MID-MANHATTAN PERFORMING ARTS FOUNDATIONPresents
GREAT MUSIC AT ST. BART’SA CONCERT OF THE
EARLY MUSIC NEW YORK 2015 CELEBRATION “EL NUEVO MUNDO”
The “Italian-Argentinian Bach,”Domenico Zipoli
performed by
Christine Gevert, Founding Artistic DirectorCrescendo Inc. PO Box 245, Lakeville, CT 06039 860-435-4866 www.worldclassmusic.org
at SAINT BARTHOLOMEW’S EPISCOPAL CHURCH325 Park Ave, New York, NY 10022
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The Program
Domenico Zipoli(1688–1726)
Misa San IgnacioKyrieGloria
Tantum Ergo
Credofrom Misa San Ignacio
Johann Sebastian Bach(1685–1750)
Cantata BWV 150 “Nach dir, Herr, verlanget mich”1. Sinfonia
2. Coro: “Nach dir, Herr, verlanget mich”3. Aria (soprano): “Doch bin und bleibe ich vergnügt”
4. Coro: “Leite mich in deiner Wahrheit”5. Aria (alto, tenor, bass): “Zedern müssen von den Winden”
6. Coro: “Meine Augen sehen stets zu dem Herrn”7. Coro (ciaccona): “Meine Tage in dem Leide”
– Intermission –
Domenico Zipoli
Confitebor Dominefrom Vespers San Ignacio
Laudate Dominumfrom Vespers San Ignacio
Johann Sebastian Bach
“Alles mit Gott und nichts ohn' ihn”Aria BWV 1127 - verses 1, 4, 8, 12
Domenico Zipoli
Beatus Virfrom Vespers San Ignacio
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The Performers
Vocal soloists
Julianne BairdSarah Moulton Faux
Nicholas Tamagna Pablo Bustos
John-Arthur Miller
Soprano (Zipoli & BWV 1127)Soprano (BWV 150 & BWV 1127)CountertenorTenor Baritone
Crescendo Period Instrument Orchestra
Judson GriffinMargaret Ziemnicka
Carlos BoltesDavid Bakamjian
Jane HersheyRachel BegleyChrista Patton
Rodrigo Tarraza Gonzalo Cortés
Carlos BoltesScott Hill
Juan Andrés Mesa
Violin 1, ConcertmasterViolin 2ViolaVioloncelloVioloneBassoon & DulcianBaroque HarpQuena 1Quena 2 CharangoGuitar*Organ
*Mr. Scott's performing fee was generously underwritten by Cynthia Walsh.
The Crescendo Choir
Section leaders bolded; Singers with asterisk perform BWV 150
Sopranos: Louise Brown, Kathy Drake*, Sarah Fay*, Susan Fox, Anne Frieze, Carol Goodfriend, Peggy Heck, Jordan Rose Lee*, Sarah Moulton Faux*, Jane Meigs, Sarah Melcher, Margaret O’Brien*, Andrea Patel, Roberta Roll*
Altos: Pat Barton*, Laura Evans*, Susan Francisco, Martha King, Susan McBrien, Karen Miller, Martha Nesbitt, Randy Orzano*, Andrea Patel*, Susan Pettee, Trudy Weaver Miller*
Tenors: Gordon Gustafson, John La Porta*, Eric Martin*, Randy Orzano, Peter Perkins*, Doug Schmolze*, Richard Vreeland II
Basses: James Barrett*, Paul De Angelis, Stephen Enoch, John-Arthur Miller*, Rene Milo, Thomas Schindler*, Bruce Weinstein*, John Wightman, Michael Wise*
Youth Singers: Lucia Cicerchia, Charlotte Clulow, Eleanor Clulow
Christine Gevert, Conductor
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About the Music and its background
The Music in the Jesuit Reductions in the ancient province of Paraguay (Excerpts)By Luis Szarán
For many years the silent friezes sculptured on the walls of the ruins of the Church in Trinidad (one of the last of the Jesuit settlements to be built on the Paraná River) have been the only silent witnesses to the music in the Jesuit Reductions. The interest musicologists, historians and musicians had about the music performed by choirs and orchestras in these Jesuit missions was great. The missions were called “Reducciones,” translated from the Latin expression reduction ad vitam civilem, to define this new way of evangelizing the “savage” Guarani Indians. This idea for settlements was brought to different parts of Latin America by Dominicans and Franciscans during the 16th century and developed in a larger scale during the 17th and 18th centuries.The Jesuits began their plan to build Reductions after 1609 following a request made to them by Governor Hernando Arias Saavedra [of Spain]. He asked the Provincial [Superior] of the Society of Jesus to send missionaries to the unexplored frontiers, where the Spanish influence [of the invaders] had not yet arrived. The Jesuit settlements became one of the most extraordinary chapters of South American history, especially regarding music. The Society of Jesus founded by Ignacio Lopez de Recalde, from Loyola, entered the immense region of the ancient province of Paraguay [which today encompasses both Paraguay and Argentina] with two missionaries who founded the first reduction among the Guaranies called San Ignacio Guazu. Subsequently, Jesuit missionaries established many others all over the area. They taught the Guaranies cattle-breeding, agriculture, trade and the arts. The success of this program was immediate, and many missionaries followed from different countries in Europe.
“The Musical State”The Jesuits protected the Indians from slavery, respected their language, gave much attention to their vital needs, and offered them the Christian rites, services and processions. For this reason, music was extremely important and a fundamental factor in attracting Indians to the Reductions. The extraordinary results achieved with their music were publicized in Europe, capturing the attention of Pope Benedict the 14th who wrote in his letter to his Bishops in February 1749: “The harmonic and figurative singing spread so well, that it even was established in the missions in Paraguay, because the believers in America have an excellent disposition and natural gifts, either for vocal or the instrumental music and easily learn all that belongs to the art. The missionaries used music to bring the natives the faith in Christ, singing prayers with devotion and mercy and reaching a high level in ability that nowadays there is no difference between the masses and vespers [there] and those performed here.”Father Jose Manuel Peramas reported: “The Guaranies were used to sing every day during the mass, accompanied bythe organ and many other instruments. In the evening after the rosary they were intoning a short motet in honor of the Holy Sacrament and Mary, the Mother of God, to which all people answered…”Jose Cardiel [a Jesuit missionary] wrote in 1747: “All reductions have 30 to 40 musicians. They teach music to the Indios [from childhood] and thanks to the quality of the teaching and the seriousness of the pupils, they become skilled musicians and singers. I traveled all over Europe and in few cathedrals I heard better music…”
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Jesuit Ranch in Córdoba
The musiciansMissionaries introduced European instruments, built their own workshops and composed works of sacred and profane music that were performed by native choirs and orchestras. At the Reduction in Yapeyu, there lived a famous pedagogue and revolutionary, Father Anton Sepp, who taught the “modern style,” the new way to play music born in Italy at the beginning of the 16th century with the first chamber orchestras. Father Sepp introduced violins, bombards, harps, flutes, guitars, organs, bass violas, dulcianas and bassoons. His ability in manufacturing instruments was so great that he produced more than 20 different instruments in his first year. Father Matias Strobel wrote about this subject: “Father Sepp introduced to Yapeyu harps, trumpets, trombones, bagpipes and the organ. He also introduced a new tonality (Tonsatz) and was praised and became famous for his music teaching.” Other instruments mentioned in the Reductions inventories were the lyre, cittern, mandolin and mandola, guitar or vihuela, spinet or clavier, tromba marina, clavichord and psaltery.Coming from Belgium where he left his position as Musician at the Court of Charles the 5th, Father Juan Vaisseau arrived in Paraguay in 1617 lived there for seven years, with many reports praising his work such as one written by Father Noel Berthot who declared “The Indios sang in a perfect French style.”
