the friends of chamber music endowment early music … early music series is underwritten, in part,...

The Friends of Chamber Music | Encore! Encore!

The Early Music Series is underwritten, in part, by The Friends of Chamber Music Endowment Funds

The International Chamber Music Series is underwritten, in part, by the William T. Kemper Foundation

t h e f r i e n d s o f c h a m b e r m u s i c e n d o w m e n t e a r l y m u s i c s e r i e s

BACH Brandenburg Concerto No. 5 in D Major, BWV 1050 Allegro Affettuoso Allegro

BACH Concerto in A Major for Oboe d’amore, Strings, and Continuo BWV 1055 Allegro Larghetto Allegro ma non tanto

I N T E R M I S S I O N

BACH Trio Sonata in C Minor from The Musical Offering, BWV 1079 Largo Allegro Andante Allegro

BACH Cantata No. 199, Mein Herze schwimmt im Blut, BWV 199 for Solo Soprano, Obbligato Oboe, Strings, and Continuo Recitative: “Mein Herze schwimmt im Blut” Aria and Recitative: “Stumme Seufzer, stille Klagen” Recitative: Doch Gott muß mir genädig sein” Aria: “Tief gebücket und voller Reue” Recitative: “Auf diese Schmerzenreu” Chorale: “Ich Dein betrübtes Kind” Recitative: Ich lege mich in diese Wunden” Aria: “Wie freudig ist mein Herz”

Bach Collegium JapanYardley Hall, JCCC8 pm Friday, October 30

JOANNE LUNN, SOPRANO

MASAAKI SUZUKI, CONDUCTOR/HARPSICHORD

Additional support is also provided by:

A co-presentation with the Performing Arts Series of JCCC

2015-16: The 40th Season 49

This evening’s all-Bach program presents music from four different phases of Bach’s remarkable career. The repertoire ranges from his early years in Weimar to the late 1740s when he lived in Leipzig, and his vision was failing. But even in his latter years, Bach’s musical genius was still strong and vibrant. The instrumentation and genres in this program provide great variety, with one example each of a concerto grosso, a solo concerto, a chamber ensemble, and a cantata. Collectively, these four works are a microcosm of Bach’s incomparable imagination, expressive range, and contrapuntal mastery.

Brandenburg Concerto No. 5 in D Major, BWV 1050 Johann Sebastian Bach (1685-1750)

From 1717 to 1723, Bach was employed by Prince Leopold of Anhalt-Cöthen, a music-loving prince who maintained one of the largest and finest orchestras in Europe. Early in 1719, the prince sent Bach to Berlin, probably to negotiate the purchase of a new harpsichord. That is almost certainly when Bach met the Margrave Christian Ludwig of Brandenburg, uncle to the Prussian King Friedrich Wilhelm I. Apparently the Margrave was a connoisseur of concertos. At his death in 1734, his library contained nearly 200. After hearing Bach play, the Margrave requested some new concertos. Bach complied with six works that he sent to Christian Ludwig in 1721. At this stage, Bach had composed primarily for solo keyboard and for small ensembles. Lacking experience in the type of compositions the Margrave requested, Bach wrote for his court orchestra at Cöthen, experimenting with different concertino groups. No two Brandenburg concerti have the same instrumentation. Bach's score for the Fifth Brandenburg specifies three soloists: flauto traverso (transverse flute, as opposed to recorder), violino principale (solo violin), and cembalo concertato (harpsichord in the manner of a concerto, rather than a continuo style). All three have prominent roles, but the solo keyboard has the edge with one of the most spectacular cadenzas in all of music. Bach himself was likely the first keyboard soloist, playing the new double-manual harpsichord that Prince Leopold had sent him to Berlin to purchase. Whereas the other five Brandenburg concertos limit the harpsichord to a continuo function, the D Major Concerto specifies a prominent and aggressive role for the keyboard, with its dramatic, dazzling cadenza in the first movement and another, briefer cadenza in the finale.

