werden. 7. Rezitativ (Tenor) & Duet (Tenor, Bass) Und da sie ihm nachsahen gen Himmel fahren, siehe, da stunden bei ihnen zwei Männer in weißen Kleidern, welche auch sagten: Ihr Männer von Galiläa, was stehet ihr und sehet Himmel? Dieser Jesus, welcher von euch ist aufgenommen gen Himmel, wird kommen, wie ihr ihn gesehen habt gen Himmel fahren.

Johann Sebastian Bach
1. Chorus Praise God in His riches, praise Him in His honor, extol Him in His splendor; seek to rightly imitate His praise when with full chorus you make a song in His honor! 2. Recitative (Tenor) The Lord Jesus lifted up His hands and blessed His disciples, and it so happened, that as He blessed them, He departed from them. 3. Recitative (Bass) Ah, Jesus, is Your departure already so near? Ah, is the hour then already there when we must let You leave us? Ah, behold, how hot tears roll down our pale cheeks, how we yearn after You, How all our consolation is nearly destroyed. Ah, do not withdraw from us yet! 4. Aria (Alto) Ah, just stay, my dearest Life, ah, don’t flee so soon from me! Your farewell and Your early departure brings me the greatest of all sorrows, ah, truly, just stay awhile here; otherwise I will be completely undone with grief. 5. Recitative (Tenor) And He was apparently lifted up and journeyed to Heaven, a cloud enveloped Him before their eyes, and He sits at the right hand of God. 6. Chorale Now everything is subject to You, You Yourself only excepted; the angels must for ever and ever come to wait upon You. The princes stand still on their way and are willingly in service to You; air, water, fire and earth must be of service to You. 7. Recitative (Tenor) & Duet (Tenor, Bass) And as they watched Him ascending to Heaven, behold, two men in white garments stood beside them, who also said: You men of Galilee, why do you stand and look at Heaven? This Jesus, who has been taken from you to Heaven, will return, just as you have seen Him ascend to Heaven.

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8. Rezitativ (Alt) Ach ja! So komme bald zurück; Tilg einst mein trauriges Gebärden, Sonst wird mir jeder Augenblick Verhaßt und Jahren ähnlich werden. 9. Rezitativ (Tenor) Sie aber beteten ihn an, wandten um gen Jerusalem von dem Berge, der da heißet der Ölberg, welcher ist nahe bei Jerusalem und liegt einen Sabbater-Weg davon, und sie kehreten wieder gen Jerusalem mit großer Freude. 10. Arie (Sopran) Jesu, deine Gnadenblicke Kann ich doch beständig sehn. Deine Liebe bleibt zurücke, Daß ich mich hier in der Zeit An der künft’gen Herrlichkeit Schon voraus im Geist erquicke, Wenn wir einst dort vor dir stehn. 11. Choral Wenn soll es doch geschehen, Wenn kömmst die liebe Zeit, Daß ich ihn werde sehen In seiner Herrlichkeit? Du Tag, wenn wirst du sein, Daß wir den Heiland grüßen, Daß wir den Heiland küssen? Komm, stelle dich doch ein!

8. Recitative (Alto) Ah yes! Then come back soon; remove at last my sorrowful bearing, otherwise every moment shall be hateful to me and all the years alike. 9. Recitative (Tenor) They however prayed to Him, turned around toward Jerusalem away from the mountain, which is called the Mount of Olives, which is near Jerusalem and lies a Sabbath-day’s journey away, and they returned again to Jerusalem with great joy. 10. Aria (Soprano) Jesus, Your merciful gaze I can continually see. Your love remains behind, so that here, in mortal time, I can refresh myself in spirit already with future glory, when one day we shall stand there before You. 11. Chorale When shall it happen, when will the dear time come, that I shall see Him in His glory? O day, when will you be, when we will greet the Savior, when we will kiss the Savior? Come, present yourself now!
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

MONdAY JuNE 6, 2011 Cantata No. 150: Nach dir, Herr, verlanget mich
1. Sinfonia 2. Chor Nach dir, Herr, verlanget mich. Mein Gott, ich hoffe auf dich. Laß mich nicht zuschanden werden, daß sich meine Feinde nicht freuen über mich. 3. Arie (Sopran) Doch bin und bleibe ich vergnügt, Obgleich hier zeitlich toben Kreuz, Sturm und andre Proben, Tod, Höll, und was sich fügt. Ob Unfall schlägt den treuen Knecht, Recht ist und bleibet ewig Recht. 4. Chor Leite mich in deiner Wahrheit und lehre mich; denn du bist der Gott, der mir hilft, täglich harre ich dein.

Johann Sebastian Bach
1. Sinfonia 2. Chorus Lord, I long for you. My God, I hope in you. Let me not be put to shame, so that my enemies will not rejoice over me. 3. Aria (Soprano) Yet I am and remain content, although at the moment here may rage cross, storm and other trials, Death, Hell, and what is theirs. Though misfortune strike the true servant, Right is and remains eternally right. 4. Chorus Lead me in your Truth and teach me; for you are the God, who helps me, I await you daily.

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5. Terzett (Alt, Tenor, Bass) Zedern müssen von den Winden Oft viel Ungemach empfinden, Oftmals werden sie verkehrt. Rat und Tat auf Gott gestellet, Achtet nicht, was widerbellet, Denn sein Wort ganz anders lehrt. 6. Chor Meine Augen sehen stets zu dem Herrn; denn er wird meinen Fuß aus dem Netze ziehen. 7. Chor Meine Tage in den Leiden Endet Gott dennoch zur Freuden; Christen auf den Dornenwegen Führen Himmels Kraft und Segen. Bleibet Gott mein treuer Schatz, Achte ich nicht Menschenkreuz; Christus, der uns steht zur Seiten. Hilft mir täglich sieghaft streiten.

5. Trio (Alto, Tenor, Bass) Cedars must, before the winds, often feel much hardship, often they will be destroyed. Place your words and deeds before God, Heed not what howls against you, Since his Word teaches otherwise. 6. Chorus My eyes gaze continually at the Lord; For he will draw my foot out of the net. 7. Chorus My days in suffering God will nevertheless end in joy; Christians upon the thorny pathways are led by Heaven’s power and blessing. If God remains my dearest treasure, I need not heed mankind’s cruelty; Christ, who stands by our side, Helps me daily fight to victory.
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

MONdAY, JuNE 13, 2011 Tröstet, tröstet mein Volk, SWV 382
Tröstet, tröstet mein Volk, redet mit Jerusalem freundlich, prediget ihr, daß ihre Ritterschaft ein Ende hat, denn ihre Missetat ist vergeben, denn sie hat zwiefältiges empfangen von der Hand des Herren um alle ihre Sünde. Es ist eine Stimme eines Predigers in der Wüste: Bereitet dem Herren den Weg, machet auf dem Gefilde ebene Bahn unserm Gott. Alle Tal soll erhöhet werden und alle Berge und Hügel sollen erniedriget werden, und was ungleich ist, soll eben werden, und was höckerig ist, soll schlecht werden, denn die Herrlichkeit des Herren soll offenbar werden. Und alles Fleisch miteinander wird sehen, daß des Herren Mund redet.
Isaiah 40:1–5

Heinrich Schütz
Comfort ye, comfort ye my people. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned: for she hath received double from the Lord’s hand for all her sins. The voice of him that crieth in the wilderness, Prepare ye the way of the Lord, make straight in the desert a highway for our God. Every valley shall be exalted, and every mountain and hill shall be made low: and the crooked shall be made straight, and the rough places plain: And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.