But the most important work was accomplished by Domenico Zipoli, who lived in Cordoba and mainly composed musicfor all of the Reductions on the continent. Born in Prato near Florence in 1688, Zipoli was one of the greatest composers of organ music and was known for his important work, “Sonate di Intavoluatura per Organo e Cembalo,” published in Rome and in London in 1716, and also for oratorios and cantatas, most of them lost. Very few people knew that this important composer at the peak of his career, only one year after publishing his organ masterpiece, secretly left Rome for Seville in Spain and then sailed towards the utopian “Musical Nation of the Jesuits” in South America.
Did Domenico Zipoli really exist?For the majority of musicologists in the world the life and musical history of the famous Italian composer Domenico Zipoli is a mystery not only for his decision to leave his prestigious position as organist and Kapell-Meister at Chiesa delGesu in Rome for South America, but also, because many of his early works in Italy were lost. A lack of information about his life created such confusion that experts like Marpurg (18th century German music critic, music theorist and composer) and Gerber even raised doubts about his existence. The mysterious vanishing of Domenico Zipoli in 1716 from the European musical panorama has a first answer only in 1943 when the musicologist Lauro Ayestaran from Uruguay discovers that “a certain Hermano Domingo Zipoli, organist in the Jesuit Church in Cordoba” was the same composer considered in his times as the successor of Frescobaldi. Only recently did we have a definitive confirmation of his presence in South America, especially after the discovery of many manuscripts of music the maestro wrote in this region. The music composed by Zipoli in South America was destroyed together with other documents and works of art soon after the expulsion of the Jesuits by the Spanish in 1767. In 1966 the Chilean musicologist Samuel Claro traced in an isolated part of Eastern Bolivia in some intact churches fragments of Zipoli’s works, sent by messengers to those remote missions. Recently the architect and restorer of the Reductions in Chiquitos, Hans Roth from Switzerland, discovered thousands of pages of music composed by Zipoli and anonymous authors that are studied today, transcribed and performed the world over as important evidence of that extraordinary experience and adventure. Father Peramas wrote in 1793 about Zipoli after he listened to a concert of his music: “Whoever listened to Zipoli’s music would never find anything so sublime, like after trying for the first time wild honey, you find all other food tasteless.”
Reproduced with permission by the author, Luis Szarán, a world renowned Zipoli scholar and performer
His writings can be found on the website of his group Domenico Zipoli Ensemble http://www.zipoli.itwith whom he has performed more than 200 concerts with Domenico Zipoli's music since the
rediscovery of his compositions.
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Johann Sebastian Bach and Domenico Zipoli By Christine Gevert
What is the connection between Johann Sebastian Bach and Domenico Zipoli?At first sight none. They never met, nor did they have a common teacher or mentor; they were of different religious denominations - one Lutheran and the other Catholic; different countries and mother languages: one German and the other Italian; one lived in Italy and South America and the other one in Germany. But both composers were extraordinarily talented and devoted the most important part of their lives to composing and performing sacred music. They both were very successful in their work and influenced the minds and souls of many through their works: Zipoli's all over South America, and Bach's all over the world until the present day. All of Zipoli's works were lost until their rediscovery only in the 1980s – and one of Bach's works, BWV 1127, was discovered only in 2005. The works of these two composers that we present today are also from the same time period – the first part of the 18th century. They both were born in the late 1680s and reached a first height of maturity as musicians in their 20s and 30s. Bach's Cantata BWV 150 is one of his earliest, showing Italian influence in style and casting (no violas are part of the instrumentation) which is the style that Zipoli was writing in. It would be interesting to compare the older Zipoli with the mature Bach, but unfortunately Zipoli did not live long enough...
The "longing of the soul" portrayed in Bach's sacred musicThe cantata on our program, BWV 150, is a vehicle to express the central idea of longing: for the divine, for peace, for the fulfillment of the promise of unity with God through Christ. BWV 150's text directly talks about the longing for God ...Nach dir, Herr, verlanget mich (Lord, I long for you.). Bach's cantata text is full of the symbols of Lutheran theology, using images to visualize the searching of the soul: cedars symbolizing the steadiness of the one who waits (Terzetto No. 3) and the gazing eyes (Coro No. 4) that will keep our attention on the One who can save us, to name just two. Musically these words and ideas are featured in distinct themes that depict the meaning of them. For example the wind that is shaking the cedars is portrayed by a fast moving obbligato violoncello part (Terzetto No. 3) and the foreboding of Christ's passion in the chromatic descending theme of the opening two movements. Bach uses all of theseideas and words in the text to teach the listener intrinsically, much as Zipoli taught the indigenous people in Argentina through his compositions.
Was Bach really influenced by other musicians?One likes to think about J.S. Bach as a "genius," a composer that showed others the way and surpassed his contemporaries, a completely independent creator who forged his own style. But one cannot forget that the young Bach learned from many musicians in his youth, among them his own brother Johann Christoph, whose keyboard works works he copied. Bach's style was greatly influence by Italianate models: Albinoni, Torelli, Corelli. He learned from them the forms of the Trio and the Concerto. The chromatic theme of the opening movement of the cantata "Nach dir, Herr, verlanget mich" is drawn directly from the theme of the third movement of Albinoni's third Triosonata.
Cantata BWV 150 - an Italian Cantata?Cantata BWV 150 might be one of the earliest cantatas by Johann Sebastian Bach. For some time there was doubt aboutits authenticity, but in the recent years German musicologists Glöckner (2000), and Zehnder (2009) proved that J.S Bach is the author. The influence of Italian Baroque composition technique is very obvious in this work: the texture lacks the middle voices (viola), being composed in a typical Italian Trio Sonata style; the cantata uses the choir almost in all movements, and the sections have frequent tempo and affection changes, being in that aspect much like Italian 17th century compositions.Aria BWV 1127A very exciting find, this piece was discovered in 2005 in the library collections at Weimar in a collection of literary works for special occasions consisting of almost 1,000 printed or manuscript documents of various sorts, all of them written in connection with tributes to or celebrations of the Weimar rulers of the early l8th century. This work is uniquefor Bach in its genre: a strophic form. It is a birthday greeting to the Duke Wilhelm Ernst of Weimar for his 53rd birthday in 1713 set to music by Johann Sebastian Bach, who was at that time organist to the court of Weimar.The text–a poem in twelve stanzas–uses the ducal motto: Omnia deo et nihil sine eo. (Everything with God and nothingwithout him) as the header of each verse. The soprano and basso continuo aria is followed by a string ritornello. It is likely that all verses were performed on the original occasion, as the initial words of each second line in every verse form the twelve letters of the duke's name, WJLHELM ERNST, which explains why the poet, Johann Anthon Mylius, wrote twelve verses to fit the acrostic.An homage to Pachelbel? The theme of the final movement of cantata BWV 150 reminds us of a ciaconna theme of Pachelbel (D minor). The Erfurt organist Pachelbel was a friend of the Bach family, and his style is recognizable in several of Bach's own early organ works. Pachelbel died in 1706–and Bach scholars Yoshitake Kobayashi and Zehnder see a direct connection between this event and the final ciaconna movement in Bach's cantata.
Sources: Wikipedia.com on Cantata BWV 150, Michael Maul 2005 on BWV 1127, Bachkantaten in der Predigerkircheby Jörg-Andreas Bötticher
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Domenico Zipoli (1688-1726) By Kathy Drake
Domenico Zipoli lived only 37 years, but his life was filled with study, performance, composition and travel--in Italy and finally thousands of miles from home to what is now Argentina. Born in Prato, Italy in 1688, he secured the patronage of Cosimo III, Grand Duke of Tuscany at age 19 and studied organ in Florence. Later he studied with Alessandro Scarlatti in Naples. He moved on to Rome in 1710 where he was a pupil of Bernardo Pasquini, a renownedvirtuoso keyboard player of the day who composed operas, oratorios, cantatas and keyboard music. Zipoli was given a prestigious position as organist of Rome’s Jesuit Church, writing two oratorios, harpsichord and organ pieces during this time. The oratorios were lost, but the keyboard music brought him recognition then and now, and can be heard on recordings today.
