Musical Arts of Santa Cruz Handel, Bach &presents Purcell April... · Soprano I Ms. Pfeiffer's...

❦ Saturday, April 28, 2018, 8:00pm

❦ Sunday, April 29, 2018, 4:00pm

Holy Cross Church, 126 High Street, Santa Cruz

Musical Arts of Santa Cruz presents

Handel, Bach &Purcell

The Santa Cruz ChoraleChristian Grube, Conductor and Artistic Director

T h e S an t a C r uz C h o r a l e S e a s o n 3 5 ❦ 2 0 1 7 – 2 0 1 8

ArtisticDirectorChristian Grube, artistic director of theSanta Cruz Choralesince July 2006, is emer-itus professor of choralconducting at theUniversity of Arts,

Berlin. As director of the Berlin State andCathedral Boys’ Choir and the Chamber Choir ofthe University of Arts, Professor Grube has conducted and toured with his choirs throughoutthe world. In 1995, because of the diplomaticinfluence of his work, he was awarded theNational Medal for Distinguished Service, thehighest civilian honor given by the German government.

Professor Christian Grube continues to spendpart of the year in Europe, holding workshopsand serving as a guest conductor with variouschoral groups. He teaches conducting at theUniversity of Arts, Berlin, and performs andtours with the University Chamber Choir. Therest of the year he lives in the Santa CruzMountains, where he gives private conductinglessons.

The Monterey BaySinfoniettaGuy Clark, Trumpet

Rick Leder, Trumpet

Laura Holtzman, Trumpet

Niel Warren, Timpani

Peter Lemberg, Oboe

Debbie Busch, Oboe

Lawrence Rhodes, Bassoon

Valerie Tisdel, Violin

Shannon Delaney D’Antonio, Violin

Eleanor Angel, Viola

Nicci Welch, Cello

Stan Poplin, Double Bass

Vlada Volkova-Moran, Harpsichord

SoloistsChrista Pfeiffer, Soprano I

Suzanne Duval, Soprano II

Paul Flight, Countertenor

Jan Kobow, Tenor

Jefferson Packer, Bass

Season 35 ❦ 2 0 1 7 – 2 0 1 8 The Santa Cruz Chorale 3

Reminders❦ Please turn off cell phones, watch alarms, andother devices that might disrupt the concert.

❦ Please refrain from taking photos or makingaudio or video recordings of performances. Nosuch activities are allowed without advance written permission.

❦ Due to the nature of live performance, all programs are subject to change.

SoloistsChrista PfeifferSoprano I

Ms. Pfeiffer's diverserepertoire extends toover 100 works rangingfrom Baroque to contemporary andencompassing oratorio,opera, and recital. SanFrancisco Classical

Voice wrote that her voice was “like balm to theears,” and that her “artistry elevated the performance.” Recent credits include the titlerole in Handel’s Rodelinda, Bach’s ChristmasOratorio, Haydn’s Creation, Monteverdi’sVespers of 1610, the roles of Dido (Dido andÆneas) and Galatea (Acis and Galatea),Barber’s Knoxville: Summer of 1915,Mahler’s Symphony No. 4, and Ravel’s ChansonsMadécasses. In demand throughout the Bay Areaand the U.S., she has appeared withPhilharmonia Baroque Orchestra and Chorale,American Bach Soloists, American PhilharmonicSonoma Country, Berkeley Symphony, Blue HillBach (Maine), San Francisco Ballet, FestivalOpera, Livermore Opera, and Marin Baroque.Upcoming performances include Schubert’sMass in G, Mozart’s Mass in C minor and arecital in the Debussy Centennial Festival in SanFrancisco. Ms. Pfeiffer, an Oakland native,received a Bachelor’s degree in vocal performance from Eastman School of Music. She lives in San Rafael where she maintains abusy voice studio.

Soloists continued next page

The Santa Cruz ChoraleFounded in 1983, the Santa Cruz Chorale dedicates itself to two goals: presenting its audiences with distinctive, exciting concerts ofchoral works from diverse periods, and giving itssingers the chance to experience the delight andartistic growth that come from making music atthe highest level. The Chorale has recorded threeCDs and has toured in Italy, Croatia, and Spain.

The Chorale’s 40-some members, who livethroughout Santa Cruz County and beyond, jointhe ensemble by audition. Although several areprofessional musicians, all volunteer their time,and all are amateurs in the original sense of thatword—people who seriously pursue an art for thelove of it.

Christian Grube has been our conductor and artistic director since 2006.

4 The Santa Cruz Chorale Season 35 ❦ 2 0 1 7 – 2 0 1 8

Soloists, continued

Suzanne DuvalSoprano II

Suzanne Duval has performed with manymusical groups rangingfrom The ChoralProject, Opera San Jose,Cabrillo MusicalTheatre, the Santa CruzRenaissance Singers, the

Our Lady of Perpetual Help Chant Choir,Resounding Achord, the Antiquarian Funks toan Afro-Cuban/Brazilian Percussion Ensemblecalled Batucada Nana.

She received her Master’s degree in vocal performance from San Jose State University. Shecurrently teaches voice privately from her homestudio, works in the music department atCabrillo College and is musical director at St.Stephens Lutheran Church in Santa Cruz.

From 1994 to 2001 Suzanne was artistic directorof the Full Spectrum Chorus of Santa Cruz. Shewas music director and accompanist for thespring musical theatre productions at AptosJunior High School from 1996 to 2014. Duringthe summer of 2017 she co-music directed“Bingo, The Winning Musical” produced byNext Stage Productions.

She currently performs with the Santa CruzChorale, Ariose and a new all-women’s ensemble, Amica.

Paul FlightCountertenor

Paul Flight has performed across theU.S. and internationally.His interpretations of18th-century operaticand concert repertoirehave been criticallyacclaimed, and include

the title role in Handel’s Solomon for theSacramento Early Music Society, the role ofMontezuma in Karl Heinrich Graun’sMontezuma, Dardano in Handel’s Amadigi diGaula, Bach’s Mass in B minor at FestivalMozaic in San Luis Obispo, Vivaldi’s StabatMater with the Sacramento Baroque Soloists,and Bach’s Passion According to Saint Matthewin San Francisco.