Also hat Gott die Welt geliebt, SWV 380
Also hat Gott die Welt geliebt daß er seinen eingebornen Sohn gab auf daß alle die an ihn glauben nicht verloren werden sondern das ewige Leben haben.
–John 3:16

For God so loved the world, that he sent his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.

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Motet: Lobet den Herrn, alle Heiden, BWV 230
Lobet den Herrn, alle Heiden, und preiset ihn, alle Völker! Denn seine Gnade und Wahrheit waltet über uns in Ewigkeit. Alleluja!
–Psalm 117

Johann Sebastian Bach
Praise the Lord, all nations, and praise Him, all peoples! For His grace and truth rule over us for eternity. Alleluia.
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

MONdAY JuNE 20, 2011 Brian Jones, Guest Conductor Cantata No. 191: Gloria in excelsis Deo
ERSTER TEIL 1. Chor Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. ZWEITER TEIL 2. Arie (Duett): Sopran, Tenor Gloria Patri et Filio et Spiritui sancto. 3. Chor Sicut erat in principio et nunc et semper et in saecula saeculorum, amen.

Johann Sebastian Bach
PART ONE 1. Chorus Glory be to God on high, and on earth peace, good will towards men. PART TWO 2. Aria (Duet): Soprano, Tenor Glory be to the Father and the Son and the Holy Ghost. 3. Chorus As it was in the beginning, is now, and ever shall be, world without end, amen.

Julian Wachner, Conductor Cantata No. 147: Herz und Mund und Tat und Leben
ERSTER TEIL 1. Chor Herz und Mund und Tat und Leben Muß von Christo Zeugnis geben Ohne Furcht und Heuchelei, Daß er Gott und Heiland sei. 2. Rezitativ (Tenor) Gebenedeiter Mund! Maria macht ihr Innerstes der Seelen Durch Dank und Rühmen kund; Sie fänget bei sich an, Des Heilands Wunder zu erzählen, Was er an ihr als seiner Magd getan. O menschliches Geschlecht, Des Satans und der Sünden Knecht, Du bist befreit Durch Christi tröstendes Erscheinen Von dieser Last und Dienstbarkeit! Jedoch dein Mund und dein verstockt Gemüte Verwschweigt, verleugnet solche Güte; Doch wisse, daß dich nach der Schrift Ein allzuscharfes Urteil trifft! PART ONE 1. Chorus Heart and mouth and deed and life must give testimony of Christ without fear or hypocrisy, that He is God and Savior. 2. Recitative (Tenor) Blessed mouth! Mary makes the inmost part of her soul known through thanks and praise; she begins to narrate to herself the miracle of the Savior, which He has worked in her as His handmaiden. O human race, slave to Satan and to sin, you are freed through Christ’s reassuring appearance from this burden and servitude! However your mouth and your stubborn spirit supresses, denies such goodness; yet know, that according to the scripture, an all-too-harsh judgment will be yours!

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3. Arie (Alt) Schäme dich, o Seele nicht, Deinen Heiland zu bekennen, Soll er dich die seine nennen Vor des Vaters Angesicht! Doch wer ihn auf dieser Erden Zu verleugnen sich nicht scheut, Soll von ihm verleugnet werden, Wenn er kommt zur Herrlichkeit. 4. Rezitativ (Bass) Verstockung kann Gewaltige veblenden, Bis sie des Höchsten Arm vom Stuhle stößt; Doch dieser Arm erhebt, Obschon vor ihm der Erde Kreis erbebt, Hingegen die Elenden, So er erlöst. O hochbeglückte Christen, Auf, machet euch bereit, Itzt ist die angenehme Zeit, Itzt ist der Tag des Heils: der Heiland heißt Euch Leib und Geist Mit Glaubensgaben rüsten, Auf, ruft zu ihm in brünstigem Verlangen, Um ihn im Glauben zu empfangen! 5. Arie (Sopran) Bereite dir, Jesu, noch itzo die Bahn, Mein Heiland, erwähle Die gläubende Seele Und siehe mit Augen der Gnade mich an! 6. Choral Wohl mir, daß ich Jesum habe, O wie feste halt ich ihn, Daß er mir mein Herze labe, Wenn ich krank und traurig bin. Jesum hab ich, der mich liebet Und sich mir zu eigen gibet; Ach drum laß ich Jesum nicht, Wenn mir gleich mein Herze bricht. ZWEITER TEIL 7. Arie (Tenor) Hilf, Jesu, hilf, daß ich auch dich bekenne In Wohl und Weh, in Freud und Leid, Daß ich dich meinen Heiland nenne Im Glauben und Gelassenheit, Daß stets mein Herz von deiner Liebe brenne.

3. Aria (Alto) Do not be ashamed, O soul, to acknowledge your Savior, so shall He name His own before His Father’s face! Yet whomever, on this earth, is not shy to deny Him, shall be denied by Him when he approaches glory. 4. Recitative (Bass) Astonishment might dazzle the mighty, until the arm of the Highest throws them down from their thrones; yet this arm uplifts, although the orb of the earth trembles before it, the wretched, on the other hand, which He has redeemed. O most delighted Christians, arise, make yourselves ready, now the pleasant time is here, now is the day of salvation: the Savior calls you to arm body and soul with the gifts of faith, arise, call to Him in fervent longing, in order to embrace Him in faith! 5. Aria (Soprano) Prepare, Jesus, even now the path for Yourself, my Savior, select the faithful souls and look upon me with eyes of mercy! 6. Chorale Happy I, who has Jesus, O how tightly I cling to Him, so that He delights my heart when I am sick and sad. I have Jesus, who loves me and gives Himself to me as my own; ah, therefore I will not let go of Jesus, even if my heart is breaking. PART TWO 7. Aria (Tenor) Help, Jesus, help that I may also acknowledge You in prosperity and in woe, in joy and in sorrow, so that I may call You my Savior in faith and calmness, that my heart may always burn with Your love.

