Programme - Early Music Society of the Islands

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Dec 14, 2013 ... this concerto is in a minor key the only sombre music .... Nancy Argenta tours widely as a recitalist, presenting .... Victoria, BC V8S 1H5.
29 T H SEASON

Christmas in Bach’s Leipzig

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Jeanne Lamon, leader Nancy Argenta, soprano  Benjamin Butterfield, tenor  Steven Bélanger, baritone Christina Mahler, cello Victoria Baroque Players Vox Humana Chamber Choir  Saturday, 14 December 2013 at 8pm Alix Goolden Hall, Victoria Conservatory of Music

2013‑14 OPERATING GRANTS

2013–14 Concert Season Saturday, 1 February 2014 Alix Goolden Hall 8pm

Profeti della Quinta

(Israel)

Il Mantovano Hebreo: Italian madrigals, Hebrew prayers & instrumental music by Salomone Rossi Salomone Rossi, a member of the Jewish community in Mantua, was one of the greatest Italian composers of the seventeenth century. Profeti della Quinta, First Prize winner at the 2012 York Early Music Festival, brings to life the full range of compositions of this outstanding composer, including a selection of his works in Hebrew. Saturday, 22 February 2014 Alix Goolden Hall 8pm

Jeffrey Cohan baroque flute Hans-Jürgen Schnoor harpsichord Simphonie Nouvelle (Seattle)

(Germany)

Emanuel Bach Tricentennial 2014 marks the 300th anniversary of the birth of C.P.E. Bach. EMSI celebrates by hosting one of the world’s great keyboardists and some of Seattle’s most distinguished early music specialists in performances of flute and harpsichord concerti by Emanuel Bach, and the Suite in B minor by his father, Johann Sebastian.

SPE CI A L E V E N T

Co-presented with Pacific Opera Victoria Friday, 14 March and Saturday, 15 March 2014 McPherson Playhouse 8pm

Boston Early Music Festival Ensemble, Boston Early Music Festival Dance Ensemble (USA), Paul O’Dette and Stephen Stubbs, Musical Directors

Marc-Antoine Charpentier La Descente d’Orphée aux Enfers and La Couronne de Fleurs First played for the Dauphin of France in 1686 For the first time ever, Victoria audiences will have the opportunity to experience a staged baroque opera, performed in a period style by one of the world’s leading baroque music ensembles. Close to thirty singers, dancers and musicians will perform a double bill of operas by Marc-Antoine Charpentier, first played for the Dauphin of France. This is the most ambitious production in EMSI’s almost thirty-year history.

Saturday, 12 April 2014 Alix Goolden Hall 8pm

Harry Van der Kamp bass (Netherlands) Portland Baroque Orchestra Monica Huggett violin and direction (UK) Seventeenth-century German cantatas EMSI is proud to present the Victoria debut of Harry Van der Kamp, the legendary Dutch bass with more than 120 CDs to his credit. The equally distinguished Monica Huggett leads performances of cantatas and instrumental music by Johann Christoph Bach, Bruhns, Rosemüller, Tunder and Biber.

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Christmas in Bach’s Leipzig Jeanne Lamon, leader Nancy Argenta, soprano Benjamin Butterfield, tenor Steven Bélanger, baritone Christina Mahler, cello Victoria Baroque Players Christi Meyers,
Paul Luchkow,
Louella Alatiit,
Angela Malmberg, violin Mieka Michaux,
Glenys Webster, viola, Martin Bonham, violoncello Natalie Mackie, violone, Soile Stratkauskas, flute Katrina Russell, bassoon, Andrew Clark, horn Michael Jarvis, harpsichord & organ Vox Humana Chamber Choir Brian Wismath, conductor Rachel Allen, Kristen Birley, Tegan Bown, Amy Dawson, soprano Kailey Cann, Vivian Gleeson, Esther Kennedy, Amy Konowalyk, Carol Schwall, alto Tristan Carl, Tristan Chalcraft, Geoff Espin, Caelin Rose, tenor Eric Allen, Steven Bélanger, Dale Friesen, Alex Rempel, bass

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Cantata Die Nacht ist vergangen GWV 1101/22 . . . . . . . . . . . . . Christoph Graupner (1683–1760)  Dictum (Chorus), Recitative, Aria, Recitative, Aria & Chorus, Recitative, Choral Concerto for two cellos in G minor RV 531 . . . . . . . . . . . . . . . . . . Antonio Vivaldi (1678–1741) Allegro, Largo, Allegro Cantata Nu komm, der Heiden Heiland BWV 61 . . . . . . . . . . . . Johann Sebastian Bach (1685–1750) Ouverture (Chorale), Recitative, Aria, Recitativo, Aria, Choral INTERMISSION Concerto for fl, vl, vc and strings in A major TWV53:A2 . . . . . . Georg Philipp Telemann (1681–1767) Third and Fourth movements: grazioso and allegro Aria Süßer Trost, mein Jesus kömmt from Cantata for the third day of Christmas BWV 151 . . . . J.S. Bach  Aria Frohe Hirten, eilt, ach eilet from Christmas Oratorio BWV 248/2 . . . . . . . . . . . . . . J.S. Bach  Duet Gloria Patri from Cantata for Christmas Day BWV 191 . . . . . . . . . . . . . . . . . . . J.S. Bach Carols (Bach’s Choral Settings) Wie schön leuchtet der Morgenstern O Jesulein Süß In Dulci Jubilo