Flight made his Los Angeles Philharmonic debutin John Adams’ oratorio El Niño, and has sungthe work for the Norwegian State Opera (Oslo),the Atlanta Symphony, the BBC ScottishSymphony, and at the Ravinia Festival (Chicago).His portrayal of the Egyptian pharaoh Akhnatenin the Oakland Opera production of PhilipGlass’ Akhnaten received glowing reviews fromthe San Francisco Chronicle.

Flight has sung in many outstanding professionalensembles including Theatre of Voices, The NewYork Collegium, Aguavá New Music Studio,Piffaro, The Waverly Consort, and The FolgerConsort. Flight is in his twelfth season as ArtisticDirector of the California Bach Society, and hasdirected the choral programs at the University ofCalifornia, Berkeley and at Smith College(Massachusetts). He has recorded for the Dorian,Harmonia Mundi, and Glissando labels.


Jan KobowTenor

Berlin native JanKobow began his musical career inChristian Grube’s boy’schoir (Staats- undDomchor, Berlin),where he sang both asa choral soprano and

soloist. The larger music world first met tenorJan Kobow in 1998, when he won First Prize inthe Leipzig Bach Competition. Since then he hasbecome internationally known as a specialist forBaroque repertoire. He is a soloist on nearly 100 recordings, including Haydn’s Creation and TheSeasons, as well as Bach’s Christmas Oratorio,St. John Passion, and Mass in B Minor. Kobowsings solo on the complete Bach editions recorded by Bach Collegium Japan, La PetiteBande and the English Baroque Soloists, but alsoin the Naxos label’s complete Schubert series.His most recent releases are as Evangelist inReinhard Keiser’s St Mark Passion (awarded theDiapason d’Or), and the critically acclaimed original version of Schubert’s Winterreise.

Mr. Kobow has appeared in Baroque operasaround the world including at Theatre de laMonnaie in Brussels and the Lincoln Center. His2017/2018 season includes a guest appearancefor an opera and CD production of Handel’sAlmira for the Boston Early Music Festival, andmany recitals in Europe commemorating the500th anniversary of the Protestant Reformation.

At home in Schloss Seehaus (near Nuremberg),Jan Kobow hosts an annual concert series andconducts vocal master classes to share hisknowledge and love of music.

Jefferson PackerBass-Baritone

Since settling in the SanFrancisco Bay Area 20years ago, Jefferson hasbeen a member ofmany sacred and/orearly music ensembles,including AmericanBach Soloists, the

Grace Cathedral Choir of Men and Boys, andCongregation Beth-Am, and has sung as soloistwith Marin Baroque and San FranciscoRenaissance Voices. He is particularly proud tohave performed the role of the evil Haman inthe western hemisphere premiere performancesof Cristiano Giuseppe Lidarti’s Hebrew-languagePurimspiel t’shuat Yisrael al y’dei Ester, composed in 1774 at the behest of the Jewishcommunity of Amsterdam.

Trained first as a pianist, Jefferson holds aMaster’s degree in Piano Performance from SanFrancisco State University, where he was a student of William Corbett-Jones. He began serious vocal study in 2003 with tenor DaleTracy, and upon Dale’s relocation to Europe,joined the studio of Sara Ganz, with whomJefferson has studied for almost a decade. Hemaintains an active joint recital schedule withfellow pianist-cum-singer Paul McCurdy, andboth were recently featured in a cabaret-stylerevue honoring Julie Andrews at Feinstein’s atthe Nikko in San Francisco. Jefferson lives in San Francisco with his husband Marcel, a professional violist, and their corgi mix Figaro.


Handel, Bach &Purcell

The Santa Cruz ChoraleChristian Grube, Conductor and Artistic Director

Musical Arts of Santa Cruz presents

ProgramJubilate Deo in D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Henry Purcell

Soloists: Christa Pfeiffer, soprano; Suzanne Duval, soprano; Paul Flight, countertenor;

Jefferson Packer, bass-baritone

Lobe den Herren, den mächtigen König der Ehren (BWV 137) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Johann Sebastian Bach

Soloists: Christa Pfeiffer, soprano; Jan Kobow, tenor; Jefferson Packer, bass-baritone

Te Deum Laudamus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Henry Purcell


Jan Kobow, tenor; Jefferson Packer, bass-baritone

Intermission

Blessed are they that Considereth the Poor orFoundling Hospital Anthem (HWV 268) . . . . . . . . . George Frideric Handel


Jan Kobow, tenor; Jefferson Packer, bass-baritone


Program Notes, Texts and Translations

❦ Jubilate Deo in DHenry Purcell (1659-1695)

Our concert begins with Henry Purcell’s jubilant tribute to St. Cecilia, the patron saint of music.Purcell composed both his Jubilate Deo and Te Deum Laudamus (which the Chorale will singpresently), for St. Cecilia’s Day, 1694, and the two compositions are similar in structure and character.The Jubilate opens with a trumpet solo, and trumpets help create a joyous and festive atmospherethroughout. Soloists and choir take turns praising Him, whereby the choral parts are relatively compact, compared particularly to the countertenor’s lines, which are full of virtuoso coloraturas,grace notes, and intricate rhythms. As a good Englishman, Purcell loved cathedral bells (one remembers his Bell Anthem), and an interesting feature of his Jubilate Deo is the sound of chimingbells. In the phrase “glory be to the father,” the word “glo-o-o-ry,” “glo-o-o-ry” rings loud and clear;and the phrase “world without end” is sung as a reminiscence of eternally chiming bells. The anthemconcludes with a grand “Gloria Patri” fugue.

Countertenor:O be joyful in the Lord, all ye lands.

Choir:O be joyful in the Lord, all ye lands.

Countertenor:Serve the Lord with gladness.