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8. Rezitativ (Alt) Der höchsten Allmacht Wunderhand Wirkt im Verborgenen der Erden. Johannes muß mit Geist erfüllet werden, Ihn zieht der Liebe Band Bereits in seiner Mutter Leibe, Daß er den Heiland kennt, Ob er ihn gleich noch nicht Mit seinem Mund nennt, Er wird bewegt, er hüpft und springet, Indem Elisabeth das Wunderwerk ausspricht, Indem Mariae Mund der Lippen Opfer bringet. Wenn ihr, o Gläubige, des Fleisches Schwachheit merkt, Wenn euer Herz in Liebe brennet, Und doch der Mund den Heiland nicht bekennet, Gott ist es, der euch kräftig stärkt, Er will in euch des Geistes Kraft erregen, Ja Dank und Preis auf eure Zunge legen. 9. Arie (Bass) Ich will von Jesu Wundern singen Und ihm der Lippen Opfer bringen, Er wird nach seiner Liebe Bund Das schwache Fleisch, den irdschen Mund Durch heilges Feuer kräftig zwingen. 10. Choral Jesus bleibet meine Freude, Meines Herzens Trost und Saft, Jesus wehret allem Leide, Er ist meines Lebens Kraft, Meiner Augen Lust und Sonne, Meiner Seele Schatz und Wonne; Darum laß ich Jesum nicht Aus dem Herzen und Gesicht.

8. Recitative (Alto) The wondrous hand of the exalted Almighty is active in the mysteries of the earth. John must have been filled with the Spirit, the bond of love drew him already in his mother’s body, so that he knew the Savior, even though he could not yet name Him with his mouth, he became lively, he leapt and stirred, while Elizabeth expressed the miracle, while Mary’s mouth made her lip’s offering. If you, O believers, note the weakness of the flesh, if your hearts burn in love, and yet your mouths do not acknowledge the Savior, then it is God who will powerfully strengthen you, He will stir up the power of the spirit in you, indeed lay thanks and praise upon your tongues. 9. Aria (Bass) I will sing of Jesus’ wonders and bring my lip’s offering to Him, He will compel weak flesh, the earthly mouth powerfully, through the holy fire, towards the bond of His love. 10. Chorale Jesus shall remain my joy, my heart’s comfort and sap, Jesus shall fend off all sorrow, He is the strength of my life, the delight and sun of my eyes, the treasure and wonder of my soul; therefore I will not let Jesus go out of my heart and sight.
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

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ABoU T The ArTiS TS
JuLIAN WAChNER
Born in Hollywood, California, and raised in New York City, Julian Wachner is one of North America’s most exciting and versatile musicians, soughtafter as conductor, composer, and keyboard artist. In his new position as the inaugural Director of Music and the Arts at Trinity Wall Street, Wachner serves as Principal Conductor of the Trinity Choir and of the Trinity Baroque Orchestra, in addition to overseeing Trinity’s numerous and varied concert offerings, museum expositions, dance and theatre performances, poetry and literary readings, and educational and outreach initiatives in lower Manhattan and Brooklyn. This appointment complements his existing roles as Music Director of the Kennedy Center’s GRAMMY® Award-winning Washington Chorus and as Principal Conductor of Opera McGill, Montreal. Wachner has also made memorable guest appearances with such major organizations as The Philadelphia Orchestra, the Montreal and Pittsburgh Symphonies, the Handel and Haydn Society, Glimmerglass Opera, New York City Opera, and the Boston Pops. A Baroque specialist, he was the founding Music Director of the Boston Bach Ensemble and the Bach Académie de Montréal, besides serving as Artistic Director of International Bach Festivals in Boston and Montreal. Wachner’s performances inspire uncommon praise. The New York Times pronounced his Trinity Wall Street debut “superbly performed” and, later that season, noted that “he succeeded admirably” in presenting his first Messiah in New York City. Of his interpretation of Bach’s St. Matthew Passion, according to The Boston Globe, “there was genius here and no mistaking it.” Also from The Globe: “Wachner has shown the kind of technical command, large-spiritedness, and fiery imagination that all but shout to the skies: ‘Major Talent!’” The Washington Post declared a recent performance “exhilarating,” commenting: “Julian Wachner knows how to draw maximum drama from a score.” Following his account of Messiah with the Philadelphia Orchestra, The Inquirer’s David Patrick Stearns observed: “Few conductors have drawn such focused, committed, and meticulous musicmaking as Julian Wachner … [He] built the music, line by line, as an architectural edifice, serving both the music’s emotional and more purely aesthetic elements.” Last season, Wachner made New York City Opera history when he was selected as both conductor and composer at the company’s annual VOX festival of contemporary opera. His original music has been variously described as “bold and atmospheric” (The New York Times), “jazzy, energetic, and ingenious” (The Boston Globe), and “a compendium of surprises” (The Washington Post). An award-winning organist and improvisateur, Wachner’s solo recital at the Spoleto Festival USA featured an improvised finale that inspired one reviewer to conclude: “This stupefying wizardry was the hit of the recital, and it had to be heard to be believed” (The Post and Courier, South Carolina). And as a concert pianist, in his recent Kennedy Center all-Rachmaninoff performance, The Washington Post noted that “Wachner dazzled with some bravura keyboard work, both in the rhapsodic accompaniments to the songs and … in the highly virtuosic transcription of the Dances.” E. C. Schirmer publishes Wachner’s complete catalogue of compositions, comprising over 80 titles, and his recordings are with the Chandos, Naxos, Atma Classique, Arsis, Dorian, Musica Omnia, and Titanic labels.

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gUeS T ArTiS TS
MAY 30
Peter Watchorn (b.1957) has studied the harpsichord, its history, repertoire and construction in great detail since 1974, introduced to the instrument through his teacher, Margaret Lloyd. In the years since, he has achieved an international reputation for his consistently high standard of performance. In 1985 he was presented with the Erwin Bodky Memorial Award by the Cambridge Society of Early Music for his performance of J. S. Bach’s solo harpsichord music. Born in Newcastle, NSW (Australia), he moved to Cambridge, MA in 1987, becoming a dual Australian/US citizen in 2005. He has continued to enjoy an active career in the USA and Europe as performer, scholar, recording artist and participant in several ensembles. He is also noted as a harpsichord builder and researcher, his most recent efforts resulting in collaboration with Zuckermann Harpsichords International in re-constructing the 1642 Ioannes Moermans double-manual harpsichord, now in the Russell Collection, Edinburgh. He is closely associated with the Zuckermann shop and serves as technical advisor and overseer of the musical finishing department. Examples of this harpsichord have been acquired by the Melbourne Recital Centre (Australia), Oberlin Conservatory and, most recently, Trinity Church, Wall Street. From 1985-1992 Peter Watchorn studied with Isolde Ahlgrimm in Vienna and has written extensively about her life and career. His full-length biography of her, Isolde Ahlgrimm, Vienna & the Early Music Revival appeared in 2007 (Ashgate Publishing, London). Dr. Watchorn was a contributing artist to the 2000 Edition Bachakademie (Hänssler-Klassik), recording the seven harpsichord toccatas (BWV 910-916) and the seventeen concertos arranged by Bach after other composers (BWV 972-987; 592a). With the award-winning recording label, Musica Omnia, which he co-founded in 2000 (with David Fox and Joel Gordon), and for which he serves as producer and board president, he has embarked on separate projects devoted to the immense keyboard outputs of J. S. Bach and the English Renaissance composer, Dr. John Bull. He holds the Doctor of Musical Arts degree from Boston University (1995). His articles have been published in professional journals such as Musicology Australia, Early Music, Early Music America, The Diapason and Harpsichord & Fortepiano.