There is no account of why he made his next move. At age 28he traveled to Spain, became a Jesuit, and with 53 missionaries reached Buenos Aires in July 1717. Most of his life in South America was spent in Cordoba where he became the organist of the Jesuit Cathedral and continued as a prolific composer. He studied to become a priest, but died before he could attain his goal. Music played a huge role in the life of the Jesuit settlements, and Zipoli’s works were performed throughout South America. Zipoli was the most famous composer in South America and his reputation spread to Europe, but he never returned to his homeland, and died in Argentina in 1726.
Musicologists knew of Zipoli only through his work in Italy and fragments of his writing in South America. In the 1980s while restoring an old mission church in Bolivia, a Swiss architect uncovered many scores of Zipoli’s. They had been hidden in the mid-1700s when Spain expelled the Jesuits and their churches were abandoned.
Johann Sebastian Bach (1685-1750) By Juliet Mattila
Johann Sebastian Bach was the eighth child of Johann Ambrosius Bach, who was Town and Court Musician in Erfurt and Eisenach, Germany. Orphaned at the age of 10, Sebastian became a church organist in Arnstadt, Germany in 1703, after completing Latin school, then moved in subsequent years to Muehlhausen and Weimar.
He married Maria Barbara Bach (1684-1720), a second cousin, in 1707. In 1717, he became Capellmeister at the court of Prince Leopold of Anhalt-Coethen. In 1721, he married Anna Magdalena Wilcke, a singer, and in 1723, accepted the position of Cantor at the Thomas Church in Leipzig, where he taught, conducted, performed, and composed for the rest of his life.
In 1729, he also took directorship of the Leipzig Collegium Musicum founded by his friend Georg Phillip Telemann. In 1736, he was granted the title of Royal-Polish and Electoral-Saxon Court Composer by King Friedrich August II. He died in 1750 after an unsuccessful series of eye operations.
Although Bach was an extremely prolific composer, a substantial portion of his work has been lost.
The latest find in many years was the discovery in 2005 of an Aria for Soprano and strings – a Birthday-Ode to the duke of Weimar, Bach's employer in 1713.
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Texts and Translations
Misa San IgnacioKyrie
Kyrie eleison.Christe eleison.Kyrie eleison.
Lord, have mercy.Christ, have mercy.Lord, have mercy.
Gloria
Gloria in excelsis Deo. Glory be to God in the highest.
Et in terra pax hominibus bonæ voluntatis. And on earth peace to men of good will.
Laudamus te; benedicimus te; adoramus te; glorificamus te.
We praise Thee; we bless Thee;we worship Thee; we glorify Thee.
Gratias agimus tibi propter magnam gloriam tuam. We give thanks to Thee for Thy great glory.
Domine Deus, Rex coelestis, Deus Pater omnipotens.Domine Fili unigenite Jesu Christe.Domine Deus, Agnus Dei, Filius Patris.
O Lord God, Heavenly King, God the Father Almighty.O Lord Jesus Christ, the only begotten Son.Lord God, Lamb of God, Son of the Father.
Qui tollis peccata mundi,miserere nobis.Qui tollis peccata mundi,suscipe deprecationem nostram.
Thou that takest away the sins of the world,have mercy upon us.Thou that takest away the sins of the world,receive our prayer.
Qui sedes ad dextram Patris,miserere nobis.
Thou that sittest at the right hand of the Father,have mercy upon us.
Quoniam tu solus Sanctus, tu solus Dominus,tu solus Altissimus, Jesu Christe.
For Thou only art holy, Thou only art the Lord,Thou only art the most high, Jesus Christ.
Cum Sancto Spiritu in gloria Dei Patris. Amen. With the Holy Ghost in the glory of God the Father. Amen.
Tantum Ergo
Tantum ergo SacramentumVeneremur cernui:Et antiquum documentumNovo cedat ritui:Præstet fides supplementumSensuum defectui.
Hence so great a Sacrament Let us venerate with heads bowed: And let the old practice Give way to the new rite: Let faith provide a supplement For the failure of the senses.
Genitori, GenitoqueLaus et jubilatio,Salus, honor, virtus quoqueSit et benedictio:Procedenti ab utroqueCompar sit laudatio.Amen.
To the Begetter and the Begotten Be praise and jubilation, Hail, honor, virtue also, And blessing too: To the One proceeding from Both Let there be equal praise. Amen.
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Credo
Credo in unum Deum. I believe in one God.
Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium.
The Father almighty, maker of heaven and earth, and of all things visible and invisible.
Et in unum Dominum Jesum Christum, Filium Dei unigenitum,Et ex Patre natum ante omnia sæcula.
And in one Lord Jesus Christ, the only begotten Son of God,begotten of the Father before all worlds;
Deum de Deo, lumen de lumine, Deum verum de Deo vero,Genitum non factum, consubstantialem Patri: per quem omnia facta sunt.Qui propter nos homines, et propter nostram salutem descendit de coelis.
God of God, light of light, true God of true God, begotten not made; being of one substance with the Father, by whom all things were made.Who for us men and for our salvation descended from heaven.
Et incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est.
And was incarnate by the Holy Ghost, of the Virgin Mary, and was made man.
Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.
He was crucified also for us, suffered under Pontius Pilate, died and was buried.
Et resurrexit tertia die secundum Scripturas.Et ascendit in coelum: sedet ad dexteram Patris.Et iterum venturus est cum gloria, judicare vivos et mortuos: cujus regni non erit finis.
And on the third day He rose again according to the Scriptures: and ascended into heaven.He sitteth at the right hand of the Father; and He shall come again with glory to judge the living and the dead; and His kingdom shall have no end.
Et in Spiritum Sanctum, Dominum, et vivificantem:qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per Prophetas.
And in the Holy Ghost, the Lord and giver of life,who proceedeth from the Father and the Son,who with the Father and the Son togetheris worshiped and glorified;who spoke by the Prophets.
Credo in unam sanctam catholicam et apostolicam Ecclesiam. I believe in one holy catholic and apostolic Church.
Confiteor unum baptisma, in remissionem peccatorum.
I acknowledge one baptism for the remission of sins.
Et expecto resurrectionem mortuorum et vitam venturi sæculi. Amen.
And I await the resurrection of the dead and the life of the world to come. Amen.
Cantata BWV 150 “Nach dir, Herr, verlanget mich” 2. Coro
Nach dir, Herr, verlanget mich. Mein Gott, ich hoffe auf dich. Laß mich nicht zuschanden werden, daß sich meine Feinde nicht freuen über mich.
(Psalm 25:1-2)
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 Doch bin und bleibe ich vergnügt,obgleich hier zeitlich tobenKreuz, Sturm und andre Proben,Tod, Höll und was sich fügt.Ob Unfall schlägt den treuen Knecht,Recht ist und bleibet ewig Recht.
I am and shall be ever content, Though here in time may bluster Cross, storm and other trials, Death, hell, and what must be. Though mishap strike thy faithful servant, Right is and shall be ever right.
4. Coro Leite mich in deiner Wahrheit und lehre mich;denn du bist der Gott, der mir hilft, täglich harre ich dein.
(Psalm 25:5)
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. Aria Zedern müssen von den Windenoft viel Ungemach empfinden,oftmals werden sie verkehrt.Rat und Tat auf Gott gestellet,achtet nicht, was widerbellet,denn sein Wort ganz anders lehrt.
Cedars must before the tempest Oft much stress and torment suffer, Often are they even laid low. Thought and deed to God entrust, Heeding not what howls against you, For his word tells otherwise.
