Program Notes for North German Masters

Johann Schop (c. 1590–1667) was a German violinist and composer, much admired as a musician and a technician. He was a virtuoso, whose compositions for the violin set impressive technical demands for that time. In 1756 Leopold Mozart commented on the difficulty of a trill in a work by Schop, probably composed before 1646. A melody of his was used by Johann Sebastian Bach for the chorale movements of his cantata Herz und Mund und Tat und Leben, BWV 147. Under the English title of Jesu, Joy of Man's Desiring, Bach's chorale on the Schop melody has been arranged for different instruments and has gained wide popularity.

Christ lag in Todesbanden, a renowned Lutheran hymn, is set as a chorale fantasia for treble voices.  Consistent with his violin writing, this has some florid vocal moments, but is otherwise a very sweet and intimate setting. It is presented as a dialogue between the two voice parts—which intertwine and frequently cross—accompanied only by continuo instruments. The hymn tune is subtly present, but changing meters and ornamental lines soften the effect.  

Lobe den Herrn, meine Seele is a sturdy and vigorous motet on the text of Psalm 103. It is somewhat reminiscent of Heinrich Schütz in its alternations of homophonic passages, duets between two voice parts, and imitative passages.  It is rarely performed and has never been recorded to our knowledge.  

Franz Tunder (1614–1667) was a German composer and organist of the early to middle Baroque era. He was an important link between early German Baroque style, based on Venetian models, and the later Baroque style, which culminated in the music of J.S. Bach. Tunder’s surviving output suggests a marked preference for the chorale fantasia style.

In 1641 he was appointed as organist at Lübeck's main church, the Marienkirche. In 1647 he became administrator and treasurer and remained there for the rest of his life.  Tunder began the tradition of “Abendmusiken,” free concerts in the Marienkirche, the most elaborate of which were during Advent. The earliest of these concerts occurred in 1646. The concerts seem to have originated as organ performances specifically for the businessmen who congregated at the weekly opening of the town's stock exchange. These concerts continued through the seventeenth and eighteenth centuries and were distinguished from other concerts by having free admission, being financed by the business community.

The motet Nisi Dominus was composed for the Abendmusik concerts. It is a complex, multi-section setting of Psalm 127 (“Unless the Lord built the house, those who built it labor in vain”), a text that seems to beg for word painting, with its vivid imagery. 

Although not set for multiple choirs, the composer uses dialogues between different sections of the choir and varies the density of the writing to create a call and response effect that is reminiscent of Venetian composers such as Gabrieli. The sections are separated by florid bass solos.

After the introductory movement and the first bass solo, we encounter a vigorous rising motif to illustrate the word “surgite” (rise up), which halts on the words “postquam sederitis” (after resting). A plaintive series of suspensions describes how we work hard for our bread; then the music descends through the lower voices to describe how those beloved of God are granted peaceful sleep. In a subsequent section, also set off by a bass solo, florid melismas and trumpet-like outbursts describe contending with opponents in court. The Psalm concludes with the traditional doxology, which reprises themes from the opening movement.

Streuet mit Palmen is a motet for the Advent season. It describes the preparations for the coming of Jesus.  It is a much simpler and more straightforward work than Nisi Dominus, consisting of an instrumental introduction and four verses alternating with an instrumental ritornello. The verses invite us to receive the eternal Prince of Peace and prepare our hearts for his arrival. The symbolism of palms, olives, and myrtles refers to hope, peace, and joy, and also slightly foreshadows the darker events of the Passion. 

Dieterich Buxtehude (c. 1637–1707) was a Danish-German organist and composer of the Baroque period. He composed in a wide variety of vocal and instrumental idioms, and he strongly influenced many composers, including Johann Sebastian Bach. Today, Buxtehude is considered one of the most important composers of the German mid-Baroque. His surviving church music is praised for its high musical qualities rather than its progressive elements. The librettos for his oratorios survive, but none of the scores do. This is particularly unfortunate because his German oratorios seem to be the model for later works by Johann Sebastian Bach and Georg Philipp Telemann. 