Choir:O be joyful in the Lord, all ye lands,

Countertenor:And come before His presence with a song.

Choir:Serve the Lord with gladness, and come before His presence with a song.

Soprano, Countertenor:Be ye sure that the Lord He is God, it is He that hath made us, and not we ourselves; we are His people, and thesheep of His pasture.

Choir:O go your way into His gates with thanksgiving, and into His courts with praise, be thankful unto Him, andspeak good of His Name.

Countertenor, Bass:For the Lord is gracious, His mercy is everlasting, and His truth endures from generation to generation.

Choir:Glory be to the Father, glory be to the Son, and to the Holy Ghost, as it was in the beginning, is now, and evershall be, world without end. Amen.


An Independent, Family Owned Pet Store since 19863660 Soquel Drive, Soquel • 831-464-8775

One block west of 41st AvenueOPEN EVERY DAY 9AM TO 7PM

LIZBETHWESOLOWSKIREALTOR®

2170 41st Ave, Capitola, CA 95010 831.332.0882 [email protected] CalBRE 01937183


❦ Lobe den Herren, den mächtigen König der Ehren (BWV 137)(Praise the Lord, the Mighty King of Glory)

Johann Sebastian Bach (1685-1750)

Melody: Joachim Neander (1650-1680)

Bach’s chorale cantata is based on the most famous hymn composed by the theologian JoachimNeander. All verses of the hymn begin with the words “lobe den Herren,” but each speaks of a special reason the Lord deserves praise. In keeping with the text, Bach changes the character of eachverse in his composition, so that each praises Him in a different way. (The text is written in quaintbaroque German, which does not always translate well.)

Chorus:The first verse of the hymn is an exuberant, unrestrained outpouring of praise, with trumpets, oboes,and timpani adding splendor and majesty to the orchestra. One after the other, altos, tenors, bassesenter, singing “lobe den Herren” (“praise the Lord”) with happy coloraturas that become ever moreexcited. The praise culminates when the sopranos sing the cantus firmus. This pattern is repeated,and when the words call everyone to join in praise (“kommet zu Hauf”), all voices join in homophony.The entire verse is sung forte, in keeping with the final words: let the song of praise be heard! (“Lassetden Lobgesang hören!”)

Lobe den Herren, den mächtigen König der Ehren,Meine geliebete Seele, das ist mein Begehren.Kommet zu Hauf,Psalter und Harfen, wacht auf!Lasset den Lobgesang hören.

Aria: AltoThe tone of this hymn verse reflects a more familiar relationship with the Lord, and it praises Himmore personally. The full orchestra is replaced by a solo violin with continuo, and the full choir by analto voice alone. The violin begins with exuberant lines that soar and swoop, circling freely, up,down and all around. The alto sings the cantus firmus with serene assurance that the Lord preservesthe believer—that He guides him/her on [or “with”] the wings of an eagle.* All the while the solo violin continuously encircles the cantus firmus with lines that imitate the flight of a majestic bird. *[In the German translation it is unclear whether He guides one “with” or carries one “on” the eagle’s wings.]

Lobe den Herren, der alles so herrlich regieret,

Der dich auf Adelers Fittichen sicher geführet,Der dich erhält,Wie es dir selber gefällt;Hast du nicht dieses verspüret?

Duet: Soprano, BassIn this verse two soloists are accompanied by woodwind instruments. The text praises the Lord forthe artistry with which He “adorns” the life of a believer, and as the soloists sing these words the cantus firmus is almost hidden in the lavish ornamentation of their lines.

Praise the Lord, who governs all things [all of creation]so gloriously,Who has safely guided you on the wings of an eagle,Who preserves you,As it best pleases you yourself,Have you not sensed this?

Praise the Lord, the mighty king of glory,That is the desire of my beloved soul.Come in multitudes,Psaltery and harps, awake!Let the song of praise be heard.


4770 Soquel Drive, Soquel • 831-475-1988

TOM FRANKL, OWNER

A really great place to enjoy Coffee, Tea, an Espresso Drink

or a Cold Beersoquel • california • earth

Santa Cruz Chorale would like to thank the UglyMug for its continued support and great coffee!

Bring a friend and this coupon and receive your second drink FREE

[email protected]


Lobe den Herren, der künstlich und fein dich bereitet,Der dir Gesundheit verliehen, dich freundlich geleitet;In wieviel NotHat nicht der gnädige GottÜber dir Flügel gebreitet!

Aria: TenorThe happily skipping and hopping continuo introduction to this aria continues as an accompanimentuntil the end. The tenor sings praise to Him, whose love pours down in streams from the highHeavens (“aus dem Himmel”) to bless the life of the believer. With notes that encompass a spectacular range, the tenor sings of the manifold blessings the Almighty’s love bestows upon him—blessings that he says are clearly apparent! The regal voice of the trumpet sounds from on high withthe cantus firmus lines, proclaiming the absolute certainty of His continuing love.

Lobe den Herren, der deinen Stand sichtbar gesegnet,

Der aus dem Himmel mit Strömen der Liebe geregnet;

Denke dran,Was der Allmächtige kann,Der dir mit Liebe begegnet.

Chorus:The final verse is sung as a straightforward hymn, with no frills. It is characterized by the majesty lentby three trumpets and timpani that seem to lead orchestra and singers in a triumphal procession.

Lobe den Herren, was in mir ist, lobe den Namen!Alles, was Odem hat, lobe mit Abrahams Samen!Er ist dein Licht,Seele, vergiß es ja nicht;Lobende, schließe mit Amen!

❦ Te Deum Laudamus in DHenry Purcell

As in Purcell’s Jubilate Deo, trumpets add to the magnificence and festive character of the Te DeumLaudamus. Soloists sing “we praise thee...,” and with bell-like chimes that move up through the voices, the choir answers “all, all,” “all, all,” “all, all,” —“all, all the earth doth worship thee!” In thisjoyous anthem, only key passages—such as “holy,” “holy,” “holy”—are sung solemnly, and in ahomophonic setting. The conclusion of the Te Deum Laudamus is a prayer, that begins “O Lord, inthee have I trusted;” the words “let me never, never, never, never be confounded” are sung as a triumphant fugue—with the certainty that the prayer will be answered.