6. Coro
Meine Augen sehen stets zu dem Herrn;denn er wird meinen Fuß aus dem Netze ziehen.
(Psalm 25:15)
My eyes gaze continually at the Lord;For he will draw my foot out of the net.
7. Coro
Meine Tage in den Leidenendet Gott dennoch zur Freuden;Christen auf den Dornenwegenführen Himmels Kraft und Segen.Bleibet Gott mein treuer Schatz,achte ich nicht Menschenkreuz;Christus, der uns steht zur Seiten,hilft mir täglich sieghaft streiten.
My days in sufferingGod will nevertheless end in joy;Christians upon the thorny pathwaysare 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.
Confitebor Domine
Confitebor tibi Domine,In toto corde meo;In consilio justorum,Et congregatione.Magna opera Domini,Exquisita in omnes voluntates ejus.Confessio et magnificentia opus ejus;Et justitia ejus manetIn saeculum saeculi.Memoriam fecit mirabilium suorum,Misericors et miserator Dominus.Escam dedit timentibus se.Memor erit in saeculumTestamenti sui.Virtutem operum suorumAnnuntiabit populo suo.Ut det illis Hereditatem gentium;Opera manuum ejus veritas et judicium.Fidelia omnia mandata ejus,Confirmata in saeculum saeculi,Facta in veritate et aequitate.Redemptionem misit Dominus Populo suo; Mandavit in aeternum testamentum suum.Sanctum et terribile nomen ejus:Initium sapientiae timor Domini;Intellectus bonus omnibus facientibus eum.Laudatio ejus manet in saeculum saeculi.Gloria Patri et Filio et Spiritui Sancto.Sicut erat in principio, et nunc, et semper.Et in saecula saeculorum. Amen.
Psalm 111 and Doxology
I acknowledge you, o Lord,With my whole heart;In the council of the justAnd in the congregation.Great are the works of the Lord,Chosen by all His desires.I acknowledge also the magnificence of His deeds;And His justice enduresFrom generation to generation.He has made memorials of His miracles,A merciful and compassionate Lord.He gives food to those that fear Him.He will remember foreverHis covenant.The power of His worksWill be announced to His people.So that He may give them the inheritance of the nations;The works of His hands are truth and justice.All His commandments are faithful,Confirmed from generation to generation,Made in truth and fairness.The Lord has sent salvation to His people;He has given His covenant for eternity.Holy and awesome is His name;The fear of the Lord is the beginning of wisdom;All who practice it have a good understanding.His praise endures from generation to generation.Glory to the Father and to the Son and to the Holy Spirit, as it was in the beginning, is now, and forever, and for generations of generations. Amen.
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Laudate Dominum
Laudate Dominum omnes gentes,omnes populi laudate eum,quoniam confirmata est super nos misericordia ejus,et veritas Domini manet in aeternum.Gloria Patri et Filio, et Spiritui Sanctosicut erat in principioet nunc et semper et in saecula saeculorum. Amen.
Praise the Lord, all nations,all people, praise him,for his mercy over us is sure,and the truth of the Lord lasts forever.Glory to the Father and the Son and to the Holy Spiritas it was in the beginning,is now and always, and for ages of ages. Amen.
Aria BWV 1127 “Alles mit Gott und nichts ohn' ihn”
1. Alles mit Gott und nichts ohn’ ihnwird Wundersegen einher ziehn.Denn Gott, der Wunder tut im Himmel und auf Erden,will denen Frommen, selbst, zum Wundersegen werden.Der Mensch bemühet sich, will Wunder viel verrichten,und voller Unruh ist sein Sinnen, Denken, Dichten.Soll Wundersegen einher ziehn.alles mit Gott und nichts ohn’ ihn.
1. "All things with God, without him nought"will hither wondrous blessing bring.For God hath wonders wrought in heaven and on earth and would for the just himself become a wondrous blessing.Mankind is striving much, would wonders many fashion,and ever restless in its senses, thoughts, intentions.Should hither Wondrous blessing come,all things with God, without him nought.
4. Alles mit Gott und nichts ohn’ ihnwird Himmelssegen einher ziehn.Du, Gott des Himmels, kannst den Himmel ja erhören,es kann dein Himmelsschoβ Korn, Most und Öl bescheren,wenn Regen, Sonnenschein zur rechter Zeit sich küssenwenn Erd und Himmel lacht und man wird sagen müssen:Soll Himmelssegen einher ziehn,alles mit Gott und nichts ohn’ ihn
4. "All things with God, without him nought"will hither Heaven’s blessing bring.Thou, God of heaven, canst to heaven grant thy favor,thy heav'nly bosom can grain, wine and oil apportionwhen rain and sunshine have embraced in their due season,when earth and heaven laugh and we must all confess it:"Should hither Heaven’s blessing come,all things with God, without him nought."
8. Alles mit Gott und nichts ohn’ ihnwird ew’gen Segen einher ziehn.Was ist das Irdische? Ein Schatten, der verfliegetund den das Himmlische unendlich überwieget.Dies alles, jenes nichts. Wirst du sie beide prüfenGott muβ der Leitstern sein, willst du dich nicht vertiefenSoll ew’ger Segen einher ziehn,alles mit Gott und nichts ohn’ ihn.
8. "All things with God, without him nought"will here Eternal blessing bring.What is the earthly part? A shadow disappearingo'er which the heav’nly part forevermore prevaileth.This part all, that part nought. Wouldst thou them both examine, God be the guiding star, if thou wish not to founder.Should here Eternal blessing come,all things with God, without him nought.
12. Alles mit Gott und nichts ohn’ ihnwird tausend Segen einher ziehn.Gott Vater, der du wohnst, wo tausend Chöre tönen,ach! laβ, durch mein Gebet, in Christo dich versöhnen.Dein Geist, mein Herz und Sinn in allen dahin lenke:Nichts ohne dich, mein Gott, hilf, daβ ich stets bedenke.Soll tausend Segen einher ziehn,alles mit Gott und nichts ohn’ ihn.
12. "All things with God, without him nought"will hither Thousand blessings bring.God, Father, thou who dwellst where choirs resound in thousands, O grant me through my prayer in Christ to find thy favor. Thy Spir't, my heart and mind in all things should lead thither: Nought without thee, my God, help me always to ponder: "Should hither Thousand blessings come,all things with God, without him nought"
Beatus Vir
Beatus vir qui timet Dominum: in mandatis ejus volet nimis. Potens in terra erit semen ejus; generatio rectorum benedicetur. Gloria et divitiae in domo ejus: et justitia ejus manet in saeculum saeculi. Exortum est in tenebris lumen rectis: misericors, et miserator, et justus. Jucundus homo qui miseretur et commodat; disponet sermones suos in judicio: quia in aeternum non commovebitur. In memoria aeterna erit justus; ab auditione mala non timebit.
Blessed is the man that feareth the Lord: he hath great delight in his commandments. His seed shall be mighty upon earth: the generation of the faithful shall be blessed. Riches and plenteousness shall be in his house: and his righteousness endureth forever. Unto the godly there ariseth light in the darkness: he is merciful, loving, and righteous. A good man is merciful, and lendeth: and will guide his words with discretion. For he shall never be moved. And the righteous shall be had in everlasting remembrance; he will not be afraid of any evil tidings:
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Paratum cor ejus sperare in Domino, confirmatum est cor ejus; non commovebitur donec despiciat inimicos suos. Dispersit, dedit pauperibus; justitia ejus manet in saeculum saeculi: cornu ejus exaltabitur in gloria. Peccator videbit, et irascetur; dentibus suis fremet et tabescet: desiderium peccatorum peribit.
Clementine Vulgate (Psalm 111)
for his heart standeth fast, and believeth in the Lord. His heart is established, and will not shrink: until he see his desire upon his enemies. He hath dispersed abroad, and given to the poor:and his righteousness remaineth forever; his horn shall be exalted with honor. The ungodly shall see it, and it shall grieve him: he shall gnash with his teeth, and consume away; the desire of the ungodly shall perish.