Only in the lovely, expressive slow movement do the violin and flute seem on an equal footing with the harpsichord. The balance of the orchestra is silent for this movement, rejoining the three solo instruments with gusto for the spirited closing movement, the Allegro, which skillfully combines aspects of several national styles. As Robert Marshall has written: . . . the movement is not only a manifestation of the (Italian) concerto principle. It is, at liter ally the same time, a (German) fugue—in its texture; a (French) dance (a gigue)—in its rhythm, meter, and tempo; and a da-capo aria (and thus indebted to the vocal as well as to the instrumental realm)—in its form.Partly because of its large scale and unprecedented emphasis on the harpsichord, the Fifth Brandenburg is believed to be the last of the six to be composed, and probably dates from early 1721. It is also the first work in which Bach specified the use of the transverse flute. Bach scored the Fifth Brandenburg for a concertino group of transverse flute, violin, and harpsichord, plus strings.

t h e w i l l i a m t. k e m p e r i n t e r n at i o n a l c h a m b e r m u s i c s e r i e s

The birth of the keyboard concertoMusic historians have traditionally regarded Bach’s Fifth Brandenburg Concerto, with its prominent harpsichord role, as the most important antecedent of the solo keyboard concerto. More recent scholarship has argued convincingly in favor of the various concerti for one, two, three and four harpsichords that date from Bach's Leipzig years (1723-1750). Supplementing his extraordinary schedule of obligations to the Thomaskirche in Leipzig was his work with the Collegium Musicum that had been founded by Telemann in 1704. Here, making music for pleasure with friends and students, Bach found another outlet for his inexhaustible creativity, balancing his obligations as Kantor to write, rehearse and perform music for the church.

Most of the harpsichord concerti are believed to have been arranged for performance at the Collegium concerts. Ironically, and adding to the confusion and mystery of Bach scholarship, almost all of them were originally solo concerti (primarily for violin) that he later arranged for keyboard instruments.

– L.S. ©2015


p r o g r a m n o t e s

Concerto in A Major, BWV 1055

Some evidence suggests that Bach's original version of this A major concerto may have been for the oboe d'amore, as we hear it this evening. If this is in fact the case, it is unusual, as so many of Bach’s concertos were originally written as violin concertos, which were then later transcribed for other instruments. It also means that we may pinpoint the date of BWV. 1055 at 1723 or later. Bach's biographer Malcolm Boyd has pointed out, that the oboe d'amore was a fairly new instrument in the first quarter of the 18th century. So far as we know, 1723 was the first year in which Bach wrote for oboe d’amore, in his Cantata No. 23. The instrument sounds a minor third lower than is notated. Slightly larger than the standard oboe, it is smaller than the English horn, which sounds a fifth below the oboe. The oboe d’amore is considered the mezzo-soprano of the double reed family. This A major concerto is noteworthy for the challenges it poses for the oboist. The solo part is filled with exceptional detail work of great intricacy and linear complexity. We are most keenly aware of this challenge in the Larghetto. A breathtakingly lovely siciliana in 12/8, it highlights both Bach's inexhaustible gift for long melodic lines and the soloist’s musicianship in shaping those gently vaulting phrases. The score calls for solo oboe d’amore, strings, and continuo.

Trio Sonata from The Musical Offering BWV 1079

Few events in Bach’s life are so well documented as his trip to Potsdam, outside of Berlin, in May of 1747. He was visiting his son Carl Philipp Emanuel, then first cembalist in the court orchestra of the Prussian king, Frederick the Great. Bach’s eldest son, Wilhelm Friedemann, accompanied the aging composer on the journey. The Prussian court’s royal envoy, Graf Hermann Karl von Keyserlingk (the same nobleman who commissioned the ‘Goldberg’ Variations) got wind of Bach’s visit, and Bach was tendered an invitation to appear at court. His audience with Frederick was reported in a Berlin newspaper on May 11, 1747 and, much later, related by Friedemann Bach to Johann Nikolaus Forkel, Johann Sebastian’s first biographer. The two chronicles differ in their details, but the gist of the tale is consistent.