Countertenor, Tenor, Bass: We praise thee, O God, we acknowledge thee to be the Lord.

Choir: All the earth doth worship thee, the Father everlasting.

Praise the Lord, who has clearly blessed your positionin life,Who has rained down streams of love from theHeavens;Think upon All that the Almighty can do,He, who meets you with love.

Praise the Lord, all that is within me, praise His name!All ye that have breath, praise with Abraham’s seed!He is your light,Soul, do not forget that;Sing a final Amen.

(Transl. K.G.)

Praise the Lord, who so artfully and finely adorns you,Who has given you health, and guided you so kindly;In how much suffering Has not gracious GodSpread His wings over you!


Check out our selection of Raw and Holistic

Dog and Cat Foods

7765 Soquel Drive, AptosAcross from Safeway

831-685-3333

A Medical Clinic for Cosmetic Skin CareIn the Office of

Steven L. Garner, M.D., F.A.C.S.Board Certified Plastic and Reconstructive Surgeon

831.475.4315 ❧ www.ultraderm.com3311 Mission Drive Santa Cruz, CA 95065

Ehritt Hearing ServicesDonelle Ehritt

Audiologist / Hearing Aid DispenserAU 46 and HA1110

Phone: (831) 431-6216 ■ Cell: (831) 419-3004Email: [email protected]

5321 Scotts Valley Drive, Ste 100, Scotts Valley


Soprano, Countertenor, Bass: To thee all angels cry aloud: the heavens, and all the powers therein. To thee cherubim and seraphim continually do cry:

Choir: Holy, Holy, Holy, Lord God of Sabaoth; heaven and earth are full of the majesty of thy glory.

Countertenor: The glorious company of the apostles praise thee.

Tenor: The goodly fellowship of the prophets praise thee.

Bass: The noble army of martyrs praise thee: the holy Church throughout all the world doth acknowledge thee;

Countertenor, Tenor: The Father of an infinite majesty;

Soprano I, Soprano II: Thine honorable, true and only Son;

Countertenor, Tenor: Also the Holy Ghost, the Comforter.

Chorus: Thou art the King of Glory, O Christ; thou art the everlasting Son of the Father.

Countertenor, Bass: When thou tookest upon thee to deliver man, thou didst not abhor the Virgin’s womb. When thou hadst overcome the sharpness of death, thou didst open the kingdom of heaven to all believers.

Soprano I, Soprano II: Thou sittest at the right hand of God in the glory of the Father.

Choir: We believe that thou shalt come to be our Judge. We therefore pray thee, help thy servants whom thou hastredeemed with thy precious blood.

Soprano I, Soprano II: Make them to be numbered with thy saints in glory everlasting.

Choir: O Lord, save thy people, and bless thine heritage. Govern them and lift them up for ever. Day by day we magnify thee, and we worship thy Name, ever world without end.

Countertenor: Vouchsafe, O Lord, to keep us this day without sin. O Lord, have mercy upon us. O Lord, let thy mercy lightenupon us, as our trust is in thee.

Choir: O Lord, in thee have I trusted; let me never be confounded.

Intermission


SANTA CRUZ: 2415 Chanticleer AvenueSanta Cruz, CA 95062 • 831-460-6141

FREEDOM: 2114 Freedom BlvdFreedom, CA 95019 • (831) 460-6144

SEXPERT AUTO REPAIRSpecialized Auto is the premier car repair facility for the Santa Cruz and Freedomarea. For almost 20 years, we have offereddealership-level service with a personaltouch. Our two convenient locations are fullystaffed with the area’s top service team andare state-of-the-art car repair centers.

Audi | BMW | MINI | Mercedes-Benz | Saab Volvo | Volkswagen | Japanese | Truck

Monterey Bay Green Business • AAA ApprovedBosch Certified Service StationOur Entire Staff is ASE Certified

Factory Trained TechniciansSolar Powered

831.278.2447

2185 41st AvenueCapitola, CA 95010

(831) 476-8700

www.drraffodental.com


Historical background of the Foundling Hospital Anthem:Handel’s relationship with the Foundling Hospital

The Foundling Hospital was founded in 1739 by the philanthropic sea captain Thomas Coram tohouse and educate abandoned and orphaned children. Established under royal charter and supported by many noted figures of the day in high society and the arts, it was the United Kingdom’sfirst children’s charity. In order to raise funds for the new undertaking, one of the founding governors, the artist William Hogarth, devised a scheme of collaboration between the leading artistsof his day and the charity which was profitable to both. He himself donated portraits to the Hospital,then persuaded his artist colleagues to donate works of their own, thereby giving them a place toexhibit their art. By effectively creating at the Hospital the United Kingdom’s first public art gallery,Hogarth gave the public a reason to visit. The Foundling Hospital rapidly became one of the mostfashionable charities in London among the rich upper-class. Visitors would not only see the best incontemporary British art, they would also see the children at mealtime, hear them singing in thechapel, and they would hopefully donate.

What does this all have to do with Handel and his Foundling Hospital Anthem? Everything. Aftermoving to London, Handel had been writing Italian operas, but since it was up to the composer torent the theatre, hire singers and musicians, and pay for costumes and scenery, operas were notalways a lucrative business. Handel began concentrating on non-operatic works, such as oratorios, inwhich orchestra, soloists and choir could perform less expensively. But oratorios also required a largeperforming venue, and for the 1743 London premiere of Messiah, Handel rented the Covent GardenTheater for a week’s run. The oratorio wasn’t a success, however, partly because many considered itsacrilegious to perform a sacred work in a theater.