Church of England 1662 Book of Common Prayer
About the PerformersFounded in Lakeville, Connecticut by Christine Gevert and a group of committed amateur musicians at the end of 2003, over the course of ten years Crescendo has grown from an expanded music program at Trinity Church Lime Rockto what is now, an award-winning, nationally-recognized performance organization that presents concerts in the tri-state area of northwest Connecticut, western Massachusetts and New York's mid-Hudson Valley. Its spring and fall programs are currently performed in both Lakeville and Great Barrington, MA. Last year the organization also performed at Bard College's Chapel of the Holy Innocents and St. Bart's Chapel in New York City.
Crescendo's musical mission is to give listeners and performers classical music experiences that are emotionally alive and personally meaningful. Its special emphasis on historically informed performance practice distinguishes Crescendofrom other concert choruses in this area.
Crescendo's music programs are mostly produced by its own ensembles in Lakeville, CT and Great Barrington, MA: The Crescendo Chorus, the Vocal Ensemble, the Baroque Ensemble and the Crescendo Period Instrument Orchestra. Nationally and internationally recognized soloists and period instrument players now bring Crescendo's performances to a level comparable to those of the best ensembles in the country.
Crescendo puts great emphasis on educational outreach – to singers, audiences and students. Talented local high school singers are coached by Ms. Gevert and often play a part in our performances. She and members of the chorus visit local schools each year to work with students. Crescendo also offers workshops and master classes, community lectures and for its audiences, pre-concert talks and informative program notes.
Crescendo has produced over 50 concert programs over the last ten years. Ms. Gevert is celebrated for her innovative approach to programming and performance. In June 2014, Crescendo, under her leadership, won the prestigious Chorus America/ASCAP/Alice Parker Award presented in Washington DC. She has introduced Crescendo's audiences to eight U.S. premieres as well as a diverse repertoire of contemporary and early music. Among the many:
The U.S. premiere of a Chilean mass, Misa Andina, by the contemporary composer, Jaime Soto León. Commissions of two works by composers of Chinese music, Cheng-Chia Wu and John Myers, and
contemporary Chinese a cappella works by the acclaimed composer Chen Yi. The U.S. premiere of the 17th century Bohemian composer Jan Dismas Zelenka's Missa Votiva. The U.S. premiere of the oratorio Kapitänsmusik by Georg Philipp Telemann. The U.S. premiere of the Missa Concertata La Lombardesca by Bartołomiej Pękiel and several other works by
Polish Baroque composers of the 17th century. U.S. premieres of sacred works by Latin American composers Torrejón y Velasco Sánchez and Araujo and
German composers Johann Christian and Johann Ludwig Bach A 2006 concert featuring To Hope, the late Dave Brubeck's jazz mass, which was acclaimed both by its
audiences and the composer: ...“Your experience with the mass is exactly what I had hoped would happen…Thank you so much for demonstrating how the composition realized those goals in your guiding hands.” (Dave Brubeck, private letter 2007)
The concert “Orlando di Lasso's Sibylline Prophecies, 20th Century Music Foretold,” presenting a rarely-heard,transformational jewel of the 16th century in an original arrangement by Ms. Gevert for high voices.
The November 2014 concert program “The Italian American Bach,” Domenico Zipoli received the Choral Arts New England - Alfred Nash Patterson award. Crescendo is a member of Chorus America.
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Christine Gevert, artistic director, holds a master’s degree in organ and early music performance from the Hochschule für Musik und Theater, Hamburg, Germany. After earning a bachelor’s degree in music theory, basso continuo and choral conducting from the Conservatorio Nacional de Chile, she studied choral and orchestral conducting in Berlin and harpsichord in London. She has taught at the Berliner Kirchenmusikschule, the Universidad de Chile, and the Pontificia Universidad Católica in Santiago, Chile.
While conducting and performing in Europe and South America, she also recorded for Carpe Diem and Alerce. She has led master classes and workshops in early music, harpsichord, and baroque vocal technique at music festivals in Germany, Chile and the US, and has taught historic keyboards at the Berlin Church Music School in Germany and locally at Bard College at Simon’s Rock. Ms. Gevert has appeared at the Boston Early Music Festival, the Washington Early Music Festival, the Berkshire Choral Festival and the Amherst Early Music Festival. In recent years she has given solo harpsichord recitals at the Early Music Festival in Narol, Poland, at thehistoric Auditorium Wanda Landowska near Paris, at the Metropolitan Museum of Art, and the Brooklyn Beat Festival. She performed in Boston in the U.S. premiere of the baroque oratorio, Il Figliuol Prodigo by Camila de Rossi. In the last year she performed in a chamber music program at St. Barts Chapel in New York, and played theclosing concert as organ soloist at the Festival for Sacred Music at the Catholic University in Santiago, Chile. She has authored and published more than eighty historical basso continuo realizations with the Swiss music publisher, Amadeus Verlag. The founder and artistic director of Crescendo and her own baroque ensemble Les Inégales, Christine is currently music director at Trinity Episcopal Church, Lime Rock, CT.
The Soloists
Julianne Baird, soprano, has been hailed a “national artistic treasure” (New York Times) and as a “well-nigh peerless performer in the repertory of the baroque. She pos-sesses a natural musicianship which engenders singing of supreme expressive beauty.” The London Times has called her Handel performances “exquisitely stylish.” This es-timable artist maintains a busy concert and recording schedule of solo recitals and perfor-mances of baroque opera and oratorio. In addition to her major roles in a series of acclaimed recordings of Handel and Gluck operatic premieres, new releases include the complete Biblical Cantatas of Elisabeth Jacquet de la Guerre with Brandywine Baroque. New additions to her more than 130 solo discs are Love Songs of Albrecht Mendelssohn (Felix’s grandson) and Apollo’s Muse, fea-turing music for clavicytherium with cantatas by Marc Antonio Pasqualini (recorded in
January 2014). Her 2014 season included two London trips for performances at the Horniman Museum (Historic Instrument Division) and a recording of French chansons from the time of Sermisy, with Zephyrus. Dr. Julianne Baird has been professor at large and an adjunct professor at the University of Western Australia in Perth since 2011, and is a distinguished professor at Rutgers University. She is recognized internationally as one whose “virtuosic vocal style is firmly rooted in scholarship.” Her book, Introduction to the Art of Singing, Cambridge University Press, now in its third printing, is used by singers and professional schools internationally.
Soprano Sarah Moulton Faux is “a winsome beauty with a voice to match.”(BerkshireFineArts.com) She made her operatic debut at the age of 12 in the role of Amahlin Amahl and the Night Visitors with Opera of the Hamptons. In 2008, Sarah made herprofessional debut as the Pink Sheep in New York City Opera’s acclaimed production of Candide. Since then, she has appeared as Gilda, (Rigoletto), Susanna (The Marriage ofFigaro), Rosina (Il Barbiere di Siviglia), Musetta (La Boheme), Papagena (Das Labyrinth)and Annchen (Der Freischutz) with companies that include Regina Opera, Amore Opera,Pocket Opera of New York, Chelsea Opera, and Utopia Opera. From her October performances as Papagena in Das Labyrinth, Opera News singled outSarah’s “full, silvery soprano.” In 2013, Sarah was a Semi-Finalist in the Marcello GiordaniFoundation International Vocal Competition and a 2011 Semi-Finalist in the LyndonWoodside Oratorio Solo Competition. A graduate of Barnard College in Asian & MiddleEastern Studies (magna cum laude/departmental honors), Sarah holds a Master of Music in Vocal Performance & Pedagogy with honors from Westminster Choir College.