Buxtehude's last post, from 1668, was at the Marienkirche in Lübeck. There he succeeded Franz Tunder. In 1673 he reorganized the musical performances initiated by Tunder, known as Abendmusiken, which remained a feature of the church until 1810. He married Tunder's daughter Anna Margarethe in 1668. It was a not uncommon practice for a man to marry the daughter of his predecessor in his occupation. In 1703, Buxtehude offered his position in Lübeck to Handel and Johann Mattheson, but stipulated that the organist who ascended to it must marry his eldest daughter. Both Handel and Mattheson turned the offer down and left the day after their arrival. 

In 1705, J.S. Bach, then a young man of twenty, walked from Arnstadt to Lübeck, a distance of more than 400 kilometers (250 miles), and stayed nearly three months to hear the Abendmusiken. Legend has it that Buxtehude extended the same offer of his position to Bach, who also declined.

Nimm von uns, Herr, du Treuer Gott is a chorale cantata, a composition that is based on the text and melody of a hymn, in which each movement or section treats each stanza with a different technique.

The hymn tune used for the text is the tune composed by Marin Luther for the hymn Vater unser im Himmelreich.  The Nimm von Uns text consists of seven stanzas; Buxtehude sets the first three and the seventh stanza, along with an Amen.  

Jesu, meines Lebens Leben opens with an instrumental sinfonia. The five verses of this hymn are presented in a series of variations. Buxtehude shows off his ability to work creatively by confining the bass line to two measures that repeat for the duration of the piece (a chaconne) and using the upper voices and accompanying instruments to play off this self-imposed limitation. Each variation/verse also alters the number of voice parts in a rather clever fashion.

Verse one has the sopranos singing alone. Verse two utilizes the lower three voices (alto, tenor, and bass), but omits the sopranos. Verse three is sung by the tenors, and then verse four is assigned to the sopranos, altos, and basses, leaving the tenors out this time. All four voices join in verse five, finishing off with an “Amen” in a more imitative style, still built over the two-measure bass line.

Georg Philipp Telemann (1681–1767) was a German Baroque composer and instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. Telemann was and still is one of the most prolific composers in history (at least in terms of surviving works), and was considered by his contemporaries to be one of the leading German composers of the time—he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally. Telemann's music incorporates French and Italian styles and is even at times influenced by Polish popular music. He remained at the forefront of all new musical tendencies, and his music is an important link between the late Baroque and early Classical styles.

The music of Telemann’s youth is quite different from his mature works. Schaffe in mir, Gott, ein reines Herz (Psalm 51:10-12) was written when Telemann was only seventeen years old. It hearkens back to Schütz and other earlier North German masters. The setting is simple, elegant, and very confident. The youthful composer skillfully changes the musical mood as the words seem to dictate.

Telemann shows off his technical expertise by setting the first section as a chaconne. The vocal writing is constructed above a ground bass that is a constantly repeating a descending scale. The instrumental accompaniment plays an additional independent line that weaves through the texture.

The second section is for tenor voices only and is very lightly scored. The full chorus comes back in the next part, a cheerful and vigorous alternation between homophonic and imitative writing. A simple and sweet soprano and alto duet follows. The finale is a treatment of a verse from the Lutheran hymn “Komm, Heiliger Geist.” The vocal parts are set in a relatively standard chorale harmonization. What makes this movement unique is the lively instrumental accompaniment under the chorale.

Johann Sebastian Bach (1685-1750), the young man who walked to Lübeck to hear Buxtehude’s Abendmusiken, requires little introduction, of course.  A German composer and musician of the late Baroque period, he enriched established German styles through his mastery of counterpoint, harmonic and motivic organization, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. 

When he composed his motets, works without contemporary poetry and without an independent orchestra, the genre was already out of fashion. However, there was evidently a demand for such works at funerals, a ceremony for which at least some of Bach's motets were written. 