It is not known whether Handel was inspired by the creative philanthropy of Hogarth and his artistcolleagues, but what is certain is that he recognized the Foundling Hospital Chapel’s potential as aperformance venue that was free from the troublesome associations of the theatre. In May 1749Handel approached the governors of the Foundling Hospital and offered to conduct a benefit concertfor the Hospital Chapel. The program included the first performance of his “specially composed”Foundling Hospital Anthem. The Anthem’s conclusion was the Hallelujah Chorus, which Handel tookdirectly from his Messiah—a work that few of his audience would have known.

The concert was a huge success, both musically, for Handel, and financially, for the Hospital. The following year Handel returned to conduct a second benefit concert, and this time he chose Messiahitself. The event was so oversubscribed that wealthy supporters had to be turned away at the door,and Handel was asked to repeat the concert two weeks later. To show its gratitude, the Hospitalmade Handel a governor. For many years thereafter, an annual benefit performance of Messiah tookplace in the Hospital Chapel (for today’s audiences surprisingly) at Easter. These concerts not onlysucceeded in raising huge sums of money for the charity, they established Messiah’s enormous popularity among British audiences. Handel himself conducted or attended every performance untilhis death in 1759. In his will Handel left a copy of the Messiah score and performing parts to the governors of the Foundling Hospital, thus making possible for the benefit concerts to continue. Amemorial concert was held in Handel’s honor in the Hospital Chapel soon after his death, duringwhich the Foundling Hospital Anthem was once again performed. It has been variously observedthat, had it not been for Handel’s relationship with the Foundling Hospital that began with his



performance of his Anthem, the world may never have known Messiah, Britain’s best-loved choral work.[The preceding was compiled from Wikipedia entries, and from an article by Caro Howell, Director of theFoundling Museum: “How Handel's Messiah helped London’s orphans—and vice versa.”]

❦ Blessed are they that Considereth the Poor or Foundling HospitalAnthem (HWV 268)

George Frideric Handel (1685-1759)

Text based on Psalms 41:1-3, 72:12-13, 112:3-7; Job 29:12; Revelation 19:6, 11:15.[A note about Handel’s name: he was born in Halle, Germany, as Georg Friedrich Händel. At the age of 27 hemoved to London and became a British citizen. On his citizenship application he signed his name “GeorgeFrideric Handel,” and began using the anglicized form of his name. He lived in England for 50 years and wasburied in Westminster Abbey.]

In Handel’s day it was common practice for composers to recycle their music for different occasions,and the Foundling Hospital Anthem combines movements Handel edited from his Funeral Anthemfor Queen Caroline, and from his oratorio Susanna—and (perhaps surprisingly for some) the conclusion is the Hallelujah Chorus from Messiah. Handel molded these elements into an independent and coherent composition, to be performed at his fundraising concert for the Foundling Hospital. A sad feature of 18th century London life was the fact that countless numbers ofbabies and orphaned children were left abandoned and dying on the streets and rubbish heaps;Handel’s Foundling Hospital Anthem helped promote the spirit of charitable and philanthropic activity that was beginning to flourish among the rich upper-class, and that was alleviating the distressof these children.

Handel adapted verses from the Bible that describe the character and behavior of a righteous person,and in the context of the Anthem those verses would already have functioned as an appeal for donations. But Handel consistently made singular pronouns of the Bible plural, so that many in hisaudience would feel spoken to. Thus, for example, “blessed is he that considereth the poor” becomes“blessed are they that considereth the poor” [one can perhaps forgive the non-native English speaker,Handel, for not correcting the conjugation of “considereth” when he made “he” plural]; “the Lord will deliverhim in time of trouble” becomes “the Lord will deliver them in time of trouble,” etc. With the word“they” Handel thus on the one hand intensified his appeal. But he also used “they” ambivalently—referring once to potential donors, once to the poor who are in need of help—so that the distinctionbetween donor and recipient becomes blurred. In essence, then, the Anthem musically describes a“mutually beneficial relationship” in which donors and children of the Foundling Hospital are joined:each needs the other to be blessed.

Aria: TenorAfter a happily dancing instrumental introduction, the tenor makes his appearance. With long insistent notes he sings a “hear ye” call: “ble - - - - ssed,” then announces the theme of the Anthem:“blessed are they that considereth the poor and needy.” As the tenor sings of the blessings the Lordbestows on righteous souls who consider the poor, he is in high spirits and self-assured—as if speaking from personal experience. All the while, the instruments accompany him with cheerful repetitions of the introduction, thereby underlining the carefree joy of one who strides through lifethus blessed. With this aria the tenor holds himself up as a shining example to potential donors: “youcan also live such a happy life—if you give generously to the Foundling Hospital!”


TRUST ADMINISTRATION, CONSERVATORSHIPS, AND SPECIAL

NEEDS TRUST MANAGEMENT

Office: 831-466-0164Fax: 831-466-0105

Email: [email protected]■

MARSHA L. KEEFFER, MBA, CLPF

SUZANNE DOWLING, MA, CLPF

Practical Heart Fiduciary Services

Direct 831.464.5201Office 831.476.9661Cell 831.588.0254

[email protected] | REJohnson.bz

620 Capitola Ave, Capitola CA 95010 | MontereyBayProp.com


Blessed are they that considereth the poor and needy.The Lord will deliver them in time of trouble.The Lord preserve them and comfort them.

ChorusThe choir enters and the tone of the music changes dramatically. Their many voices sing as a homophonic block of great force, and they repeat the tenor’s cheerfully sung words “blessed are theyconsidereth the poor and needy”—but the choir sings in a minor key, and on long, drawn out,mournfully descending lines. The choir represents the perspective of the masses who are actually inneed of help, rather than the perspective of one who hopes to be blessed for his generosity. Sung bythe choir, “blessed are they considereth the poor...” is a not so subtle admonition: gallant Sir Tenor, ifyou want to be blessed, we are the ones you must help. [One remembers that the potential donors attending Handel’s concert at the Foundling Hospital were members of the upper-class.] With the words “theydeliver the poor that crieth, the fatherless...” the music changes to a major key, and is sprightly, foot-loose and free. As “the fatherless,” “the fatherless” is repeated again and again, the lightheartedlyskipping music characterizes the elation of children that are free of useless fathers—and who will be“delivered” by generous donations.