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Guest Conductor Brian Jones, one of America’s most highly regarded church musicians, is Emeritus Director of Music and Organist at Trinity Church, Copley Square, Boston, where he directed a widely acclaimed program from 1984 to 2004. In addition to numerous lauded recordings, the Trinity Choir (Copley Square) has been heard on National Public Radio, as well as on the BBC in Great Britain. In recent years, Mr. Jones has served in three interim positions: Director of Cathedral Music at the Cathedral of St John, Albuquerque, New Mexico; Director of Music at Old South Church in Boston; and Associate Organist of Memorial Church, Harvard University, Cambridge, Massachusetts. An active concert organist, he is also in demand as guest conductor and accompanist. In June, 2009, he was Organist in Residence at Grace Cathedral, San Francisco, and in 2010 he was Visiting Artist at Christ Church Cathedral, Lexington, Kentucky. He is Director of the Copley Singers, a Boston-based choir he founded in 2006. Mr. Jones has taught at many workshops and conferences for the American Guild of Organists and American Choral Director’s Association, and at the Evergreen Music Conference, Sewanee Conference, and St. Dunstan’s Workshop. In the summer of 2004 he was invited to lecture at the notable Eton Choral Course in England. A graduate of Oberlin College Conservatory of Music and Boston University, he studied choral directing with Robert Fountain, orchestral conducting with Hermann Genhart, and eurythmics with Inda Howland. Mr. Jones was raised in Duxbury, Massachusetts, where he traces his ancestors back to 1632, with the arrival of Christopher Wadsworth, who became the first constable in Duxbury, and whose great-grandson is the poet Henry Wadsworth Longfellow. This is Mr. Jones’ second guest conducting appearance with the Trinity Choir (Wall Street).

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MUSic AT TriNiT y wAll S Tree T
TRINITY ChOIR
The Trinity Choir is the premier ensemble of the music and arts program at Trinity Wall Street. The Choir leads the liturgical music during Sunday morning services, Compline and Bach at One, performs in concerts throughout the year, and has made world-class recordings for the esteemed Naxos label. It is both a beloved church choir, singing favorite Anglican hymns and historic sacred music, and one of New York City’s most acclaimed professional vocal ensembles. Particularly well-versed in major compositions of the Baroque and Classical periods, the Choir’s repertoire also includes Baltic choral compositions as well as works by Britten, Brahms, Howells, Pärt, and other contemporary composers. The New York Times has praised the Choir as possessing “voices so pure they suggest a seraphic chorus beyond the human sphere.” and Glover, and in collaboration with Rebel Baroque Orchestra, the set commemorates the bicentenary of the composer’s death. Also on Naxos, the Choir has recorded Handel’s Messiah and Christmas from Trinity. In addition to these recordings, Trinity Choir concerts are broadcast on WQXR 105.9 (a subsidiary of WNYC).

PRAISE & PREMIERES
A highlight of the Choir’s season is their annual presentation of Handel’s Messiah. With a profusion of Messiah performances in New York City concert halls and sacred spaces every holiday season, the Trinity Choir’s offering stands out. The New York Times hailed the choir’s 2005 performance as, “A Messiah to Beat in a Season Bursting With Them,” praising the “pure” voices of the soloists from the Choir. Under the direction of J. Owen Burdick, the Choir offered New York premieres of many works including Dominick Argento’s The Masque of Angels, and William Albright’s oratorio, A Song to David, which the composer hailed as the work’s “finest, most accurate and moving performance.” Premieres under Larry King included Iain Hamilton’s Epitaph for This World and Time, Jean Guillou’s Allen, and several liturgical settings by Richard Feliciano, as well as much of King’s own music. In addition to their active concert series at Trinity Church, the Choir has appeared at The Metropolitan Museum of Art, The Cloisters, and The Tribeca Film Festival, which invited the Choir to perform Arvo Pärt’s Passio in a mixed-media collaboration with Paolo Cherchi Usai’s film of the same name. In March 2010, the Choir traveled to Moscow to perform Purcell’s Dido and Aeneas with the Mark Morris Dance Group.

TRINITY BAROQuE ORChESTRA
The Trinity Baroque Orchestra made its debut for Trinity Choir’s 2009 performances of Messiah. Trinity has used period-instrument orchestras for early music concerts for over a decade in presentations of major works of Bach and Mozart, for Haydn’s Masses and Purcell’s Operas, as well as for liturgical performances. The practice began with the core members of the acclaimed Rebel Baroque Orchestra, led by Jörg-Michael Schwarz and Karen Marie Marmer, combined with a wealth of New York’s finest period players. Baroque orchestras in New York are contracted from a relatively small pool of exceptionally skilled Baroque and Classical players.

dIRECTORS
Julian Wachner is the Director of Music and the Arts at Trinity Wall Street. Previous Directors of Music at Trinity include Dr. J. Owen Burdick (1990-2008), Dr. Larry King (1968-1989), and George Mead (1941-1968). In recent years the Choir has collaborated with a number of guest conductors including Jane Glover, Stefan Parkman, George Steel, Simon Carrington, Andrew Megill (who also served as Guest Choirmaster in 2008 and 2009), Steven Fox (Acting Director of Music for 2009-2010), Eric Milnes, and Andrew Parrott.

BEhINd ThE SCENES
Interviews and concert notes with Julian Wachner and guest conductors, as well as profiles of choir members, can be found on the Trinity Wall Street website. Other feature videos include a history and appreciation of Handel’s Messiah and the story of a music camp started in postKatrina New Orleans by several choir members. A rich archive of past concerts can be found online as well. To find the “Music at Trinity” channel, go to trinitywallstreet org/webcasts/videos.