Programme Notes

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Christoph Graupner (1683–1760) was a prolific composer who produced five decades of compositions for his patrons, the Landgraves of Hesse-Darmstadt. These works include hundreds of symphonies and suites and over 1400 cantatas(!) His obscurity was guaranteed on his death by a lengthy legal battle between his heirs and his patrons which was finally concluded by a court decision to deny the Graupner family the ability to perform or publish his work. His music is now becoming better known and for good reason: the Hesse-Darmstadt court employed many of the best musicians in Europe, and performed music of a standard to rival the great courts at Dresden, Hamburg and Mannheim. Graupner studied law then music, but obviously failed to address sufficiently the legal problem of his legacy! This is just as well for us because his wish was that all his manuscripts were to be burned after his death. Die Nacht ist vergangen is for the first Sunday of Advent and the text is from Romans 13, vs 11-14. The music begins with a good example of musical word painting: a hunting horn heralds the start of a new day with a fanfare—an eighteenth century version of a wake-up call. The fanfare continues as the choir sing their first slow words: Die Nacht (The night), but once awakened, they sing rather faster: der tag aber herbei kommen (the day is at hand) then the fanfare concludes. The remainder of this chorus is fugal in fine baroque style. The cantata follows a typical structure by having a recitative commentary between the arias and choruses. The fifth movement is notable for its contrast, combining bass aria and chorus with orchestral interludes. Graupner shows his skill in the final Chorale by counterpointing the orchestral music—which is mostly fast-moving, against the measured pace of the Chorus. Antonio Vivaldi (1678–1741) probably needs no introduction. His fame for writing some 600 concertos is well known. As with most of his compositions, this one was probably written for the female orphans to perform at the Venice Pieta where he was employed as a violin teacher from 1703. What keeps our attention in the music of Vivaldi is the lively energy with which it must be performed. Even though

this concerto is in a minor key the only sombre music comes in the middle movement. There are many inventive statements and responses between the two soloists, particularly in the outside movements. Each takes turns in being the accompanist or imitating the other. You will hear many accented off-beats in the last movement. Vivaldi’s link with Leipzig is not well known, but Bach, who lived there from 1723 to 1750, transcribed at least ten of Vivaldi’s concertos and greatly respected his work. Also for the first Sunday in Advent, Johann Sebastian Bach’s Nun komm, der Heiden Heiland was included in his first cycle of cantatas in Leipzig, although it was composed in 1714 in Weimar. The first movement is written in the form of a slow-fast-slow French Overture in a rather serious grand opening for the start of the church year. In the bass recitative we can hear a musical representation of the “knocking on the door” of the text, played by the plucked strings. The jubilant final Chorus has a creative additional “descant” line for the violins superimposed over the four parts of the choir. Georg Philipp Telemann’s time in Leipzig began with an intention to be a law student at the university in 1701. However, his musical compositions performed there were immediately considered to be so good that the mayor of Leipzig began commissioning works from him and he became a busy musician in the city, even undermining the authority of the Kantor (music director) of the Thomaskirche, Johann Kuhnau. Although he moved away from the city in 1704, the position of Kantor was offered to him in 1722, but Telemann used the job offer to negotiate a pay rise at his job in Hamburg as Kantor of the Johanneum Lateinschule. Graupner was second choice for the post at the Thomaskirche, but was unable to gain permission to leave his position in Hesse-Darmstadt. Eventually, J.S. Bach took the job in 1723. Telemann’s Concerto for flute, violin, cello and strings comes from his well known collection of “Tafelmusik”. Being performed today are the last two movements. Here Telemann shows his use of the emerging “galant” idiom characterised in the pre-classical style.

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The selection of Bach arias and carol settings are taken from several of his cantatas from his period in Leipzig. The three arias use flute as the obbligato instrument with voice(s). The Soprano aria comes from BWV 151 (Cantata for the third day of Christmas) Süßer Trost, mein Jesus kömmt; the Tenor aria from BWV248/2, Und es waren Hirten in derselben Gegend, which is the second part of the Christmas Oratorio; and the combined Soprano and Tenor Duet from BWV 191 Gloria in Excelsis Deo, his only cantata with a Latin text, and written

for Christmas Day in 1745. This duet is essentially the same musical material as the “Domine Deus” from the B Minor Mass. The typical cantata always finishes with a Chorale—a hymn tune, usually elaborated by the composer with new harmonisation and counter-melodies. Bach was the master of invention in this respect—no other composer came close to his consistently high standard of melodic bass lines, lateral thinking harmonies or obbligato counterpoints. We finish our concert with three choice examples suitable for the season.