Then comes a moment that would have softened the heart of many a donor. For the only time in theAnthem, the multi-part orchestral accompaniment suddenly falls away, and the sopranos are left“abandoned.” They enter unisono, singing a floating melodic line that calls out into the silence withsweetly childlike innocence: “blessed are they that considereth the poor and needy.” In Handel’sown performance, the choir sopranos were in fact children [i.e., Children of the Chapel Royal, whereHandel was serving as organist], and the sound of children’s voices thus singing for the benefit of needy children would have had a strong emotional impact.

The conclusion of the chorus is based on a hymn that the sopranos sing as a cantus firmus.Strikingly, the melody that German-born Handel chose for the words “O God who from the suck-ling’s mouth ordaineth early praise” is Martin Luther’s well-known hymn Aus tiefer Not schrei ich zuDir—“out of the depths of great despair do I cry to Thee!” In other words, while the actual wordssing of “praise” coming from the children’s mouths, the melody they sing is a heart-rending plea forhelp. The dual aspect of this cantus firmus points to the fact that generous donations will enablechildren to sing the praise that God ordained.

Blessed are they that considereth the poor and needy.The Lord will deliver them in time of trouble.The Lord preserve them and comfort them.They deliver the poor that crieth, the fatherless,And him that hath none to help him.

O God who from the suckling’s mouthOrdaineth early praiseOf such as worship thee in truth,Accept the humble lays.

Aria: CountertenorThis is a classic Baroque aria, with lively coloraturas. It repeats the concluding words of the previouschorus, but the tone is now joyous: the key words “praise” and “worship” characterize the tone of the music.


Full Service Japanese Auto RepairSANTA CRUZ’S TOP CHOICE

3-Year/36,000 Mile Warranty on Our Work

1257 Thompson Ave, Santa Cruz 95062831-464-6855 • www.micksauto.com

Our certified Technicians have the right equipment

and unparalleled skills to offer our customers

educated opinions regarding car services, perform

tasks by a deadline, and complete maintenance with

the highest quality workmanship. Our high-tech

systems help us pinpoint the exact problem and

identify a reasonable solution.

Acura Honda Hyundai Infiniti Kia Lexus Mazda Nissan Scion Subaru Toyota

The Locals’ ChoiceSince 1982

Wood, Gas & PelletStoves, Inserts & Fireplaces

Over 100 Models on Display!

510 Soquel Avenue, Santa Cruz 831-425-5123Showroom Hours

Mon–Sat 9–5 • Closed Sunday

www.woodstoveandsun.comCA Contractor License #831857


O God who from the suckling’s mouthOrdaineth early praiseOf such as worship thee in truth,Accept the humble lays.

Soloists and ChorusThis movement opens in the character of a stately “court dance,” and two soloists enter as “musicalpartners.” Their duet, with happily circling third parallels, sings that “the charitable shall be had ineverlasting remembrance,” that they “will shine as the brightness of the firmament.” A second pair ofsoloists replaces the first, singing the same words, and the full choir then also repeats that the charitable will be remembered forever. Thus many people are talking about, and remembering, thegenerous benefactors. In the lower voices short motifs are repeated again and again, carrying thememory from one generation to the next. But “everlasting remembrance” of course also points toeternity. As the sopranos sing the word “ever-last-ing” on their longest note, a short four-note motif isrepeatedly interspersed in their shining line that imitates the star-like sparkle in the firmament ofcharitable souls. (In Daniel 12:3 one reads that the wise “shine like the brightness of the sky...like the stars for-ever and ever.”)

The charitable shall be had in everlasting remembrance,And the good will shine as the brightness of the firmament.

ChorusUp to this point, Handel’s Anthem appealed for donations to the Foundling Hospital only indirectly,by enticing potential donors with promises of “blessings.” Now, in a final attempt, Handel makes adirect and solemn appeal—to Him, who is the true source of help: “comfort them, O Lord.” The haltingly sung words “when-they-are-sick” make the immediate need of the children evident—forthey are barely able to walk. In a particularly touching appeal to the emotions, “make Thou their bedwhen they are sick” is intoned with woefully descending lines that express the lamentable conditionand waning health of those in need of sustenance and comfort.

But all at once, with the words “keep them alive” the music becomes lively, confirming that thehealth of the infirm children will be restored. The musical lines now bustle busily back and forththrough all voices, happily repeating: “keep them alive, let them be blessed upon the earth,” let thesick not be delivered “unto their foes.” This activity imitates the hard work (and hence much supportfrom donors!) that will be required to care for the needy.

Comfort them, O Lord, when they are sick:Make Thou their bed when they are sick, Make Thou their bed in sickness.Keep them alive, let them be blessed upon the earth;Comfort them,Keep them alive, let them be blessed upon the earth;And not deliver them unto their foes.

Duet: Solo Sopranos I and IIThe celestial character of this duet emphasizes what is the ultimate reward of generous donors: “theirreward also is with the Lord, and the care of them is with the Most High.” The intertwining lines ofthe two voices characterize the inseparable link between earthly deeds and what awaits the righteous in heaven.


• Whole House Remodels

• Kitchens• Bathrooms• Additions• Aging-in-Place

Redesigns• Decks & Outdoor

seacliffconst.com(831) 761-0456

License #819457

303 River StreetSanta Cruz, CA 95060831.426.4363www.lloydstire.com


The people will tell of their wisdom,And the congregation will shew forth their praise.Their reward also is with the Lord,And the care of them is with the Most High.

ChorusThe jubilant Hallelujah Chorus could of course serve as a suitable grand finale for many pieces ofmusic, but in the case of the Foundling Hospital Anthem Handel seems to have had something morepragmatic in mind—for it is in effect a renewed request for donations. In the context of the Anthem,the Hallelujah Chorus expresses not only the triumphant joy of destitute children whose lives havebeen changed, but the joy of donors, knowing that their generous contributions to the FoundlingHospital have effected that change: “Blessed are they that considereth the poor!”