Frederick the Great was an excellent flutist, a composer himself, and a lifelong patron of the arts, literature, and philosophy. The king was eager to have his celebrated Leipzig visitor inspect the organs in various Potsdam churches. First, however, he wished for Bach to try several new Silbermann pianos at Sanssouci, the royal palace. Bach improvised on each of the monarch’s keyboards, then Frederick presented him with a theme and invited him to extemporize a six-part fugue based on that subject. Bach demurred—such a complex contrapuntal structure was a challenge even for a master such as he—but he responded to the royal mandate with a three-part fugue that ultimately became the three-part ricercar to the Musikalisches Opfer, or ‘Musical Offering.’ Bach promised the king his six-part fugue, and fulfilled the obligation within two months, sending Frederick a presentation manuscript that included the two ricercars, a series of canons derived from the thema regium (royal theme), and the four-movement trio sonata that opens this program. His dedication to Frederick II is dated July 7, 1747. Along with the Canonic Variations for organ and The Art of Fugue, A Musical Offering comprises the summit of Bach’s abstract contrapuntal art. The term ‘trio sonata’ seems as if it should involve three players; however, in Baroque parlance, it refers to a sonata with two melodic instruments plus basso continuo, which generally entailed a minimum of two instruments: keyboard (organ or harpsichord) and basso (cello, bassoon, or violone, a relative of the string bass). The Trio Sonata from the Musical Offering adheres to the older Baroque sonata da chiesa, or church sonata, in which the four movements are arranged slow-fast-slow-fast. In other respects it is quite forward looking. Bach’s use of the transverse flute, which was gaining in popularity over the older recorder, was a gesture of homage to the king, who was an accomplished flutist. All four movements make subtle allusion to the ‘royal theme,’ but its presence is most straightforward in the two Allegros. After the fantasy-like opening movement, the Largo, Bach begins the second movement with what sounds like a duet for violin and flute. In fact, he is outlining a fugue with two subjects. He presents the ‘royal theme’ six times as a cantus firmus in slower note values. The first two and final two statements are for cello, with one iteration each for violin and flute interpolated in the middle. Bach’s intricate interweaving of the slower melody with his elaborate duet theme is quite ingenious.


Frederick the Great was an excellent flutist, a composer himself, and a lifelong patron of the arts, literature, and philosophy. The king was eager to have his celebrated Leipzig visitor inspect the organs in various Potsdam churches. First, however, he wished for Bach to try several new Silbermann pianos at Sanssouci, the royal palace. Bach improvised on each of the monarch’s keyboards, then Frederick presented him with a theme and invited him to extemporize a six-part fugue based on that subject. Bach demurred—such a complex contrapuntal structure was a challenge even for a master such as he—but he responded to the royal mandate with a three-part fugue that ultimately became the three-part ricercar to the Musikalisches Opfer, or ‘Musical Offering.’ Bach promised the king his six-part fugue, and fulfilled the obligation within two months, sending Frederick a presentation manuscript that included the two ricercars, a series of canons derived from the thema regium (royal theme), and the four-movement trio sonata that opens this program. His dedication to Frederick II is dated July 7, 1747. Along with the Canonic Variations for organ and The Art of Fugue, A Musical Offering comprises the summit of Bach’s abstract contrapuntal art. The term ‘trio sonata’ seems as if it should involve three players; however, in Baroque parlance, it refers to a sonata with two melodic instruments plus basso continuo, which generally entailed a minimum of two instruments: keyboard (organ or harpsichord) and basso (cello, bassoon, or violone, a relative of the string bass). The Trio Sonata from the Musical Offering adheres to the older Baroque sonata da chiesa, or church sonata, in which the four movements are arranged slow-fast-slow-fast. In other respects it is quite forward looking. Bach’s use of the transverse flute, which was gaining in popularity over the older recorder, was a gesture of homage to the king, who was an accomplished flutist. All four movements make subtle allusion to the ‘royal theme,’ but its presence is most straightforward in the two Allegros. After the fantasy-like opening movement, the Largo, Bach begins the second movement with what sounds like a duet for violin and flute. In fact, he is outlining a fugue with two subjects. He presents the ‘royal theme’ six times as a cantus firmus in slower note values. The first two and final two statements are for cello, with one iteration each for violin and flute interpolated in the middle. Bach’s intricate interweaving of the slower melody with his elaborate duet theme is quite ingenious.


Johann Sebastian Bach, St Thomas Church, Leipzig. Sculpted by Carl Seffner, 1908



The third movement Andante shows Bach’s acquaintance with the newer galant style that was coming into fashion. The emphasis is more on melody and accompaniment than counterpoint. Violin and flute are paired together, or answer each other in dialogue, often in expressive, sighing phrases. They remain in the sonic foreground, with harpsichord and cello primarily in a supporting role. The trio sonata concludes with another Allegro movement that relies on the ‘royal theme.’ This time, however, Bach has varied it. He speeds it up from the cantus firmus tempo, changing both the rhythm and some of the pitches, even writing one statement in a major mode. His lilting 6/8 meter lends the movement a pleasant character and steady forward momentum. (This finale is a good example of how a piece in minor mode does not necessarily have to be sad.) Sixteenth-note passages for flute, violin, and cello allow for some virtuosic display.