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The Artists

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Jeanne Lamon, leader Jeanne Lamon has been the music director of the Tafelmusik Baroque Orchestra since 1981. Under Ms. Lamon’s leadership, Tafelmusik has achieved international stature and is considered one of the best ensembles in its field. She has recorded for many labels, including several solo recordings on the Sony Label, Analekta and Tafelmusik Media. Ms. Lamon’s career also includes frequent invitations to guest direct modern orchestras in Canada and internationally. Recent and upcoming engagements include orchestras in Detroit, Paris, Montreal, Québec City, Kingston, Vancouver, Windsor, Victoria, London, Kitchener-Waterloo, Winnipeg, Calgary and Halifax. Ms. Lamon is also active as a teacher of baroque violin and historical performance practices, and is an adjunct professor at the University of Toronto. Ms. Lamon has received two honorary doctorates, one from York University in 1994 and another from Mt. St. Vincent University in Halifax in 2007. She received the Joan Chalmers Award for Artistic Direction in 1997 and the Prix Alliance by the Alliance Française de Toronto in 1997 for her work in the area of cultural exchange between Canada and France. Ms. Lamon was awarded the coveted Molson Prize in the Arts in 1998 and was invested as a member of the Order of Canada in the fall of 2000.

In 2003, she was named “Musician of the Year” and in 2013 was chosen for the Lifetime Achievement Award, both by the Musician’s Association, prizes given by her peers and formerly awarded to the Barenaked Ladies and Oscar Peterson. Nancy Argenta, soprano With a repertoire spanning three centuries, Nancy Argenta has been hailed as the supreme Handel soprano of our age and praised for her performances of works by composers as diverse as Mahler, Mozart, Schubert and Schoenberg. Her ability to adapt from large scale orchestral works to chamber music and recitals has earned her great recognition and praise. Conductors include Ozawa, Gardiner, Davis, Blomstedt, Pinnock, Hogwood and Norrington, with orchestras including the Philharmonia Orchestra, Boston Symphony, Singapore Symphony, City of Birmingham Symphony Orchestra, Leipzig Gewandhaus, Toronto, Montreal, Sydney and West Australian Symphony Orchestras. In opera, concert and recital she has appeared at many leading festivals including Aix-en-Provence, Salzburg, Mostly Mozart and the BBC Proms. Her discography of over 50 recordings includes Bach’s St. John Passion, B Minor Mass, Magnificat and Christmas Oratorio with Gardiner, Purcell’s King Arthur and Haydn Masses with Pinnock and Hickox, Mozart’s Requiem, Magic

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Flute and Don Giovanni with Norrington. As an EMI/Virgin Solo Artist she has recorded Schubert Lieder, Scarlatti Cantatas and two discs of Bach Solo Cantatas as well as two of Purcell songs, the first of which, O Solitude, was honoured with a Classic CD Award. Recent CD releases include Handel’s Saul with Paul McCreesh (Archiv), Handel’s Resurrezione with the Combattimento Consort and Lost is my Quiet, a collection of English Music from Purcell’s time. As a devotee of the song repertoire of all periods, Nancy Argenta tours widely as a recitalist, presenting songs with their “original” keyboard accompaniment of harpsichord, fortepiano or modern piano. Recent recital locations with Maggie Cole have included The Netherlands, Hungary, Israel, Canada and Spain. Recent concerts include a programme celebrating 100 years of English Music with the NDR Radiophilharmonic Orchestra in Hanover, performances of the St. Matthew Passion with the Baldwin Wallace Bach Festival in Ohio, the B minor Mass with the Manchester Camerata and the EuropaChorAkademie, a baroque programme

with Vancouver Chamber Choir, Messiah with Tafelmusik and the Calgary Philharmonic, and Bach and Mozart with the Vancouver Symphony. Benjamin Butterfield, tenor Regarded by the Washington Post as a tenor who sings “with taste, authority and agility” and by the New York Times as being “clarion-voiced and vibrant”, Benjamin Butterfield is equally at home in the opera and concert repertoire, having performed with companies from New York to San Francisco, from Toronto to Vancouver and from London, Paris and Rome to Israel and Taiwan. Mr. Butterfield opened the 2013–2014 season by returning to the North Carolina Symphony for Beethoven’s Ninth Symphony and will debut with the Universal Music Society of Ann Arbor in Handel’s Messiah as well as with the Augusta Symphony in Mozart’s Requiem. He returns to the Victoria Symphony in their annual New Years Day Concert as well as with the Bach Choir of Bethlehem for Haydn’s Creation and B minor Mass. In recital he