Hallelujah!For the Lord God omnipotent reigneth,The kingdom of this world is becomeThe kingdom of our Lord and of his Christ;And He shall reign for ever and ever.King of kings, and Lord of lords,Hallelujah!

Program notes, texts, and translations by Karen Gordon

Family Owned and Operated Since 1987

831-427-0135

1917 MISSION STREETSANTA CRUZ, CA 95060RISTORANTEAVANTI.COM

The Monterey Bay Psychological Association’s past president, Diane Bridgeman, Ph.D.,

extends wishes to the Santa Cruz Chorale.Music has always been a vehicle for navigating

our thoughts and feelings. This season (2017–18), perhaps when needed more than ever,

we can look to music and the Santa Cruz Choraleto soothe our hearts and lift our spirits.

Monterey Bay Psychological Association www.mbpsych.org


Care From The HeartIN-HOME SERVICE, Inc.

Our agency is dedicated to serving the caregiving needs of your families

with dignity and respect 24/7Registered as Diamond Certified

Celebrating 20 years of service

Call for Care Today!831-476-8316

www.carefromtheheart.netLic. 444700004

“WE CARE”

TEL 831.476.7774 • FAX 831.476.9640

Circle Star Motors


Simply CPRFirst Aid Training

This course fulfills requirements forAHA Healthcare Providers,

California EMSA Childcare Providers,Teachers, Coaches and Trainers.

Offering on-site training in a simple, fun, and relaxed environment.

John Laurent, a longtime CPR/AED/FIRST AID Instructor,teaches the necessary tools to save a life based on the

American Heart Association guidelines and his 34-year careeras a San Jose Firefighter. Classes are low stress, economical, respectful of your time commitments, and exceed all EMSA

and OSHA requirements. Participants receive a two-year cardof certification upon successful completion of the course.

For information and scheduling, please contact John at831-345-8176 • [email protected]

Breakfast & Lunch Mon–Sat 6am–3pm2650 Soquel Drive, Santa Cruz

831-475-2725 ✴ www.scsilverspur.com

RESTAURANT

Thank you Contributors, Patrons, and Sponsors

for your part in 35 Years of Santa Cruz Chorale.

Bravo!

MaverickMailing.com



The Santa Cruz ChoraleConductor and Artistic Director

Christian Grube

Board of DirectorsNiel Warren, President

Suzanne Duval, Vice PresidentAlisa Klaus, Treasurer

Tom Pennello, SecretaryMargie Erickson, Mary Crawford, Cecilia Condes, Alexandra Florimonte

Paul Lawton, Gary Hintz, Christian Grube (ex officio)

Production CreditsNiel Warren, Event Production

Paul Lawton, Stage ManagementRobert Ley, Printed Program

Rosella Crawford-Bathurst, Ticket SalesPamela Burnham, Box Office

Diane Bridgeman, Lois Van Buren, ConcessionsAlexandra Florimonte, Jean Laroche,

Lois Van Buren, Niel Warren, PublicityJean Laroche, Facebook

Julia van der Wyk, WebsiteKathleen Roberts, Graphic Artist

Cecilia Condes, Volunteer CoordinationSuzanne Duval, Ron Goodman, Music Library

Tom Pennello, CD Compilation, Editing and Production

Contact InformationThere are many ways to stay in touch with us.

Visit our website: www.santacruzchorale.org, a good place to find the latest info on concerts andfundraisers, buy tickets, donate, advertise, schedule auditions, and sign up for our newsletter.

You may also leave your email address at the box office and we do the signup for you. (Note: your email address saves us printing and postage and is never shared with third parties!)

Like our Facebook page: www.facebook.com/SCZChorale. There you can leave feedback, find concert info, links to reviews, photos, fun stuff, and

“events” that allow you to invite friends to our concerts.

Interact with us on Twitter: @SantaCruzChoral.

Call us or send a letter with your donation, your questions, or your request to be added to the mailing list:

P.O. Box 272, Santa Cruz, CA 95061 831-427-8023


Christmas Concert DatesA notice about Christmas with the Chorale concert2018: Please make a note in your calendar thatour Christmas concerts will be earlier inDecember than usual, i.e., December 8 and 9,2018.

Members of the Santa Cruz ChoraleSopranosNancy Brookie-Connor Alexandra DillingerJulie Dunger★❉ Suzanne DuvalMargie EricksonAlexandra FlorimonteBarbara GaskellKaren GordonVirginia HolcombeRuth KasparAlissa RoedigClara Sherley-AppelGabrielle StockerJulia van der WykAnnette von OepenApril Zilber

AltosAnne BonnerDiane BridgemanCecilia CondesMary Crawford★❉ Rosella Crawford-

BathurstTanya DavidsonAlisa KlausEliza LinleySharon NelsonDeana SlaterLois Van BurenMary Ann WielandWendy Wyckoff

TenorsJas CluffKevin CrewsRon GoodmanCody Hallenbeck Gary HintzPaul LawtonJerry Paul★❉ Tom PennelloRichard Roullard

BassesBrad BurgonRoger ChaffinJesse CunhaDenis HaskinLars Johannesson★ Jean LarocheLuiz Razera❉ Paul SchmitzNiel WarrenStafford Warren

★ Sectional conductor❉ Section leader

AcknowledgementsThe Chorale is deeply indebted to the followingindividuals and institutions for their invaluablehelp in producing our concerts:

Sister Barbara Ann Long, OP, Liturgist/Musician,Holy Cross Church

Mr. Ron McLain, Maintenance, Holy CrossChurch, for his assistance with the productionof our concerts

Eileen Chang for substitute conducting inrehearsals

Vlada Volkova-Moran for the loan of her harpsichord for our concerts

The staff and congregation of Holy CrossChurch, Santa Cruz

The staff and congregation of the Peace UnitedChurch of Christ, Santa Cruz

Santa Cruz Chorale AuditionsSingers with choral experience who read musicat an intermediate or advanced level are invitedto audition for the Chorale. Call 831-427-8023 orcheck our website to receive materials thatdescribe the audition and the responsibilitiesthat go along with membership in the ensemble.