“Mein Herze schwimmt im Blut,” Cantata BWV 199

The term cantata derives from the Italian verb cantare, 'to sing.' It evolved during the early Baroque era in contrast to the sonata (from sonare, 'to sound,' as in an instrument) or the toccata (from toccare, 'to touch,' implying a keyboard instrument). Cantatas developed in Italy, where composers set texts derived from either secular or Biblical sources. When Bach left Prince Leopold of Anhalt-Cöthen in May 1723 to become Kantor at Leipzig’s Thomaskirche, he took on the responsibility of providing annual cycles of sacred cantatas. A full cycle would comprise about 60 works: one for most Sundays, plus one for each feast day. Several cycles have survived, though the records at Bach’s death indicate that he composed many more that did not. Ironically, Bach rarely used the term ‘cantata.’ He called most of these pieces ‘concerto, ‘Stück’ [piece], or sometimes simply Musik. The label cantata was adopted in the 19th century by scholars of Bach and other Baroque composers as an inclusive label for multi-movement, liturgical pieces involving both singers and instruments. Cantata BWV 199 is unusual in several respects. Most of Bach’s sacred cantatas are for one or two soloists, chorus, and instrumental ensemble. This one has no

chorus; the only vocalist is a soprano. Further, this cantata is one of the earliest that Bach composed. From 1708 until 1717, he was employed by Duke Ernst of Weimar. Initially he served as court organist, but in March 1714 he became Konzertmeister. His expanded duties included writing and directing a cantata approximately once a month. For the 11th Sunday after Trinity in 1714, he directed "Mein Herz schwimmt im Blut." Some scholars believe that Bach may have written it in 1713. We know that it was performed in Weimar on 12 August, 1714. There is evidence that Bach performed this cantata between 1718 and 1722 when he worked in Cöthen. A Leipzig performance took place on August 8, 1723, shortly after he accepted the position of Kantor at the Thomasschule. The text is based on Luke 18:9-14. Bach’s librettist, George Christian Lehms, adapted the story of the Pharisee and the publican. The text emphasizes the need for humility in asking for God’s mercy. Bach’s instrumental accompaniment is light, complementing the chamber character of the solo soprano as opposed to those cantatas consisting of larger forces with multiple soloists and a chorus. The instrumentation that supports the solo soprano in this cantata is comprised of two violins, viola, oboe, bassoon, and string continuo. He uses these resources with great imagination. An eloquent oboe line complements the soprano in the aria “Stumme seufzer.” Strings, continuo, and bassoon accompany the second aria, “Tief gebückt.” The movement types – recitatives, arias, and a chorale – are comparable to those in Bach’s cantatas employing the larger forces. The chorale, however, is highly unusual, both for its placement and its ethereal beauty. Normally the hymn would be sung at the end of the cantata. In this instance, Bach places it in the sixth movement and limits the accompaniment to strings, with an obbligato written for the viola. The repentant sinner casts all her sins into the Lord’s wounds, thereby finding salvation. The concluding aria uses a secular dance rhythm – the gigue – to express the singer’s gladness of heart that her sins have been forgiven.

Program Notes by Laurie Shulman ©2015

Found a word or phrase that you are unfamiliar with? Check out our extensive Glossary beginning on page 118 to discover the meaning.