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performed with the Lafayette String Quartet in Vaughan Williams’ On Wenlock Edge, and will appear with pianist Arthur Rowe at the Nasher Sculpture Center in Dallas Texas performing Janacek’s The Diary of One Who Disappeared; he will also make his conducting debut with Messiah for VoiceScapes in Calgary. Recent engagements included Bach’s Christmas Oratorio with the Victoria Symphony, Beethoven’s Ninth Symphony and the debut of Jeffrey Ryan’s Afghanistan: Requiem for a Generation with the Calgary Philharmonic, Britten’s St. Nicholas with the Bach Choir of Bethlehem, Die Schopfung with the Orchestra of St. Lukes at Carnegie Hall, Mozart’s Requiem with Alberta Ballet and Mozart arias and duets under Tom Crawford for the American Classical Orchestra at Lincoln Center in New York. The summer of 2012 saw Mr. Butterfield debut at Chicago’s Grant Park Festival with Carlos Kalmar in Haydn’s The Seasons and he was also invited to join the faculty of Yellow Barn chamber music festival in Vermont where he both performed and recorded. Earlier in the 2011–2012 season he also debuted with the Seattle Symphony and with the Eugene Symphony in Mozart’s Requiem. Other debuts included appearances with Continuum in Toronto and with the Grand Philharmonic Choir of Kitchener-Waterloo. Mr. Butterfield returned to sing with the Taiwan National Choir in Puccini’s Messa di Gloria under Agnes Grossman and toured Canada and the US with Montreal’s Theatre of Early Music; he also presented Gavin Bryar’s Eight Madrigals with the composer for Aventa and the Victoria Symphony. A prolific recording artist, Mr. Butterfield’s recordings of the Britten Serenade (CBC/Streatfield), Canticles (Marquis/Aldeburgh Connection),

Everlasting Light (CBC/Adams) and Messiah Choruses (CBC/Taurins) have been nominated by the Canadian Juno Awards, while his recording of Psalm 80 by Roussel (Timpani/Tovey) won a Diapason and Classica award in France. Benjamin also maintains an ongoing association with the Ukrainian Art Song Project, recording each summer the works of the Ukraine’s foremost composers of art song. Mr. Butterfield is an Associate Professor of voice for the School of Music at the University of Victoria and he also teaches and performs at summer vocal training programmes. Steven Bélanger, bass Baritone Steven Bélanger is a versatile performer who is equally at home in early music and contemporary repertoire. Steven holds degrees from Queen’s University (BMus, BA) and McGill University (MMus), and has appeared with ensembles of all sizes and genres across Canada including the Studio de musique ancienne de Montréal, Les Violons du Roy, Orchestre symphonique de Montréal, Opéra de Montréal, the Quinte Symphony, the Kingston Symphony Orchestra and the Vancouver Chamber Choir. He has participated in over a dozen recordings for such labels as Decca, ATMA, Centrediscs and Naxos, and has recorded music for television as well as for the Cirque du Soleil. Recent notable appearances include Handel’s Saul with the Grand River Chorus, C.P.E. Bach’s Magnificat and Larry Nickel’s Requiem with the Vancouver Chamber Choir, Britten’s Curlew River with City Opera Vancouver, Mendelssohn’s Te Deum with the Vancouver Cantata Singers, an all-Charpentier programme with the McGill Baroque

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Orchestra, Handel’s Messiah with Stellaria, Purcell’s King Arthur and Handel’s Israel in Egypt with Early Music Vancouver. Upcoming engagements include a fully staged production of Purcell’s Dido and Aeneas in Vancouver, and a repeat performance of Messiah with Stellaria, Vancouver’s newest professional early music vocal ensemble. In addition to an active performance career, Steven is also the General Manager of the prestigious Vancouver Chamber Choir. Christina Mahler, cello Dutch cellist Christina Mahler has served as principal cellist of the Tafelmusik Orchestra since 1981. Reviews often praise her rich sound, energetic playing and insightful musicianship. Christina is increasingly in demand as soloist, chamber musician and recitalist. She has played and recorded numerous concertos with Tafelmusik, including works by Boccherini, Haydn, Vivaldi, C.P.E. Bach and Leonardo Leo. Christina has been a member of the Ottawa-based string quartet, Quatuor Lumière, since 2006. In addition to teaching at Tafelmusik’s annual Baroque Summer Institute and the year-round Advanced Certificate of Performance at the University of Toronto, Ms. Mahler enjoys giving master classes at various universities, as well as private lessons at home. In her spare time, she is an avid potter and enjoys relaxing in the summers at her cottage in the Kawarthas.

of bringing vibrant high quality performances of Baroque music to the Victoria audience, using the abundance of local skill and talent. The musicians are all from Victoria and nearby areas, and are well established figures on the west coast. Founded by flute player Soile Stratkauskas, since its formation the ensemble has performed two seasons at its home venue, the Church of St John the Divine, as well as appearing as guest ensemble at the Victoria Conservatory of Music’s Summer Vocal Academy concerts, the Victoria Children’s Choir’s Classical Christmas Concert, and the series of Eine Kleine Summer Music in Saanich, as well as at the Vancouver Island Chamber Music Festival in Nanaimo and at Early Music Society of the Islands and Early Music Vancouver concerts. The ensemble enjoys collaborating with local artists and arts organizations, as well as working with emerging young talent and guest artists. Recent highlights include Bach’s St. John Passion in March 2013 conducted by Timothy Vernon, and two concerts with renowned UK-based violinist Kati Debretzeni in January 2013. In January 2014 Ms. Debretzeni, the leader of the English Baroque Soloists, will be joining the VBP again for a threeconcert Vancouver Island tour, performing concertos for multiple instruments by Vivaldi, Telemann, and other masters. This programme will also be recorded and produced for a CD.