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Nicholas Tamagna, countertenor, is a native of the Hudson Valley, and proudly joins Crescendo for a fifth season. In 2014/15, Mr. Tamagna returned to the Händel-Festspiele in Karlsruhe, Germany as Oronte in Händel’s Riccardo Primo, where he made his European debut the previous year. At Theater Münster he performed Polinesso in Ariodante, and débuted at the Royal Opera House at Covent Garden as Hassan in Zaid Jabri’s Cities of Salt. With early music ensemble Le Poème Harmonique, he reprised the role of the Spirit in Dido and Aeneas at the Bozar in Bruxelles. Having performed this role with the company previously at Opéra de Haute-Normandie Rouen and Opéra Royal de Versailles, he will join them in touring arevival production in 2016/17 appearing again at Rouen and Versailles, in addition to Opéra de Vichy. He will join Le Poème Harmonique in 2016 at Opéra de Rouen as the
featured soloist in a staged pastiche called, “To be or not to be” celebrating the works of Shakespeare in verse and song as set by Henry Purcell and his contemporaries. During the 2012/13 season, Mr. Tamagna triumphed as the title character in Philip Glass’ rarely performed opera Akhnaten with Indianapolis Opera, from which a filmed version was broadcast. In New York, he performed the role of Ottone in L’incoronazione di Poppea at Symphony Space, the title role in the North American premiereof Händel’s Rodrigo with operamission, and Pisandro in Monteverdi’s Il Ritorno d’Ulisse in Patria with Opera Omnia. In recent seasons, he has performed the title role in Händel’s Serse, Pane in Cavalli’s La Calisto, Ce-sare and Tolomeo in Giulio Cesare in Egitto, Farnace in Mozart’s Mitridate, Gluck’s Orpheus, the Sorcer-ess in Dido and Aeneas, and Ruggiero in Alcina. Mr. Tamagna is featured on DVD recordings in the title role of Akhnaten (2016, Orange Mountain Music), the Spirit in Dido and Aeneas (2015, Outhère Music), and with Canadian early music ensemble ¡Sacabuche! in perfor-mances of unpublished works of the Italian Baroque (2015, ATMA Classique). An active concert soloist, He has sung in renowned venues including Carnegie Hall, Merkin Hall, Avery Fisher Hall, and the Bozar in Bruxelles. At Lincoln Center he performed his house debut as a soloist in Händel’s Messiah and returned again in a production of Babes in Toyland with Little Orchestra Society. Mr. Tamagna was the 1st Prize winner of the inaugural Nico Castel International Mastersinger Competition. In 2011 he won 2nd Judges Prize in the Arkadi Foundation Opera Competition, was a noted finalist in the the McCammon Voice Competition, and was a noted semi-finalist in the Gianni Bergamo Award Competition for Countertenors in Lugano, Switzerland.
Pablo Bustos, tenor, is a graduate of the Eastman School of Music, where he re-ceived both his bachelor and master degrees in vocal performance. Highlights ofconcert appearances include: Handel’s Ode to St. Cecilia with the Orchestra of St.Luke’s at Carnegie Hall; Britten’s Canticle II: Abraham and Isaac at the New Eng-land Conservatory; the Evangelist in Bach's St. John Passion with the RochesterBach Festival; and Handel’s Messiah as well as the Britten Serenade for Tenor,Horn and Strings with the Fort Street Chorale. Recent operatic engagements in-clude the Witch in Humperdinck's Hansel and Gretel and Tamino in Mozart's DieZauberflöte with Opera Theatre of Weston. This winter he returns to OTW to per-form the role of Colin in the East coast premiere of Nolan Gasser’s opera The SecretGarden. Under the auspices of the early music ensemble La Donna Musicale, Mr. Bustoshas participated in two modern premieres, singing the role of Scipione in MariaTeresa Agnesi’s La Sofonisba and the role of the Father in Camilla de Rossi’s Il Figliuol Prodigo, opposite Ju-lianne Baird singing the role of the Mother. His discography includes: The Lutheran Masses and Advent Can-tatas of J. S. Bach with the Publick Musick Baroque Orchestra and Chorus, as well as a guest appearance for two Italian duets in soprano Andrea Folan’s disc of Haydn Lieder—all available on Musica Omnia. In 2006, Mr. Bus-tos was a finalist in the Philadelphia Bach Festival’s International Bach Aria Competition. He currently lives in Rochester, NY, where he continues to study with soprano Rita Shane, is the organist/director of music ministry for the Reformation Lutheran Church, as well as adjunct voice professor for the College of Liberal Arts of the Rochester Institute of Technology.
John-Arthur Miller, bass-baritone, spent more than 25 years freelancing as a classical singer in the New York City region and remains active in the Berkshires as a singer and director of the choir at Christ Trinity Churchin Sheffield. He performed in Verdi's Requiem in the Czech Republic in 2008, and has performed as soloist and ensemble singer with Crescendo since 2006
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Crescendo Youth Singers
Lucia Cicerchia is a 4th grader at Undermountain Elementary School in the Berkshires. She is a lover of music, books, and nature. Lucia has been singing with the Berkshire Children's Chorus since 2014, and by herself since 2009. Lucia studies piano with Anne Voglewede Green, and sings in the chorus at Undermountain Elementary School. This will be her first time performing with Crescendo. Inspired by the new choral repertoire, she now wants to study Latin.
Eleanor Clulow is currently a ninth grader at Housatonic Valley Regional High School where she sings with the Chorus, the Night Chorus and Sweethearts, an A Capella group. She has been a part of the Crescendo Youth Chorus for the past two seasons. Outside of Crescendo, Eleanor has appeared with TriArts in The Sound of Music and 13 The Musical. She has also appeared in Metamorphoses and Twelfth Night on the Acting Manitou stage.
Charlotte Clulow is currently a seventh grader at Salisbury Central School. This is her first season with the Crescendo Youth Chorus. Charlotte studies piano with Annette Hunt and plays trumpet in her school concert and jazz bands. She has appeared with TriArts in Les Miserables and at The Hotchkiss School in Ragtime. She looks forward to returning to Hotchkiss later this fall in their production of Pippin.
Crescendo Period and Andean InstrumentsJudson Griffin, violin and concertmaster, is a graduate of the Eastman School of Music and earned master's and doctorate degrees at the Juilliard School. Coming to period instruments in 1979 through the influence of harpsichordist Albert Fuller, he played in the 1980s with Aston Magna, the Mozartean Players, the Boston Early Music Festival Orchestra, and the Smithsonian Chamber Players and Chamber Orchestra. He was a founding member of the Smithson Quartet, in residence at and using instruments from the collections of the Smithsonian Institution, making groundbreaking recordings of quartets of Haydn, Mozart, and Beethoven. He was music director of the Connecticut Early Music Festival from 2000 to 2007, conducting music from Gabrieli through the operas of Vivaldi and Mozart, researching and creating new editions, writing program notes, and providing translations from Latin, Italian, French, and German. He has been a frequent performer in Europe and in the US as concertmaster, soloist, and conductor, appearing with groups like Amor Artis, the American ClassicalOrchestra, Concert Royal, Florida Pro Musica, and Baltimore Pro Musica Rara. Mr. Griffin led period-instrument orchestras for dance performances at the Maggio musicale in Florence, in opera at Musica nel chiostro near Grosseto, Italy, and led the Lobkowitz Quartet in performances of Haydn's Seven Last Words in Germany. He has toured with the English Concert and Trevor Pinnock; played with the Akademie der alten Musik in Berlin; with Il complesso barocco in Innsbruck, Milan, and Venice; and has been a soloist at the Festival de Clisson, France. Solo recitals have been given in Boston, Detroit, Washington, DC, in New York at Weill Recital Hall and Merkin Hall, and in Alaska. He is first violinist of the newly formed New York Classical Quartet and of Abendmusik, an ensemble of 2 violins, 3 viols, and organ, performing music of the 17th century.