Guarantors$1,000–$1,999Preston Boomer

Roger Chaffin and Mary Crawford

Evelyn Daly

David Kissinger

Paul Lawton and Patty Durkee

Tom Pennello

Rowland and Patricia Rebele

Rev. Eliza Linley and DavidRichardson

Patrick Teverbaugh

William Visscher

Sponsors$500–$999Anonymous

Lisa Ahorner

Kathleen and GeraldBowden, of the KayjerFund

Paul Rembert and Charlotte Williams

Eugene and Toniann Schultz

Gabrielle Stocker

Patrick Teverbaugh

Michael and Lesley Tierra

Niel Warren

Benefactors$250–$499Jane Boone

Niki Davis

Margaret and Doug Erickson

Virginia Holcombe

Alisa Klaus

Douglas Ley

Gerry Mandel

Carlaine Ober

Irene Osterbrock

Dayle Parkes

Frank Ramirez

Luiz Razera, Jr

Mark and Lois Trabing

Mary Ann Wieland and Ronnie Lipschutz

Supporters$100–$249Anonymous

Roger Bach and SheilaWickens

Orion Benson

David Berkey

Karen Bourgeois

Frank Brau

Richard and Lisa Bruce

Ceil Cirillo

David and Mary Alice Copp

Adelheid Ebenhoech

Ronald and Lorraine Emery

Alexandra Florimonte

Craig French

Don and Donelle Gartner

John Gilchrist

Kathy Hatfield

Anne Hayes

Michael and Mary-NonaHudson

Anne Isaacs

Trisha and Brandon F. Kett

Geerb and Anne Marie Knapen

Nancy and William Levonian

Sharon Nelson

Phyllis Norris

Fane Opperman

Earleen Overend and Wayne Palmer

Susan Reichstein

Reinhold and Virginia Roedig

Barbara Thomas

Elizabeth Traugott

Alice Weigel

Sheila Wickens and Roger Bach

John Wilkes

Carolyn Woolston

Contributors$50–$99Katherine Beiers

Roberta Bristol

Brad Burgon

Kathryn Canlis

Gail and Clint Colver

Cynthia Copple

Ruth and Chuck Eggen

James Engelman

Steve Evers and Jan Hathaway

Mark Forry

Marsha Gilpatrick

Alexandra Goch andWilliam Hauff

Ron Goodman

William and Christine Green

Shirley Greenwood

Carolyn and Howard Hall

Bernard and EleanorHilberman

Don and Rosalyn Hilbert

Gary and Diane Hintz

Ken Hollywood

Terry Locke-Paddon

Ann and Brian Miller

Vlada Moran

Maura and Robert Munroe

Martina Nicholson and J.Gregory Nicholas

Susan and Milford Oliver

Janet Reed

Celia and Peter Scott

Charles Singer

Lalu Varghese

Judy and Jim Warner

Joan Zimmerman

Contributors to the Santa Cruz ChoraleFriends to $49Anonymous

Lynne and S.R. Abraham

Margit Alexander

Caroline Berger

Lee Berman and Julie Maia

Anne Bonner

Frank Carroll Jr.

James Carter

Joan Chesley

Olga Euben

James and Marianne Franks

Roy Hoch

Greta and Michael Hutchinson

Linda Larkin

Nancy Norris and NicholasLittlestone

Annette and Randolph von Oepen

Jerry Paul

Elaine Rohlfes

Nicholas Royal

Rosemary and Michael Sarka

Robert Stephenson

Ray Wentz

Louise West and Michael Rosati

Norman Zilber

Pat Zylius and Jeff Perez


Ticket income covers only about 34% of the costof producing concerts. The remaining 66% comesfrom foundations, businesses—but mostly frompeople like you. We appreciate your generosity!

Help the Santa Cruz Chorale continue its traditionof distinctive vocal music in Santa Cruz County bysupporting us in one of the following ways:

Make a Donation Contribute with your checkin the enclosed envelope or with your credit cardat our website www.santacruzchorale.org/donate.

Give to the Annual Fund All donors and ticket buyers receive a letter in the Fall duringthe Annual Fund Campaign. However, theChorale accepts Annual Fund donationsthroughout the year to support operations.

Sponsor a Soloist, Chorale Section, Orchestra,or Conductor Bring top-notch musicians to SantaCruz to join the Chorale in concert.

Become a Concert or Season SponsorReceive public acknowledgement of your support at concerts and in programs, posters,and press releases.

Name the Chorale in your Will Ensure theChorale’s future by making the ultimate gift.

Transfer Stock Make a tax-deductible donation of stock to the Chorale.

Donate Food and Beverages Provide foodand beverages for our concert concessions table.

Advertise in our Program Promote yourbusiness while supporting the Chorale.

Sponsor an Instrumentalist Pay for one ofthe professional players we hire to accompanythe Chorale in our concerts.

Volunteer Help us put on concerts, sealenvelopes, and label fund raising mail. Call 831-427-8023 if you are interested in volunteering.

Join our Mailing List Let us keep in touchwith you. Your email address saves us printingand postage; leave it with us at the box officeon your way out, or send it to us with theenclosed envelope. The Chorale never sharesemail addresses with third parties.

For more information about how you can support the Santa Cruz Chorale, please call 831-427-8023. Donations may be mailed to:

The Santa Cruz Chorale P.O. Box 272Santa Cruz, CA 95061

Support the Santa Cruz Chorale

VIEW AND POST SANTA CRUZ EVENTS ATCRUZCAL.ORG

YOUR ART & CULTURE COMMUNITY CALENDAR


Date post:	23-Jun-2020
Category:	Documents
Upload:	others
View:	1 times
Download:	0 times

Musical Arts of Santa Cruz Handel, Bach &presents Purcell April... · Soprano I Ms. Pfeiffer's...

Documents