Victoria Baroque Players Since its debut concert in April 2011, the Victoria Baroque Players has become a major player on the Island music scene. The Victoria-based period instrument ensemble was formed with the mission

Soile Stratkauskas, flute, artistic director Finnish-born Soile Stratkauskas moved to Victoria in January 2010 with her husband David, and has since established herself in the West Coast early music scene. After finishing her undergraduate degree at

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the Royal Northern College of Music in Manchester she continued her studies at the Royal Academy of Music in London, where she gained her Master’s Degree with distinction. Soile has played with many prominent period instrument orchestras in the UK, including the Orchestra of the Age of Enlightenment and the Gabrieli Consort and Players and has toured Europe with these groups. She has been the driving force behind founding the Victoria Baroque Players and is passionate about making music happen in Victoria. She has recently been elected to become an associate of the Royal Academy of Music.

of great diversity and flexibility. Its repertoire covers every historical period and style, from the earliest polyphony to contemporary commissions. Highlights of past performances include Handel’s Dixit Dominus with Victoria’s Galiano Ensemble in 2003, appearances with the Victoria Symphony in 2004 and 2006 on their Christmas Pops programme and in 2011 for Handel’s Messiah, and in 2013 for Bach’s Christmas Oratorio, the soundtrack for the TV documentary Captain Cook: Obsession and Discovery, scored by Victoria composer Tobin Stokes. The choir’s membership ranges from advanced-level students through to experienced professional musicians. In 2011, the choir released its first CD, Summer Rain, featuring the music of Jeff Enns, César Geoffray and Toivo Tulev.

Vox Humana Chamber Choir Since 2002, Vox Humana has established itself as Victoria’s premier chamber choir and an ensemble

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Vox Humana Chamber Choir Upcoming Concert

A Child’s Christmas in Wales Monday, December 23rd, 2013 7:30pm St. Mary’s Anglican Church, 1973 Cultra Avenue, Saanichton Tuesday, December 24th, 2013 3:00pm Alix Goolden Performance Hall, 907 Pandora Avenue, Victoria A Vox Humana tradition. Dylan Thomas’ quintessential Christmastime story read by Welshman Melville Jones and accompanied by carols. Enjoyed best with friends and family and appropriate for all ages! Duration: about 1 hour. Tickets: admission by donation. Doors: open 30 minutes before concert time Visit www.voxhumanachoir.ca for more information.

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Texts and Translations Die Nacht ist vergangen Cantata GWV 1101/22 for the First Sunday of Advent (1722) 1. Dictum (Choir) Die Nacht ist vergangen, der Tag aber herbei kommen. Lasset uns ehrbarlich wandeln als am Tage. The night is far gone and day is at hand. Let us walk then in honour as if it were full day. 2. Recitative Erwacht, ihr schläfrige Gemüter, Itzt ist die Stunde da, vom Sündenlager aufzustehn, dann seht, das Heil ist allzu nah. Der Herr baut seine Gnadengüter in reicher Fülle an. Ach, wollt ihr nicht dem Glanz entgegen gehn? Auf, auf, weicht von der Höllenbahn, die Nacht des Zorns ist nun verschwunden, eilt, braucht die angenehme Stunden. Awaken, you sleepy folk, For the hour has now come to rise from your bed of sin; Behold, salvation is at hand. The Lord now offers his grace in rich abundance. Ah, do you not wish to confront his glory? Up, up, and shun the road to Hell, The night of earth is now past, Hasten now and use these pleasant hours.

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3. Aria Angenehmster Tag der Gnaden, brich in meinem Herzen an. Brich doch an! erwünschtes Licht! Säume nicht; wecke, stärke meine Kräfte zum Geschäfte das beim Licht bestehen kann. Most welcome day of grace, May you now dawn within my heart. Rise now, o light so long desired! Do not delay; Awaken and strengthen my energies For deeds that can Withstand the full light of day. 4. Recitative Gott läßt sein Licht, sein Heil, zwar aller Welt zum Trost entstehen; allein der meiste Teil mag nicht zum Dienst des Lichtes gehen. Der Sünden Sklaverei hält Seele, Herz und Sinn gefangen. Die Finsternis, die solcher Kerker hegt, läßt keinen Schein des Lichts in sie gelangen, bis endlich Satans Tyrannei den Sündenknecht in Höllen banden legt; doch würde dessen Macht, die Menschen nicht so binden, wo sie nicht selbst mit Lust in seinen Diensten stünden. God created his light and salvation for the consolation of the whole world; The majority of its people, however, are not free to serve this light.