RECORdINgS & RAdIO
In 2009, the Trinity Choir released Haydn: The Complete Masses, an eight-disc boxed set on the Naxos label. Twelve masses and the Stabat Mater were recorded over a nine-year period in Trinity Church. Conducted by Burdick

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TriNiT y choir BioS
Solo concert engagements for Melissa Attebury (mezzosoprano) include Handel’s Messiah, Israel in Egypt, and Judas Maccabeus; Bach’s St. Matthew and St. John Passions and Mass in B minor; and Mozart’s Requiem and Mass in C Minor. She has appeared with the New York Philharmonic at Carnegie Hall and Lincoln Center, and performs regionally and abroad in opera and operetta. Elizabeth Baber (soprano) has been praised for her “angelic brightness and dedication” and her “ability to seduce.” Recent performances include Guido’s Ear, Hesperus, Parthenia, Ex Umbris, and the Play of Daniel at the Cloisters. She also performs with lutenist Charles Weaver and is a vocal coach for the New York Continuo Collective. Raymond Bailey is a Virginia-born, Yale-educated, classically trained multi-instrumentalist who joined the Trinity Choir as a bass-baritone in 2004. Most of his work is as a musical director and coach in musical theatre, but he also performs with the Antioch Chamber Ensemble and his band, Autobahn-da-Fé. Ray believes that teaching music to children is the best thing he does. James Blachly (alto) is the conductor of the ISO TrinityFlorentine Youth Orchestra and the founder of the Sheep Island Ensemble, which promotes great music and community. An established composer and conductor, he has been hailed by Chamber Music America as “vigorous and assured,” and by The New York Times for his “thoughtful conception.” Luthien Brackett (alto) is in great demand as an ensemble performer, appearing regularly with acclaimed ensembles including Tenet, Vox, Voices of Ascension, Pomerium, Clarion Music Society, and The Antioch Chamber Ensemble. Her discography includes featured solos in the Trinity Choir’s Haydn: The Complete Masses on the Naxos label. The longest-serving member of the Trinity Choir, Wesley Chinn (baritone, countertenor, and instrumentalist) leads a diverse musical life that ranges from playing kazoo at Lincoln Center and Carnegie Hall to conducting children’s choirs (and new operas). Also an active organizer of musical mischief, he is Artistic Director of Opera Omnia. Wisconsin native Martha Cluver (soprano) has been a member of the Trinity Choir since September 2003. As a New Yorker, she has been involved with many vocal groups, and has premiered a number of new solo and chamber works. Martha particularly enjoys performing works of the Renaissance and Baroque periods.
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Eric Dudley (tenor) performs with the American Symphony Orchestra, Bard Summerscape Opera, Seraphic Fire, Roomful of Teeth, and numerous choral ensembles in New York. As a conductor he has worked in Finland and Australia and with the Cincinnati and Princeton Symphony Orchestras. He is also a pianist and composer. Charles Wesley Evans (baritone) is establishing a fine career as an early-music artist, recitalist, and professional chorus member. An active soloist, he is also on the rosters of some of the nation’s finest choral ensembles. Mr. Evans is a graduate of Brewton-Parker College in Mt. Vernon, GA. Hailed as a “golden soprano” by The New York Times, Jolle Greenleaf is a leading specialist in early music, performing as soloist in works of J. S. Bach, Charpentier, Handel, Monteverdi, and Purcell, among others. She is artistic director of Tenet and the Green Mountain Project, and frequently collaborates with premier ensembles around the country. Matthew B. Hensrud (tenor) can be regularly heard with ensembles such as Pomerium, Clarion, Antioch, and New York Early Music. Recent projects include Brooklyn Acadamy of Music’s St. Matthew Passion, Nico Muhly’s Elements of Style, a recording of Frank London’s A Night at the Old Marketplace, and the premiere of David Lang’s Anatomy Theatre. The active career of Timothy Hodges (tenor) includes performances as a soloist with Rebel Baroque Orchestra, Carmel Bach Festival Orchestra, Mark Morris Dance Group, Garden State Philharmonic, Spoleto Festival Orchestra, and Princeton Glee Club. He is active in many ensembles including Vox, Clarion, Fuma Sacra, and the Carmel Bach Festival Chorale. Steven Hrycelak (bass) has been a soloist with the Trinity Choir, Musica Sacra, 4x4, the New York Collegium, the Waverly Consort, the American Symphony Orchestra, and the Collegiate Chorale. Other ensemble work has included Early Music New York, Vox, Tenet, Seraphic Fire, the Yale Whiffenpoofs, and his vocal jazz quintet, West Side 5. Hailed by Time Out New York as a “dazzling diva, adept at old and new music,” Mellissa Hughes (soprano) performs with Newspeak, Signal, and Eighth Blackbird. Ms. Hughes has recorded for Nonesuch, Cantelope, and Naxos Records, is a New Amsterdam Records Artist, and holds degrees from Westminster Choir College and Yale University.

Baritone Thomas McCargar’s choral engagements include the Trinity Choir, Pomerium, Early Music New York, Musica Sacra, New York Virtuoso Singers, Vox Vocal Ensemble, and Seraphic Fire in Miami. His solo work includes To Be Certain of the Dawn (Stephen Paulus), Die Schöne Müllerin (Schubert) and Carmina Burana (Orff). Molly Quinn (soprano) has performed with ensembles such as Clarion Music Society, Tenet, Green Mountain Project, Musica Sacra, 4X4 festival, and Buxtehude Consort. She has appeared in Dido and Aeneas with Mark Morris Dance Group and The Coronation of Poppea with Opera Omnia. Her other interests include volunteerism, sewing, and college basketball. Melanie Russell (soprano) has performed with the Oregon Bach Festival Choir, Santa Fe Desert Chorale, Etherea Vocal Ensemble, Yale Schola Cantorum, and Yale Voxtet. Solo engagements in opera, musical theater, and concert repertoire have taken her from her hometown of New Orleans to Carnegie Hall, Moscow, and London. Stephen Sands (tenor) holds a degree from Westminster Choir College. He has been heard as the Evangelist in numerous performances of Bach’s St. John and St. Matthew Passions. He is a member of the Antioch Chamber Ensemble, Carmel Bach Festival Chorale, Tenet, and Clarion. He is the Vocal Music Director at Bernards High School and the Artistic Director of Music in the Somerset Hills.

Virginia Warnken (mezzo-soprano) performs regularly with renowned early music ensembles such as the Trinity Choir, Clarion Music Society, Musica Sacra, Tenet, Vox Vocal Ensemble, and the Green Mountain Project. Recent solo highlights include Monteverdi’s Vespers of 1610, Judd Greenstein’s Yehudim (world premiere, Merkin Hall), Bach’s Christmas Oratorio, and Handel’s Messiah. Jonathan Woody (bass-baritone) performs with Clarion Music Society, Santa Fe Desert Chorale, La Chappelle de Québec, Studio de Musique Ancienne de Montréal, and the Bach Sinfonia of Washington, DC. Some recent roles include Sorceress (Dido & Aeneas), Claudio (Agrippina), and Escamillo (La Tragédie de Carmen). He is a student of Sanford Sylvan.