Fürchte dich nicht, BWV 228, is such a funeral motet, set for double chorus. The work in two movements draws its text from the Book of Isaiah and a hymn by Paul Gerhardt. Scholars disagree about the composition time and place, which was traditionally believed to be 1726 in Leipzig, while more recent scholarship suggests for stylistic reasons that it was composed earlier, during the years Bach lived in Weimar.

The first verse from Isaiah is the text for the first movement. In the second movement, the second verse from Isaiah is set as a fugue in the three lower voices, juxtaposed with the chorale by Gerhardt, sung by the sopranos. The lower voices are set in a double fugue, with the subject derived from the beginning of the chorale melody and the counter subject an inversion. At one point there is also a strong textual correspondence of biblical quotation and hymn. The conductor John Eliot Gardiner points out that "the biblical 'Ich habe dich bei deinem Namen gerufen' (I have called thee by thy name) leads climactically to the hymn-line 'Ich bin dein, weil du dein Leben ... [gegeben]' (I am thine, for thou hast given thy life). The movement ends with a recapitulation of the music from the first movement for double choir on the final line of the second verse of the Isaiah text. 

These Northern German composers all lived during a time when the Lutheran faith was firmly established in this part of the world.  The texts of many of these motets and choral concertos are firmly rooted in traditional Lutheran teachings.  Yet, their mixture of pessimism, shame, yearnings for redemption, hope, and praise is embedded in music that lifts the listener away from the rather dark nature of some of the texts.

—Patricia Jennerjohn

Program Notes for Voices of Ukraine and Estonia

Voices of Estonia

Arvo Pärt, a composer of contemporary classical music, was born on September 11, 1935, in Estonia, which was annexed in 1940 by the Soviet Union. Since the late 1970s, Pärt has worked in a minimalist style that employs tintinnabula (the impression of ringing bells), a compositional technique he invented. Pärt’s music is also inspired by Gregorian chant.

Pärt was severely criticized in 1962 for employing serialism in one of his compositions, which exhibited his “susceptibility to foreign influences.” But nine months later Pärt won first prize in a competition of 1,200 works, awarded by the Union of Soviet Composers, indicating the Soviet regime’s inability to agree on what was permissible. His first overtly sacred piece, Credo (1968), was a turning point in his career and life: on a personal level he had reached a creative crisis that led him to renounce the techniques and means of expression used so far; on a social level the religious nature of this piece resulted in him being unofficially censured and his music disappearing from concert halls. For the next eight years he composed very little, focusing instead on the study of medieval and Renaissance music to find his new musical language. In 1972 he converted from Lutheranism to Orthodox Christianity. He reemerged as a composer in 1976 with music in his new composi- tional style and technique, “tintinnabula.”

Bogoroditse Devo (Rejoice, O Virgin Mary) is a setting of the well-known Orthodox version of the Hail Mary, and was commissioned in 1990 by the King’s College Choir, Cambridge, for their Festival of Nine Lessons and Carols. It alternates lightweight, chant-like, and transparent writing with sturdy, full-bodied choral writing in traditional Orthodox style.

Cantate Domino, for choir or soloists with organ, was composed in 1977 (revised in 1996). Based on Psalm 96 (95), one could easily say that it is one of the most joyful works in Pärt’s tintinnabula music. Two pairs of voices, soprano/alto and tenor/bass, move throughout almost the entire composition step by step in opposite directions, while the organ plays the notes of a B-flat major triad, creating various combinations with the vocal parts. There is much emphasis on word rhythm, creating some interesting syncopations.

The Woman with the Alabaster Box is set for a capella mixed choir. It was composed for the 350th anniversary of the Karlstad Episcopacy in Sweden and premiered by the Eric Westberg Vocal Ensemble. This text from the Gospel of Matthew is shaped as music, but with much attention to word rhythm and slowly changing harmonies. Female voices dominate the story of the woman who poured precious ointment on Jesus’s head. The displeasure of the disciples is expressed via a duet of male voices. Jesus’s reply is communicated in the bass voices, through a rising and falling line anchored by a static note. The prediction of his death is expressed by the full choir, with a quiet acknowledgment at the end.