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The sins of slavery hold soul, heart and mind imprisoned. The darkness that envelops such a dungeon allows no ray of light to appear within it And Satan’s tyranny finally binds the sinful knave in Hell’s own chains, His power would affect the world much less If it did not take such pleasure in serving him. 5. Aria and Choir Rüste dich Seele, mit Waffen des Glaubens, stärke den Mut, Dämpfe die Lüste der höllischen Brut. Sodoms verdammliche Werke zu treiben, heißt, sich dem Satan zum Sklaven verschreiben. Schande, wenn solches ein Christenmensch tut. Arm yourself, my soul, strengthen your courage, with the weapons of faith, Subdue the passions of Hell’s brood. To engage in Sodom’s caused works Means to assign yourself to Satan as a slave. The shame, if a Christian should do such thing!

6. Recitative Die Welt hält zwar den Kampf vor Spott, sie will bei Hader, Neid, bei Unzucht, Fressen, Saufen, ganz frech in ihr Verderben laufen. Den Bauch macht sie zum Gott. Kein Gnadenruf, kein Wahrheitslicht mag sie von solchem Wesen trennen, ach, welcher Jammer ist das nicht, dass auch die solches tun, die sich doch Christen nennen. The world may well mock our struggles, Openly seeking its downfall In discord, envy, immorality, Gluttony and drunkenness, It makes its stomach into a god. No cry for mercy, no ray of truth Can cause it to change its ways. Ah, what a shame it is, That those who call themselves Christians do such things. 7. Choral Erleucht doch unser Sinn und Herz durch Deines Geistes Gnad, dass wir nicht treiben draus ein’ Scherz, der unsrer Seele schad’. O Jesu Christ, allein Du bist, der solches kann ausrichten.

Enlighten our hearts and minds By the grace of your spirit. May we not make a joke from this That will harm our souls. O Jesus Christ, you the only one Who can pass on such tidings. Nun komm, der Heiden Heiland, Cantata BWV 61 for the first Sunday of Advent (1714) 1. Ouverture [Chorale] Nun komm, der Heiden Heiland, Der Jungfrauen Kind erkannt, Des sich wundert alle Welt, Gott solch Geburt ihm bestellt. Now come, the gentiles’ Saviour, As the Virgin’s child revealed, At whom marvels all the world That God him this birth ordained. 2. Recitative Der Heiland ist gekommen, Hat unser armes Fleisch und Blut An sich genommen Und nimmet uns zu Blutsverwandten an. O allerhöchstes Gut, Was hast du nicht an uns getan? Was tust du nicht Noch täglich an den Deinen? Du kömmst und lässt dein Licht Mit vollem Segen scheinen.

To us is come the Saviour, Who hath our feeble flesh and blood Himself now taken And taketh us as kinsmen of his blood. O treasure unexcelled, What hast thou not for us then done? What dost thou not Yet daily for thy people? Thy coming makes thy light Appear with richest blessing. 3. Aria Komm, Jesu, komm zu deiner Kirche Und gib ein selig neues Jahr! Befördre deines Namens Ehre, Erhalte die gesunde Lehre Und segne Kanzel und Altar! Come, Jesus, come to this thy church now And fill with blessing the new year! Advance thy name in rank and honour, Uphold thou every wholesome doctrine, The pulpit and the altar bless! 4. Recitative Siehe, ich stehe vor der Tür und klopfe an. So jemand meine Stimme hören wird und die Tür auftun, zu dem werde ich eingehen und das Abendmahl mit ihm halten und er mit mir.

Telemann Trio Sonata Class Saturday Afternoons at the Victoria Conservatory of Music Term 2 starts January 11. Open to recorders, violins and cellos. Contact Stacey Boal [email protected] If you are a good amateur musician, looking for others who play early music, please contact me, Stacey Boal. We are particularly hoping for more violins. We already have 2 harpsichord players. There will be performance opportunities. I look forward to hearing from you.

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See now, I stand before the door and on it knock. If anyone my voice will render heed and make wide the door, I will come into his dwelling and take with him the evening supper, and he with me. 5. Aria Öffne dich, mein ganzes Herze, Jesus kömmt und ziehet ein. Bin ich gleich nur Staub und Erde, Will er mich doch nicht verschmähn, Seine Lust an mir zu sehn, Dass ich seine Wohnung werde. O wie selig werd ich sein! Open wide, my heart and spirit, Jesus comes and draws within. Though I soon be earth and ashes, Me he will yet not disdain,

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That his joy he find in me And that I become his dwelling. Oh, how blessed shall I be! 6. Choral Amen, amen! Komm, du schöne Freudenkrone, bleib nicht lange! Deiner wart ich mit Verlangen. Amen, amen! Come, thou lovely crown of gladness, do not tarry! Here I wait for thee with longing. Aria from Cantata BWV 151 for the Third day of Christmas Süßer Trost, mein Jesus kömmt, Jesus wird anitzt geboren! Herz und Seele freuet sich, Denn mein liebster Gott hat mich Nun zum Himmel auserkoren.