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TriNiT y BAroqUe orcheS Tr A BioS
Robert Mealy (Concertmaster), one of America’s leading historical string players, has been praised for his imagination, taste, subtlety, and daring” (Boston Globe). The New Yorker described him as “New York’s world-class early music violinist.” He has recorded over 50 CDs on most major labels, ranging from Hildegard of Bingen with Sequentia, to Renaissance consorts with the Boston Camerata, to Rameau operas with Les Arts Florissants. Mr. Mealy has appeared at music festivals from Berkeley to Belgrade, and from Melbourne to Versailles; he has also toured with the Mark Morris Dance Group and accompanied Renée Fleming on the David Letterman Show. In New York he is a frequent leader and soloist with various ensembles. Since 2004, he has been concertmaster for the distinguished Boston Early Music Festival Orchestra, leading them in three GRAMMY®nominated recordings and several festivals. A devoted chamber musician, he is a member of the medieval ensemble Fortune’s Wheel, the Renaissance violin band the King’s Noyse, and the ensemble Quicksilver. Mr. Mealy is Professor of Music, adjunct, at Yale University, where he directs the Yale Collegium and teaches courses on rhetoric and performance. For a decade previously, he directed the Harvard Baroque Orchestra. He is also on the faculty of the new Historical Performance program at Juilliard. In 2004 he received Early Music America’s Binkley Award for outstanding teaching at both Harvard and Yale. James Baker is Principal Percussionist of the New York City Ballet Orchestra, and Coordinator of Percussion Studies at the Mannes College of Music. He has performed with the NY Philharmonic and Orpheus Chamber Orchestra, conducts New York New Music Ensemble and Speculum Musicae, and has won a Bessie award for composition for dance. Doug Balliett is a prolific artist whose career has spanned classical performance, composition, rap, rock, and conducting. As a double bassist he has performed across the globe with many ensembles and earned fellowships with most leading festivals. His compositions have garnered several prizes and residency appointments. Korean-Canadian violinist Jae-Won Bang is a member of the Yale Baroque Ensemble. She received her MMus from Yale University in 2010 and her BMus degree from Colburn Conservatory in 2008. Jae-Won has studied with Robert Lipsett, Ani Kavafian, and Gerald Stanick, and currently studies with Robert Mealy and Laurie Smukler. Raised as a jazz trumpeter in the San Francisco Bay area, Nathan Botts now enjoys a diverse career as a soloist,
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recording artist, composer, improviser, and specialist on the historic natural trumpet. On period instruments he performs as principal trumpet with Concert Royal and the Bach Vespers at Holy Trinity series. A graduate of the Juilliard School and a Fulbright scholar, Anne Briggs has performed on baroque, classical, and modern flutes in the Aulos Ensemble, Concert Royal, American Classical Orchestra, New York Philharmonic, American Symphony, Orpheus, and is Principal Flute with Sacred Music in a Sacred Space, Oratorio Society, and Musica Sacra. Bradley Brookshire is harpsichordist and assistant conductor for the Metropolitan Opera. His recording of Bach’s French Suites was a New York Times “Critic’s Choice.” Ashgate published his study of Byrd’s Walsingham variations in 2010. He is Director of Graduate Studies in the Conservatory of Music at Purchase College (SUNY). Sarah Davol, serves as principal oboe of Grand Tour Orchestra and Big Apple Baroque in NYC, Vox Ama Deus Orchestra in Philadelphia, La Follia in Austin, the Connecticut Early Music Festival Orchestra, and is a founding member of The American Classical Orchestra. She is a concerto soloist with Amor Artis, Concert Royal, and Los Angeles Baroque Orchestra, among others. Daniel Elyar (viola) has performed with Tafelmusik, the Utrecht Baroque Consort, Concerto d’Amsterdam, Teatro Lirico, Concerto Palatino, the Boston Early Music Festival Orchestra, the New York Collegium, Rebel, New York State Early Music Association, Tempesta di Mare, and Clarion. He has recorded for Chandos, Elektra, Atma, and Hungaroton labels. Dennis Godburn is a versatile bassoonist performing on Baroque, Classical and Modern instruments. He lives in California and in NYC. He is a member of St. Lukes and Orpheus and has appeared with many other ensembles concertizing internationally. He has recorded over 70 CDs and enjoys cooking and wine. Timpanist Maya Gunji has appeared as member of St. Luke’s, Orpheus, and at Radio City Music Hall. She has performed with the New York Philharmonic, the Metropolitan Opera Orchestra, the American Ballet Theater, the Berlin Philharmonic, Rebel Baroque, and the Israel Philharmonic with Itzhak Perlman. Broadway productions include The Three Penny Opera, The Man of La Mancha, Les Miserables, Miss Saigon and Mary Poppins. She holds advanced degrees from The Juilliard School.

Liv Heym pursues a versatile musical career focused on chamber music and the approach of historical performance. A native of Berlin, Germany, she studied the violin in Berlin and Detmold before coming to New York for further studies. She currently studies Baroque violin with Monica Huggett and Cynthia Roberts at The Juilliard School. Trumpeter Caleb Hudson is in the Juilliard Masters of Music program as a student of Raymond Mase, Mark Gould, and John Thiessen. A native of Lexington, KY, Caleb has won first place at the National Trumpet Competition, was a soloist with the Lexington Philharmonic, and was awarded fellowships at the Music Academy of the West and the Aspen Music Festival. This summer he will be participating in the Verbier Festival in Switzerland. Motomi Igarashi graduated from The Juilliard School and studied in France with Marianne Muller. She has played the viola da gamba, violone, baroque double bass, and lirone with American Classical Orchestra, Anima, Artek, Bach Collegium Japan, Boston Early Music Festival, and Concert Royal. The The New York Times has praised her “deft accompaniment.” Claire Jolivet regularly appears with Repast, Sarasa, Concert Royal, Sinfonia New York, Clarion, and the Trinity Baroque Orchestra; is a founding member of the Dodd String Quartet, and is concertmaster of the Grand Tour Orchestra and Opera Lafayette in Washington, DC. She performs with Paris-based Opera, Fuoco, and has recorded for Deutsche Harmonia Mundi. Flautist Sophie Larivière is a member of Ensemble Caprice and has been its Artistic Co-Director since 1997. With Ensemble Caprice, Ms. Larivière has appeared in numerous concerts and festivals, including the Lufthansa Festival in England, Tel Aviv and the Mediterranean Arts Festival in Israel, performances in Vienna, Berlin, Stuttgart, Chicago, Los Angeles, the Boston Early Music Festival, and in Canada she has appeared in Ottawa, Edmonton, and Vancouver. Daniel S. Lee (violin) regularly performs with the American Baroque Orchestra, Clarion Music Society, Early Music New York, Trinity Baroque Orchestra, Yale Collegium Musicum, and Sebastian Chamber Players (which he founded and directs). He has studied at The Juilliard School and Yale School of Music, and currently teaches at Connecticut College. A specialist on Baroque and Classical oboes, Washington McClain performs with many groups in the United States, Canada and Europe. He has performed with Tafelmusik Baroque Orchestra, serving as core oboist for seven years.