Bach Collegium Japan with Masaaki Suzuki


Hailed in BBC Music Magazine as “Kings from the East,” Bach Collegium Japan is widely recognized as one of world’s

leading interpreters of J.S. Bach and his contemporaries. Its inspirational Music Director Masaaki Suzuki founded Bach Collegium Japan in 1990 to introduce the Japanese audience to period instrument performances of great works from the baroque period. Bach Collegium Japan made their North American debut in April 2003 performing the St. Matthew and St. John Passions of J. S. Bach across the United States in New York at Carnegie Hall, Los Angeles, Berkeley, Ann Arbor, Grand Rapids and Boston. Recent international tours include concerts in Europe’s major music centers – Madrid, Amsterdam (Concertgebouw), London (Barbican), Rome, Paris, Berlin and Brussels – Hong Kong, Seoul, New Zealand, and at leading festivals in Edinburgh, Santiago de Compostela, Tel Aviv, Leipzig, and Melbourne as well as at the BBC Proms. In 2010 the ensemble celebrated their 20th anniversary with a series of special concerts in Tokyo, and in 2013 they were invited to appear at New York’s Lincoln Center where Masaaki Suzuki and the choir collaborated with the New York Philharmonic Orchestra to open its Bach Variations Festival. This season’s highlights include the ensemble’s debut in Mexico and in the Czech Republic at the Prague Spring Festival; other European appearances include the Erzgebirge Music Festival, the Flanders Festival in Ghent and Porto Casa da Musica. Through their acclaimed BIS recordings, Bach Collegium Japan has shared their intriguing performances of the baroque repertoire. Their recent recording of Bach Motets was honored with a German Record Critics’ Award (Preis der Deutschen Schallplattenkritik), Diapason d’Or de l’Année 2010 and also in 2011 with a BBC Music Magazine Award. 2014 saw the triumphant conclusion of their recorded cycle of Bach’s complete Church Cantatas, a huge undertaking comprising over fifty CDs initiated in 1995. This major achievement was recognized with a 2014 ECHO Klassick ‘Editorial Achievement of the Year’ award.

For more information visit http://bachcollegiumjapan.org

Bach Collegium Japan appears courtesy of Frank Salomon Associates

Bach Collegium Japan with Masaaki Suzuki

The English soprano, Joanne Lunn, graduated from the Royal College of Music where she was awarded the prestigious

Tagore Gold Medal. She performs internationally as a soloist with many other leading groups such as the English Baroque Soloists, Orchestra of the Age of Enlightenment, Bach Collegium Japan with Masaaki Suzuki, Philip Pickett's Musicians of the Globe, New London Consort, London Handel Society, Academy of Ancient Music, Hilliard Ensemble, Philippe Herreweghe's Collegium Vocale Gent, The King’s Consort and Gabrieli Consort. Ms. Lunn’s operatic credits include Gluck's Orphee and Alceste, Verdi's Falstaff and Four Sacred Pieces and Monteverdi's L'Incoronazione di Poppea. Her stage appearance include also her ENO debut in Steven Pimlott's production of Monteverdi's The Coronation of Poppea conducted by Harry Christophers; she sang the role of Helena in Benjamin Britten's A Midsummer Night's Dream in Venice conducted by Sir John Eliot Gardiner and directed by David Pountney; a tour of Purcell’s Dido and Aeneas in Spain and semi staged productions of Monteverdi’s Orfeo in Paris and for the Beijing International Music Festival with Philip Pickett directed by Sir Jonathan Miller.

For more information visit www.hazardchase.co.uk/artists/joanne-lunn/

Joanne Lunn appears courtesy of Hazard Chase

Joanne Lunn, soprano Masamitsu San’nomiya, oboe/oboe d'amore

Kiyomi Suga, flauto traverso Ryo Terakado, violin

Yukie Yamaguchi, violin Mika Akiha, viola

Emmanuel Balssa, cello Frank Coppieters, contrabasso

Directed by Masaaki Suzuki

JOANNE LUNN, soprano

b i o g r a p h y


Cantata No. 199, "My heart is bathed in blood," BWV. 199 for Solo Soprano, Obbligato Oboe, Strings, and Continuo

Recitative: “My heart is bathed in blood” My heart is bathed in blood, For now my sins' great brood Within God's holy vision A monster makes of me. And now my conscience feels the pain: For me my sins can nought But hell's own hangmen be. O hated night of sin! Thou, thou alone Hast brought me into such distress; And thou, thou wicked seed of Adam, Dost rob my soul of all its peace And shuts to it the heav'nly gate! Ah! What unheard-of pain! My dried and wasted heart Will after this no comfort moisten, And I must hide myself before him Before whom very angels must conceal their faces.

Aria and Recitative: “Silent sighing, quiet mourning” Silent sighing, quiet mourning, Ye may all my pains be telling, For my mouth is tightly closed. And ye humid springs of weeping Could a certain witness offer To my sinful heart's remorse. My heart is now a well of tears, My eyes are heated sources. Ah God! Who will give thee then satisfaction?