Margaret Ziemnicka, violin, received her education in violin, piano, and chamber music at the Wieniawski Music Lyceum in her native Lodz, Poland. She toured Europe with the Lyceum’s chamber choir, winning major prizes at competitions in Spain and Italy. While studying violin and sound recording at the Chopin Music Academy in Warsaw she became interested in baroque violin. After immigrating to the United States Ms. Ziemnicka continued her studies at DePaul University in Chicago and at McGill University in Montreal. As a member of the Chicago Civic Orchestra she performed under Sir Georg Solti, Daniel Barenboim, and Pierre Boulez. Since moving to New York Ms. Ziemnicka has been performing baroque and classical music on period instruments with REBEL, Concert Royal, Early Music New York, Trinity Baroque Orchestra, Sinfonia New York, Gotham Chamber Opera, at Museum Concerts in Providence, and has made numerous recordings on modern andbaroque violin. She appears regularly at Lincoln Center with the American Classical Orchestra, and has performed at the Kennedy Center and the Washington National Cathedral, and with the Rhode Island Philharmonic. Ms. Ziemnicka is a member of the recently formed New York Classical Quartet. She is a great fan ofjazz and popular music of the 1920s.
David Bakamjian, violoncello, performs regularly as a recitalist, ensemble player, and recording artist. He has soloed with the Allentown Symphony, Philharmonia Virtuosi, Beijing Symphony, Bachanalia Festival Orchestra, Musica Bella, the Lehigh University Philharmonic, and the Ensemble for Early Music in New York, andhas been principal cellist for several NY orchestras. Mr. Bakamjian is a member of the Simon String Quartet, and of Brooklyn Baroque. He performs with Concert Royal, the American Classical Orchestra, the Ensemble for Early Music and the Long Island Baroque Ensemble. He was recently featured at the Metropolitan Museum of Art in “Evocations of Armenia,” a program that he co-wrote. He taught at Lehigh University for eight years and is the director of the Summer String-In and the Princeton Play Week chamber music workshops. He earned his BA fromYale, where he studied with Aldo Parisot, and his master’s and doctoral degrees at SUNY Stony Brook, where he studied with Timothy Eddy and Bernard Greenhouse.
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Jane Hershey, violone, studied viola da gamba with Wieland Kuijken at the Hague Conservatory and with Gian Silbiger at the Longy School of Music. Early in her career she toured and recorded in the U.S. and Europe with the Boston Camerata. She is a member of the Carthage Consort and Arcadia Players. An active freelancer around New England, she played recently with the Connecticut Early Music Festival, Mohawk Trail Concerts, Musicians of the Old Post Road and the Cambridge Society for Early Music. She has been a soloist in the St. Matthew Passion both in Boston and Worcester in recent seasons. She can be heard on a recent Centaur recording of music by Elisabeth Jacquet de la Guerre with Frances Fitch and friends. Ms. Hershey serves on the faculties of the Powers Music School and Longy School of Music; she has directed the Tufts Early Music Ensemblesince 1995.
Rachel Begley, bassoon and dulcian, performs as a soloist and with ensembles across North America, and has been hailed for her virtuosic and sensitive playing on both recorders and historical bassoons. Recent performing highlights include Utrecht Early Music Festival Fringe, Boston Early Music Festival Fringe, Connecticut Early Music Festival, Mercury Baroque, Alba, Clarion Society, Early Music New York, American Classical Orchestra, and The Play of Daniel at The Cloisters. She is a founding member of two new ensembles, thechamber music group Fire & Folly and the oboe band Symphonie des Dragons, both of which have already garnered both audience and critical acclaim. Though her musical focus is currently in early music, she has premiered solo works for recorder by such luminaries as Leonard Bernstein and Joan Tower, and was recorded aspart of the soundtrack for Casanova. A native of England, she holds a doctor of musical arts degree in recorder and early music from SUNY Stony Brook, and teaches at festivals and workshops in both the USA and Europe. In 2010–11, she was a visiting profes-sor of recorder at Indiana University and an adjunct assistant professor at Queens College (CUNY). She has been music director for the Recorder Society of Long Island since 1994.
Christa Patton, baroque harp, is also an early wind specialist who has performed throughout the Americas, Europe, and Japan with many of today’s premier early music ensembles. As a baroque harpist she has appeared with Apollo’s Fire, The King’s Noyse, The Toronto Consort, Seattle Baroque Orchestra, La Nef, Blue Heron, FolgerConsort, Parthenia, ARTEK, New York State Baroque Orchestra, and many others. She has performed in early opera productions with the New York City Opera, Wolf Trap Opera, Tafelmusik, Opera Atelier, Opera Vivente andOpera Omnia. She is also a member of Piffaro the Renaissance band and specializes in winds and a variety of his-torical harps. Christa is the musical director and co-director of the Baroque Opera Workshop at Queens College specializing in the works of early 17th century composers. Christa can be heard on Navona Records, Lyrachord, Dorian Records and ATMA.
Rodrigo Tarraza, quena, is an internationally renowned flautist, and one of the few musicians in the world specializing in baroque transverse flute. He studied with Barthold Kuijken at the Royal Conservatory, The Hague, and has performed throughout North America, South America, and Europe as both a soloist and chamber musician. In 1995 he co-founded Les Inégales, an ensemble dedicated to the European baroque. And specifically, French chamber music. Les Inégales has performed and recorded extensively in Europe, USA and Chile. Their most renowned album, Ordinaire de la Chambre du Roi, was recorded on the German label, Carpe Diem. He has taught baroque transverse, modern flute and baroque performance practice at schools and universities in Norway, Holland, Germany, Chile, and in the US at the New England Conservatory. A master of many wind instruments, Mr. Tarraza performs and teaches on such ethnic instruments as Indian and Asian bamboo flutes as well as the clarinet, saxophone, and EWI (a blown synthesizer developed by Michael Brecker). In his youth he performed in Chile with the Barroquito, the young ensemble of Andean folk instruments led by Jaime Soto León. In 2001, he took a foray into the jazz world and co-founded Unfulfilled Desires.
Gonzalo Cortés, quena, a native of Chile, was formerly principal flautist of the Classical Orchestra of Santiago, Chile. He studied with Alberto Harms at the Catholic University of Chile and earned an artist diploma from Duquesne University with Robert Langevin, principal flautist of the New York Philharmonic, as his teacher. As a soloist and orchestral musician he has toured South America and the U.S. with different ensembles such as the Simon Bolivar Orchestra, Orquesta Sinfonica of Chile, Classical Orchestra of Santiago, Farmington Valley Chorale, Chorus Angelicus and Gaudeamus, Hartford Pops Band, and the Symphony of South East Texas, and hasperformed at numerous festivals such as the Orford Arts Centre’s Academy of Music in Canada, Primer Festival International de Flauta in Rio de Janeiro, the Western Slope Music Festival in Crested Butte, Colorado and Frutillar, Chile, among others. In addition to Mr. Cortés’s classical training, he is a proponent of world music, particularly of flutes from around the world. He has recorded with the internationally acclaimed Chilean folk group Inti-Illimani as well as the Choral Arts Society of Washington, DC for the Naxos label. In 2006, Gonzalo released his CD, Valle, featuring a collection of original music composed and performed by him that can be found on iTunes or CDBaby.com. He has also performed at the Tereza Carreño Theater in Venezuela, Teatro Municipal,
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in Santiago, Chile the Smithsonian Museum of Natural History in Washington DC and the Sunken Garden Poetry and Music Festival at the Hillstead Museum in Farmington, CT, among others. Currently he teaches flute at Miss Porter’s School, Trinity College, and the University of Connecticut Community School of the Arts. He is the founder and artistic director of Atacama Ensemble, Duo Del Sur, and Arrau Chamber Ensemble.