Washington teaches at the Early Music Institute at Indiana University in Bloomington, and has recorded extensively. He makes his home in Windsor, Ontario (Canada). Flautist, composer and conductor Matthias Maute has achieved an international reputation as one of the finest recorder and baroque flute players of his generation. He made his Lincoln Center debut in New York in December 2008. In 2003 and 2005, he was the featured recorder soloist at the Boston Early Music Festival. Mr. Maute is also esteemed for his artistic direction of Ensemble Caprice, for whom he produces ingenious and fascinating programs. Flautist Sandra Miller is a faculty member of Juilliard’s Historical Performance program. Winner of the Bodky Competition for Early Music and of a Solo Recitalist’s Fellowship from NEA, she performs with many US and Canadian period-instrument ensembles. Her recordings include the complete Bach sonatas and Mozart concerti on period instruments. Johanna Novom is associate concertmaster of Apollo’s Fire in Cleveland, and a first-prize winner of the American Bach Soloists’ Young Artists competition. Recent performances include the American Bach Soloists, Chatham Baroque, and the Carmel Bach Festival Orchestra. Johanna received her Master’s from Oberlin, and is a member of the Yale Baroque Ensemble. Katie Rietman (cello) enjoys a career that has taken her to 18 countries on 4 continents (next stop: Peru). She has recorded over 40 CDs with noted period instrument groups in the United States, Canada, and Europe. Based in Cologne, Germany, for over 10 years, her favorite repertoire to perform is Bach’s cantatas and oratorios, especially with the Trinity Choir. One of America’s leading baroque violinists, Cynthia Roberts serves as concertmaster of the New York Collegium, Apollo’s Fire and Concert Royal. She appears as a soloist throughout the US, Europe, and Asia; performs regularly with Tafelmusik and American Bach Soloists; and has played with the London Classical and Taverner Players. Her solos are heard in the film Casanova. John Mark Rozendaal has served as principal cellist for Chicago’s The City Musick and Basically Bach, and as soloist and continuo player with the Newberry Consort, King’s Noyse and the Boston Early Music Festival Orchestra. He performs with Repast Baroque Ensemble and Trio Settecento and directs New York’s Viola da Gamba Dojo.

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Gonzalo X. Ruiz (oboe) is one of America’s most sought-after historical woodwind soloists and is a faculty member of The Juilliard School. He performs with Philharmonia Baroque, English Concert, Boston Early Music Festival Orchestra, and Sonnerie. Mr. Ruiz been the principal oboist of LA’s Musica Angelica since its inception. Theresa Salomon (violin) came to New York from her native Germany in 1993. She has appeared at the Gulbenkian and Prague Spring Festivals, has performed with the Orchestra of St. Luke’s, Rebel, Concert Royal, American Classical Orchestra, and SEM Ensemble, and directs a new chamber music series at Music Under Construction. Andrew Schwartz is principal bassoonist of many of the finest period-instrument organizations including Trinity Baroque Orchestra, Concert Royal, American Classical Orchestra, Handel and Haydn Society, Boston Baroque, and Smithsonian Chamber Players. He is delighted to join Julian Wachner and Trinity Choir in the new Bach at One cantata series. Noted for his “beauty of tone and keenness of musicianship” (Opera Brittania), Ezra Seltzer is a student of Phoebe Carrai at the Juilliard School. He received his BA in history and MMus in cello performance from Yale University, studying with Aldo Parisot and Ole Akahoshi, and was also a post-graduate fellow in early music with Robert Mealy and the Yale Baroque Ensemble. Early Music America wrote of Brian Shaw; “[his] tone is beautiful, and his playing unfailingly musical… His is a voice that will make a major mark on Baroque trumpet playing.” Mr. Shaw is heard as Principal Trumpet (valved) on CDs with the University of Texas (his current post) and Eastman Wind Ensembles, and the Dallas Wind Symphony. Mr. Shaw is an Assistant Professor of Trumpet and Jazz Studies at Louisiana State University. Alissa Smith holds music degrees from the Australian National University and the Juilliard School. She has performed with the American and Houston Symphonies, Klangforum Wien and The Australian Chamber Orchestra. As a baroque violist, she has appeared with The New York Collegium, The Grand Tour Orchestra, Tempesta di Mare, Four Nations, and has recorded with Apollo’s Fire, Concert Royal, and the San Francisco Bach Choir. Priscilla Smith has performed with Waverly Consort, Portland Baroque Orchestra, Handel and Haydn, Ex Umbris, Orchester Wiener Akademie, Capilla Flamenca, and Artek. She is a core member of Piffaro, the Renaissance Band, and is pursuing a Master’s degree at The Juilliard School’s Historical
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Performance program, where she studies baroque oboe with Gonzalo Ruiz. Avi Stein teaches harpsichord, vocal repertoire, and chamber music at Yale University, and is Music Director at St. Matthew & St. Timothy Episcopal Church in New York. He has directed a variety of ensembles including the Opera Français de New York, OperaOmnia, the critically acclaimed 4x4 Festival, and the Young Artists’ Program at the Carmel Bach Festival. Lisa Terry practices, performs and teaches viola da gamba and cello in New York City, where she is a member of Parthenia, the Consort of Viols, the Dryden Ensemble, Baroque Across the River and the Lyra Consort. She teaches privately, and at the French-American School of Music in Manhattan. John Thiessen is Principal Trumpet of Tafelmusik, Philharmonia Baroque Orchestra, American Bach Soloists and the Boston Early Music Festival. He has performed with the Academy of Ancient Music, English Baroque Soloists, Amsterdam Baroque Orchestra, and Taverner Players, and recorded extensively for Sony Classical, EMI, BMG, London Decca, Telarc, and CBC. Anne Trout (bass) regularly appears with Rebel, Aston Magna, Handel and Haydn Society, the Trinity Baroque Orchestra, and other prominent ensembles in historically informed performance in the US and Canada. Anne actively commissions new compositions for early instruments. She teaches at Longy School of Music in Cambridge, Boston College, and the Groton School. Jessica Troy, the violist of the Mark Morris Dance Group Music Ensemble since 1998, has toured extensively and performed throughout the US and Japan with Yo-Yo Ma. On baroque viola she performs with the Dodd String Quartet, Four Nations Ensemble, Grand Tour Orchestra, Opera Lafayette, and Washington National Cathedral Baroque Orchestra. Jacques Lee Wood is gaining attention as a soloist, recitalist and chamber musician of the highest caliber. A versatile artist, Wood’s interest in teaching, and research supplements a performance career that covers a broad range of repertoire and interests: from historically informed performance of the Baroque, Classical, and Romantic periods to newly composed works. He is a Doctoral Candidate at Yale University and a Visiting Fellow in Early Music at the Yale School of Music. Mr. Wood is a Swiss Global Artist. Described in one review as “knocking people off their seats,” double bassist Wen Yang has appeared as a member of the

National Cathedral’s chamber vocal ensemble, Cathedra, Yale Temperament, Yale Schola Cantorum, Yale Collegium Musicum, New Haven Oratorio, and Sebastian Chamber

Players. She is a graduate of The Juilliard School and Yale School of Music. Wen enjoys cooking and painting.