Comfort sweet, my Jesus comes, Jesus now is born amongst us! Heart and soul with joy are filled, For my dearest God hath me Now for heaven’s prize elected. Aria from Christmas Oratorio BWV 248/2 Frohe Hirten, eilt, ach eilet, Eh ihr euch zu lang verweilet, Eilt, das holde Kind zu sehn! Geht, die Freude heißt zu schön, Sucht die Anmut zu gewinnen, Geht und labet Herz und Sinnen! Joyful shepherds, haste, ah hasten, Ere ye here too long should tarry, Haste, the gracious child to visit! Go, your gladness is too fair, Seek his grace’s inspiration, Go and comfort heart and spirit.

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Wie bin ich doch so herzlich froh, Daß mein Schatz ist das A und O. Der Anfang und das Ende! Gloria Patri et Filio et Spiritui sancto. Er wird mich doch zu seinem Preis Aufnehmen in das Paradeis, Glory be to the Father, and to the Son, Des klopf’ ich in die Hände. and to the Holy Ghost Amen! Amen! Komm, du schöne Freudenkrone, Wie schön leuchtet der Bleib nicht lange, Morgenstern Deiner wart’ ich mit Verlangen! Duet from Cantata BWV 191 for Christmas Day

Wie schön leuchtet der Morgenstern Voll Gnad’ und Wahrheit von dem Herrn, Die süße Wurzel Jesse! Du Sohn David zus Jakobs Stamm, Mein König und mein Bräutigam, Hast mir mein Herz besessen, Lieblich, freundlich, Schön und herrlich, groß und ehrlich, Reich von Gaben, Hoch und sehr prächtig erhaben! Zwingt die Saiten in Zithara Und laßt die süße Musika Ganz freudenreich erschallen, Daß ich möge mit Jesulein, Dem wunderschönen Bräut’gam mein, In steter Liebe wallen! Singet, springet, Jubilieret, triumphieret, Dankt dem Herren! Groß ist der König der Ehren!

How beautifully shines the morning star Full of grace and truth from the Lord, The sweet root of Jesse! You son of David from the line of Jacob, My king and my bridegroom, Have taken possession of my heart, [you who are] lovely, friendly, Beautiful and glorious, great and honourable, Rich in gifts, Lofty and exalted in splendour! Pluck the strings on the harp And let the sweet music Resound full of joy, So that with dear Jesus, My most beautiful bridegroom, In constant love I may make my pilgrimage! Sing, leap, Rejoice, triumph, Thank the Lord! Great is the king of honour!

How full I am therefore of heartfelt joy That my treasure is the alpha and the omega, The beginning and the end; To his reward He will take me up to paradise, And so I clap my hands Amen! Amen! Come, you sweet crown of joy, Do not long delay, I wait for you with longing. O Jesulein süß O Jesulein süß, o Jesulein mild! Deines Vaters Willen hast du erfüllt, ist kommen aus dem Himmelreich, uns armen Menschen worden gleich. O Jesulein süß, O Jesulein mild! O Jesulein süß, o Jesulein mild! Deins Vaters Zorn hast du gestillt, du zahlst für uns all unser Schuld und bringet uns in deins Vaters Huld. O Jesulein süß, O Jesulein mild! O Jesulein süß, O Jesulein mild! Mit Freuden hast du die Welt erfüllt. Du kommst herab vons Himmels Saal

A New of Season A New Season Musicof Music

Join us forConcert the Conservatory Concert Series of in fine performances SeASON in a SPONSOrS: beautiful Join us for the Conservatory Series of fine performances a beautiful setting renowned with guestfaculty artists,and renowned facultystars. and young rising stars. setting with guest artists, young rising

SeASON SPONSOrS:

CONSERVATORY CONCERT SERIES CONSERVATORY CONCERT SERIES Walter Prossnitz & Friends Walter Prossnitz & Friends Sunday, October 14, 2012 / 2:30pm Sunday, October 14, 2012 / 2:30pm

Triple Forte Trio Triple Forte Trio FUNDiNG PArTNerS: Sunday, November 25,Sunday, 2012 / November 2:30pm 25, 2012 / 2:30pm Phillip Addis, BaritonePhillip Addis, Baritone Alix Goolden Alix Goolden Performance Hall Performance Hall January 26, 2013 / 7:30pm 907 Pandora Avenue / 907 Saturday, January 26, Saturday, 2013 / 7:30pm Pandora Avenue / 250.386.5311 250.386.5311 Adults Adults $20 / Students & Seniors $15 $20 / Students & Seniors $15 Details for all ten concerts at www.vcm.bc.ca Details for all ten concerts at www.vcm.bc.ca at theavailable door. at the VCM and at the door. Tickets Tickets available at the VCM and

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FUNDiNG PArTNerS:

Und tröstest und in dem Jammertal. O Jesulein süß, O Jesulein mild! O Jesulein süß, O Jesulein mild! Du bist der Lieb ein Ebenbild. Zünd an in uns der Liebe Flamm, dass wir dich lieben allzusamm. O Jesulein süß, O Jesulein mild! O Jesulein süß, O Jesulein mild! Hilf, dass wir tun alls, was du willt, was unser ist, ist alles dein, ach lass uns dir befohlen sein. O Jesulein süß, O Jesulein mild! O sweet little Jesus, O gentle little Jesus, The Father’s will thou hast fulfilled; Thou hast come from the heavenly kingdom, Thou hast become like us poor mortals, O sweet little Jesus, O gentle little Jesus. O sweet little Jesus, O gentle little Jesus, With God we now are reconciled. Thou hast for all the ransom paid, Thy Father’s righteous anger stayed. O sweet little Jesus, O gentle little Jesus, O sweet little Jesus, O gentle little Jesus, With joy thy birth the world has filled, From heaven thou comest to men below To comfort us in all our woe. O sweet little Jesus, O gentle little Jesus, O sweet little Jesus, O gentle little Jesus, Thou are the image of love: Ignite in us the flame of love,

That we all of one accord love thee, Da die Engel singen O sweet little Jesus, O gentle little Jesus, Nova cantica, Und die Schellen klingen O sweet little Jesus, O gentle little Jesus, In regis curia. Help us to do as thou hast willed. Maria, hilf uns da! Lo, all we have belongs to thee! Ah, keep us in our fealty! In sweet jubilation, O sweet little Jesus, O gentle little Jesus Now sing and be joyous! Our heart’s bliss In dulci jubilo rests in a manger And shines like the sun In dulci jubilo, in his mother’s lap. Nun singet und seid froh! You are the alpha and omega. Unsers Herzens Wonne Leit in praesepio, O tiny Jesus, Und leuchtet als die Sonne my heart aches for Thee. Matris in gremio, Console me in my heart and soul, Alpha es et O. Oh best of boys; Through all your good, O Jesu parvule Oh prince of glory, Nach dir ist mir so weh! Draw me to you. Tröst mir mein Gemüte O puer optime; Oh love of the Father Durch alle deine Güte Oh gentleness of the Mother O princeps gloriae. We were stained Trahe me post te. by our crimes: Thus Thou hast for us acquired O Patris caritas! The joys of heaven. O Nati lenitas! O, were we only there! Wir wären all verloren per nostra criminal Where are joys? So hat er uns erworben Nowhere more than there Coelorum gaudia Where angels sing Eia, wären wir da! new songs And the bells ring Ubi sunt gaudia? In the courts of the King. Nirgend mehr denn da! Maria, help us there!

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EMSI wishes to thank…

The Volunteer Ushers at Alix Goolden Performance Hall The EMSI Volunteer Guild 2013–14 Mary Scobie who designs the EMSI brochure, ads, posters and programmes Visit our new website at www.earlymusicsocietyoftheislands.ca

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Supporting the Society

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Make a Donation The Early Music Society of the Islands relies on individual donations, memberships and grants to sustain its operations each year. Your donation will help to present concerts featuring internationally renowned artists and to promote interest and appreciation of early music in the community.

help the Fund grow. These operating grants will assist in presenting artists that would otherwise be unaffordable, and to ensure the long-term sustainability of the Society. Tax receipts will be provided.

Ways to Donate ONLINE To make a secure online donation by Visa, MasterCard or AmEx, visit: www.earlymusicsocietyoftheislands.ca

Early Music Endowment Fund, Victoria Foundation, Suite #109–645, Fort Street Victoria, BC V8W 1G2

You can contribute directly to this Fund in three ways: MAIL By sending a cheque to:

ONLINE Donate online by Visa, MasterCard,

MAIL Please send cheque payable to EMSI to:

EMSI Donations c/o McPherson Box Office, #3 Centennial Square, Victoria BC V8W 1P5

THROUGH UNITED WAY OR EMPLOYEE CAMPAIGNS If your employer participates in

AmEx at the Victoria Foundation’s Web site: http://www.victoriafoundation.bc.ca/web/give/ways Click on “give now” to go to CanadaHelps, select “Donate Now” and choose “Early Music Endowment Fund” from the drop-down list. BEQUESTS OR GIFTS OF SECURITIES

the United Way or other employee campaigns, you can support the Early Music Society of the Islands by writing in the gift on your pledge card. Our charitable registration number is 11889-0367-RR0001.

Bequests or gifts of life insurance or securities may be arranged through the Victoria Foundation. For more information, visit www.victoriafoundation.bc.ca or phone the Foundation at (250) 381–5532.

To discuss donation options, please leave a message at the Society’s voice mailbox: (250) 882–5958 or email us at [email protected]. Tax receipts are issued for all donations of $10 and over.

BUSINESS SPONSORS The Society welcomes business sponsorships and will provide appropriate public acknowledgement of such support.

Donate for the Future The Early Music Endowment Fund is owned and managed on our behalf by the Victoria Foundation. Each year, part of the investment income is given as a grant to EMSI, and the balance is re-invested to

Sponsorships

PRIVATE SPONSORS The Artistic Director would

be pleased to offer guidance and information relating to large gifts for a special purpose or to support a specific concert.

Please contact us at: [email protected]

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Thank you for your generosity in supporting early music on southern Vancouver Island www.earlymusicsocietyoftheislands.ca

PHONE

250–882–5058