Recitative: “But God to me shall gracious be” But God to me shall gracious be, For I my head with ashes, My countenance with tears am bathing, My heart in grief and pain am beating And filled with sadness say now: God be this sinner gracious! Ah yes! His heart shall break And my own soul shall say:

Aria: “Deeply bowed and filled with sorrow” Deeply bowed and filled with sorrow I lie, dearest God, 'fore thee. I acknowledge all my guilt, But have patience still with me, Have thou patience still with me!

Recitative: “Amid these pains of grief ” Amidst these pains of grief To me comes now this hopeful word:

t e x t s a n d t r a n s l at i o n s

Cantata No. 199, "Mein Herze schwimmt im Blut," BWV. 199 for Solo Soprano, Obbligato Oboe, Strings, and Continuo

Recitative: “Mein Herze schwimmt im Blut” Mein Herze schwimmt im Blut, Weil mich der Sünden Brut In Gottes heilgen Augen Zum Ungeheuer macht. Und mein Gewissen fühlet Pein, Weil mir die Sünden nichts Als Höllenhenker sein. Verhaßte Lasternacht! Du, du allein Hast mich in solche Not gebracht; Und du, du böser Adamssamen, Raubst meiner Seele alle Ruh Und schließest ihr den Himmel zu! Ach! unerhörter Schmerz! Mein ausgedorrtes Herz Will ferner mehr kein Trost befeuchten, Und ich muss mich vor dem verstecken, Vor dem die Engel selbst ihr Angesicht verdecken.

Aria and Recitative: “Stumme Seufzer, stille Klagen” Stumme Seufzer, stille Klagen, Ihr mögt meine Schmerzen sagen, Weil der Mund geschlossen ist. Und ihr nassen Tränenquellen Könnt ein sichres Zeugnis stellen, Wie mein sündlich Herz gebüßt. Mein Herz ist itzt ein Tränenbrunn, Die Augen heiße Quellen. Ach Gott! wer wird dich doch zufriedenstellen?

Recitative: Doch Gott muß mir genädig sein” Doch Gott muss mir genädig sein, Weil ich das Haupt mit Asche, Das Angesicht mit Tränen wasche, Mein Herz in Reu und Leid zerschlage Und voller Wehmut sage: Gott sei mir Sünder gnädig! Ach ja! sein Herze bricht, Und meine Seele spricht:

Aria: “Tief gebücket und voller Reue” Tief gebückt und voller Reue Lieg ich, liebster Gott, vor dir. Ich bekenne meine Schuld, Aber habe doch Geduld, Habe doch Geduld mit mir!

Recitative: “Auf diese Schmerzenreu” Auf diese Schmerzensreu Fällt mir alsdenn dies Trostwort bei:


Chorale: “I, thy sore-troubled child” I, thy sore-troubled child, Cast ev'ry sin of mine, All ye which hide within me And me so fiercely frighten, Into thine own deep wounds now, Where I've e'er found salvation.

Recitative: “I lay myself into these wounds now” I lay myself into these wounds now As though upon a very crag; They shall be now my resting place. Upon them will I firm in faith be soaring, In them content and happy singing:

Aria: “How joyful is my heart” How joyful is my heart, For God is reconciled And for my grief and pain No more shall me from bliss Nor from his heart exclude.

t e x t s a n d t r a n s l at i o n s

Chorale: “Ich Dein betrübtes Kind” Ich, dein betrübtes Kind, Werf alle meine Sünd, So viel ihr in mir stecken Und mich so heftig schrecken, In deine tiefen Wunden, Da ich stets Heil gefunden.

Recitative: Ich lege mich in diese Wunden” Ich lege mich in diese Wunden Als in den rechten Felsenstein; Die sollen meine Ruhstatt sein. In diese will ich mich im Glauben schwingen Und drauf vergnügt und fröhlich singen:

Aria: “Wie freudig ist mein Herz” Wie freudig ist mein Herz, Da Gott versöhnet ist Und mir auf Reu und Leid Nicht mehr die Seligkeit Noch auch sein Herz verschließt.

The Last Supper by Fritz von Uhde, 1886 (Staatsgalerie Stuttgart)

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