Poe T BioS
MAY 2

Lee Briccetti is the long-time Executive Director of Poets House, a 50,000-volume poetry library and meeting place for poets and poetry readers at 10 River Terrace in Battery Park City. A graduate of the Iowa Writers’ Workshop, she received a New York Foundation for the Arts Award for Poetry and has been a Poetry Fellow at the Fine Arts Work Center in Provincetown. Her first book of poetry, Day Mark, was published in 2005 by Four Way Books.
MAY 9

and most recently, Hardheaded Weather (Putnam, 2008). His awards include Fellowships from the NEA, the Guggenheim Foundation and the Rockefeller Foundation, a Lila WallaceReader’s Digest Traveling Scholarship, and The Prairie Schooner Strousse Award. His work appears in many journals, magazines, and the anthologies Every Shut Eye Ain’t Asleep, In Search of Color Everywhere, and The Vintage Anthology of African American Poetry, (1750-2000). He is co-founder of Cave Canem, and is currently The Miller Family Endowed Chair in Literature and Writing and Professor in English at The University of Missouri-Columbia.
JuNE 6

Molly Peacock is the author of six volumes of poetry, including The Second Blush and Cornucopia: New and Selected Poems. Widely anthologized, her work has appeared in both The Best American Essays and The Best American Poetry. Her latest work of nonfiction is The Paper Garden: An Artist Begins Her Life’s Work at 72. She is a member of the Graduate Faculty of the Spalding University Brief Residency MFA Program.
MAY 16

Joshua Mehigan’s first book, The Optimist, was one of five finalists for a 2005 Los Angeles Times Book Prize and winner of the Hollis Summers Prize. His poems have been featured in many periodicals, including Poetry, The New York Times, and The New Republic, and on Poetry Daily and The Writer’s Almanac. He is a 2011 NEA Fellow.
JuNE 13

Rick Moody is the author of five novels—including The Ice Storm, adapted for film by Ang Lee—three collections of stories, a memoir, and a forthcoming volume of essays, On Celestial Music. He also plays and sings in The Wingdale Community Singers.
MAY 23

Elaine Sexton is the author of two collections of poetry, Sleuth and Causeway, both with New Issues Press. Her poems, essays, and art and book reviews have appeared in numerous journals including American Poetry Review, Art in America, New Letters, Poetry, and O! the Oprah Magazine. She teaches poetry workshops at the Sarah Lawrence College Writing Institute and works in magazine publishing in New York City.
MAY 30

Major Jackson is the author of Holding Company (2010, Norton), Hoops (2006, Norton), and Leaving Saturn (2002, University of Georgia Press). He has published poems and essays in American Poetry Review, The New Yorker, and Poetry, among other fine literary periodicals. Mr. Jackson is the Richard Dennis Green and Gold Professor at University of Vermont. He serves as the Poetry Editor of The Harvard Review.
JuNE 20

J. Chester Johnson has written verse and been widely published for over four decades. He is the author of numerous books of poetry, with the most recent, St. Paul’s Chapel & Selected Shorter Poems, now in its second printing. Of this volume, one critic said, “Undoubtedly, this is a work headed for literary permanence in our collective ear.”

Cornelius Eady is the author of several poetry collections: Kartunes; Victims of the Latest Dance Craze, winner of the 1985 Lamont Prize; The Gathering of My Name, nominated for the 1992 Pulitzer Prize in Poetry; You Don’t Miss Your Water; The Autobiography of a Jukebox; Brutal Imagination;
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be part of a community for a world of good
Welcome to Trinity Wall Street, a historic Episcopal parish in lower Manhattan that includes both Trinity Church and St. Paul’s Chapel. We are glad you joined us for this concert and hope you will consider this an invitation to all of Trinity’s offerings—daily worship and prayer, educational programs for all ages, concerts and arts events, volunteer and mission opportunities, and more. Trinity is one of the most diverse parishes in New York City, with people from all over the New York metropolitan area and beyond. Our commonality is our shared belief that a relationship with Jesus makes us more vital and that by reaching out to one another, we live more deeply. We endeavor to serve the communities around us as well as those around the world. Your visit means a lot to us. If you liked this concert, keep in mind that the Choir sings Sundays at Trinity’s 9am choral mass and 11:15am worship service and St. Paul’s 8pm Compline service, and at many other services. We welcome you and look forward to meeting you. To learn more about us, visit us on the web at trinitywallstreet.org. Faithfully,

The Rev. Dr. James H. Cooper Rector

WORSHIP SERVICES
Trinity Church
Broadway at Wall Street SuNDAY Holy Eucharist 9am and 11:15am

St. Paul’s Chapel
Broadway and Fulton Street SuNDAY Holy Eucharist 8am and 10am Compline 8pm DAILY Prayers for Peace 12:30pm MONDAYS Bach at One 1pm
Webcast live from Trinity Church at trinitywallstreet.org

About Trinity Church and St. Paul’s Chapel
TRINITY CHURCH
· Part of New York City since 1697 · Burial site of Alexander Hamilton · Home of the renowned Trinity Choir

MONDAY–FRIDAY Morning Prayer 8:15am Eucharist 12:05pm Evening Prayer 5:15pm THuRSDAYS in All Saints’ Chapel Contemplative Prayer at 8:30am Laying on of Hands for Healing following the 12:05pm Eucharist Evensong 5:15pm

ST. PAUL’S CHAPEL
· Survivor of the Great Fire of 1776 · Host to George Washington on his inaugural day · Home to September 11 rescue workers

trinitywallstreet.org

WorShiP ServiCeS
TriniTy ChurCh · Broadway at Wall Street
Sunday Holy Eucharist 9am Monday–Friday Morning Prayer 8:15am Eucharist 12:05pm Evening Prayer 5:15pm on ThurSdayS · in All Saints’ Chapel Contemplative Prayer 8:30am Laying on of Hands for Healing following the 12:05pm Eucharist Evensong 5:15pm and 11:15am

ST. Paul’S ChaPel · Broadway and Fulton Street
Sunday Holy Eucharist 8am and 10am Compline 8pm daily Prayers for Peace 12:30pm MondayS Bach at One 1pm Webcast live from Trinity Church at trinitywallstreet.org

about Trinity Church & St. Paul’s Chapel

TriniTy ChurCh
· Part of New York City since 1697 · Burial site of Alexander Hamilton · Home of the renowned Trinity Choir

ST. Paul’S ChaPel
· Survivor of the Great Fire of 1776 · Host to George Washington on his inaugural day · Home to September 11 rescue workers

trinitywallstreet.org