Carlos Boltes, charango, viola was born in Santiago, Chile where he began his musical studies learning the charango from his brother Giovanni Vaccani, later mastering that instrument while touring extensively throughout South America as a member of Barrocco Andino, the Chilean group of Andean folk instruments founded and directed by Jaime Soto León. He holds a bachelor’s degree from the Universidad Católica de Chile and a master’s degree from Carnegie Mellon University, both in viola performance. His main teachers have been Enrique López, Atar Arad, Larry Dutton, and Steve Larson. He has been principal violist of the Orquesta de Cámara del Teatro Municipal de Santiago and the Connecticut Virtuosi Chamber Orchestra. Mr. Boltes is a recipient of the Boston Fund Individual Artist Fellowship and an Andes Foundation Performance Grant, has recorded for Naxos, Brioso, Con Brio and CBS Records, and has taught at the Eleazar de Carvalho Music Festival in Fortaleza, Brazil, as the Mansera and Calbuco music festivals in Chile. He currently teaches charango and viola at INTAKE, an organization in Stamford CT promoting classical music and native instruments.
Scott Hill, baroque guitar. A native of Thunder Bay, Ontario, Canada, Mr. Hill earned an honorsbachelor of arts degree in music from Lakehead University working with Sean Mundy. He has a master’s degree in guitar performance and a graduate professional diploma in chamber performance from the Hartt School of Music where he studied with Richard Provost. Mr. Hill has performed with orchestras, choirs and instrumentalists and lectures throughout Canada, the United States and South America as both a soloist and chamber musician. He most recently premiered music for solo guitar by; Javier Farías and Masatora Goya as well as works for guitar and voice by Thomas Schuttenhelm and Maxim Vladimiroff. He has performed in master classes for some of today’s finest musicians including Oscar Ghiglia, John Williams, and the Miami String Quartet. He is a Canada Council for the Arts grant recipient, and currently on the faculty of the Hartt School Community Division in West Hartford CT.
Juan Andrés Mesa, organ. A native of Chile, Mr. Mesa began organ studies with Carlos Weil in his native city of Puerto Montt. He later studied piano with Ximena Cabello at the Conservatory of Music in Valdivia, and graduated from Western Connecticut State University in 2005 with a bachelor of music in organ performance andcomposition. He completed his master of music in organ performance at Indiana University in 2008, where he studied organ with Dr. Christopher Young, harpsichord and continuo with Elisabeth Wright, and improvisation with Todd Wilson and Jeffrey Smith. He won first prize in both the 2003 George Markey Scholarship competitionin New Jersey and the Region One RCYO competition organized by the American Guild of Organists. He studied organ privately with the late British organist Graham Steed, and also with Pietr Van Dijk in Amsterdam. He has appeared in recitals across the US, as well as in Chile and Argentina. He is currently a PhD candidate in the musictheory program at Indiana University, and serves as director of music at St. Mary’s Church in Holliston MA.
Mid-Manhattan Performing Arts Foundation Board of Directors
Kathryn McKenzie, ChairWilliam K. Trafka, Artistic DirectorLauren BaileyBrian BurnettPatrick CastilloMichel GulickVictoria ManleyBarry PhillipsMarshall TaylorShelly Wolfe, Honorary DirectorAlice F. Yurke-Davis, Honorary Director
�In memory of Katherine "Kitty" Leech. �We are thankful for years of devoted service, creative spirit and graceful presence.
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The Friends of Great Music at Saint Bartholomew's Donors
Mr. Brandon C. AshcraftMs. Mary-Hart BartleyMr. Barry Brian and Mrs. Margaret BryanMs. Lauren BaileyKit Smyth Basquin, PhDMr. and Mrs. Alexander H. Beard, Jr.Ms. Mary E. BlizzardMs. Barbara BlombergMr. and Mrs. John H. Briggs, Jr.Mr. and Mrs. Leslie H. BucklandJavan BunchMorgan BurkettMs. Fernanda CalfatMs. Marilyn CaskeyMr. Hunter CarterMr. Patrick CastilloMr. Stephan CottonCrescendo Inc. Mr. Gustaf DemarchelierMr. Fernan Diaz CuevasMs. Elizabeth DiCandiloMs. Alice F. Yurke-Davis and Mr. Robert H. DavisMr. George DowlingMs. Heidi DrentMs. Molly EngleMs. Pamela FernandesThe Rev. Bruce W. ForbesMr. Gilbert FreemanMr. Edward FowlerMr. Brent GerikeMs. Teresa Ghilarducci and Mr. Rick McGaheyGotham Early Music Scene Inc. Mr. and Mrs. G. Thomas GrenierMs. Sue GrayMr. and Mrs. Gerald A. GuildMr. Michel GulickMs. Judith B. HallMs. Kay Hershberger and Mr. Brian BurnettMs. Robin R. HenryMr. William HoodMs. Pamela HowardMr. Anthony S. HoytMr. Stephen T. HughesMrs. Donna Hunt and Mr. Alva HuntMs. Sandy Inn-SchulkeMs. Susan IvoryMs. Ana M. JaffeMs. Melinda JaffeDasa JendrusakovaMs. Karen Anne JohnsonA. Clark JohnsonMs. Jinsoo H. KimMr. Peter M. R. Kendall
Ms. Phoebe KnowlesMrs. Jacqueline KrushelMs. Andrea LeeMr. Christopher LeeMs. Katharine L. LeechMr. Bertrand LegaultMr. Allan LenzerMrs. Emily LyonsMs. Karla McKennaMs. Kathryn McKenzie and Mr. Greg PitkoffMs. Falisha MamdaniMr. Joshua Mc CarrolMs. Genevieve McGaheyMr. Stephen MeigherMr. John MilliganMs. Iliana MindlinMr. Mario MonteroMs. Liza Page NelsonMs. Pamela NesbittNetwork for GoodMs. Rachael L. NicholMr. Paul B. Nix Jr.Ms. Carol O’ShaughnessyMs. Linnea Perelli-MinettiMs. Gladys A. PhilibertMr. Barry PhillipsMrs. Anne Adams Rabbino and Mr. Robert A. RabbinoMs. Mary Abraham and Mr. Robert RadtkeMr. Scott RodabaughMs. Anne RudderDr. Christopher G. Rudman and Dr. Blaine J. BranchikAndrea Saavedra Mr. Charles Scribner IIIMs. Miriam K. SchneiderMs. Maryann M. SharpeMs. Grace ShimizuMs. Rebecca Smith and Mr. David SmithThe Rev. F. M. Buddy StallingsMs. Barbara StetsonMr. and Mrs. Douglas TannerMs. Violet TavoulareasMr. R. Marshall TaylorMr. William K. TrafkaMs. Beatrice TreatMs. Mei-Mei TuanMs. Stella UmunnaMr. Edward Vinciguerra and Christine VinciguerraMs. Robin WoodwardMr. Piotr WyrwinskiMr. William Yates and Mr. Andreas J. Dirnagl
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Mid-Manhattan Performing Arts Foundation Upcoming Concerts 2015/2016
John Zorn: The Hermetic Organ- Friday, October 30, 2015 at 11:59pm
Jason Roberts Accompanies “The Wind”- Friday, November 20, 2015 at 7:30pm
A Joyous Christmas Concert- Tuesday, December 15, 2015 at 7:30pm
Adoration of the Magi- Friday, December 18, 2015 at 7:30pm
A Concert for the New Year- Thursday, December 31, 2015 at 11pm
Third Sound- Tuesday, January 12, 2016 at 7:30pm
The Concordia Choir- Tuesday, February 23, 2016 at 7:30pm
The Apple Hill String Quartet- March 13, 2016 at 2:30pm
Andy Akiho & The Sebastians- Monday, April 25, 2016 at 7:30pm
http://www.mmpaf.org/concerts_and_events.htm
Publicity and Box Office by Gotham Early Music Scenehttp://www.gemsny.org
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