Veljo Tormis (7 August 1930–21 January 2017) is regarded as one of the great contemporary choral composers and one of the most important composers of the 20th century in Estonia. Internationally, his fame arises chiefly from his extensive body of choral music, which exceeds 500 individual choral songs, most of them a cappella. The great majority of these pieces are based—either textually, melodically, or merely stylistically—on traditional Estonian folksongs. His work demonstrates the conviction that traditional Estonian and other Balto-Finnic music represents a treasure which must be guarded and nourished, and that culture may be kept alive through the medium of song.

Autumn Landscapes is a set of seven pieces for mixed chorus that invite us to contemplate the changing seasons, the fleeting beauty of nature, and the emotions stirred by transitions. We are performing the first two movements and the final movement.

The opening movement uses placid harmonies to describe the late summer sun casting shadows on the landscape, hinting at the approaching autumn. The second movement is a vivid musical description of clouds racing across the sky, driven by a chilly wind. The final movement describes the brilliant autumn sun illuminating the landscape, with building excitement.

Urmas Sisask (9 September 1960–17 December 2022) was an Estonian composer who was deeply fas- cinated by the interplay between astronomy, nature, and music.

Building on the calculation of the trajectories of the planets in the Solar System, he created a “planetary scale,” a mode consisting of the pitches C#, D, F#, G#, and A. Later, he discovered to his surprise that this was exactly the same as the Japanese Kumajoshi mode, which is also known as the Japanese pentatonic scale.

Many of his compositions are built around this scale and various harmonic permutations of this scale.

Te gratias ago, Creator Universi! is the final movement from a set of twenty-four sacred songs, “in tones of exoplanets.” The set of songs is constructed using only the five pitches of his “planetary scale.” They feature hypnotic repetition, strong rhythms, and abrupt dynamic changes.

This final movement is a song of thanks to the Creator of the Universe at the end of the singer’s life “in this Land.”

Voices of Ukraine

Mykola Dyletsky was a music theorist and composer born in Kyiv and active in Russia. He was widely influential in late 17th-century Russia with his treatise on musical composition, A Musical Grammar, of which the earliest surviving version dates from 1677. Dyletsky’s followers included the Russian composer Vasily Titov.

Tsariu nebesny (O Heavenly King) is a sacred concerto meant to be performed during a service, but it is not a part of the regular liturgy. It is sweetly and simply set for four vocal parts.

Slava/Pryjdite, Liudiye (Come, O People) is a setting of the Troparion (liturgical hymn) sung after the second antiphon of the traditional Orthodox Christian liturgy, for eight-part unaccompanied choir. The text is clarified by varying the texture of the setting, with full eight-part choruses alternating with duets, trios, and quartets sung by various solo voices. The result is a fusion of European Baroque musical writing with a distinctive Slavic musical coloration.

Hanna Havrylets was born in 1958 and died suddenly on February 27, 2022, of unknown causes. A student of Myroslav Skoryk, she was one of the brightest representatives of the Lviv school of composition. Her works are regularly performed at concerts and festivals in Ukraine, Europe, United States, and Canada. She was born in Ternopil, Ukraine, and graduated from the Lviv Conservatory. She continued her studies at the Ukrainian National Tchaikovsky Academy of Music in Kyiv, where she became professor of composition. She was awarded the Shevchenko National Prize in 1999 and became an Honoured Artist of Ukraine in 2005.

Molytva (Prayer to the Virgin) is a setting of a prayer from the Orthodox Prayer Service to the Mother of God. Solo voices introduce the first line, first over a drone in the bass, then over the gently hummed harmony, then with the full chorus. The dynamic level is not intense, but the harmonic progression lends urgency to the prayer, then becoming quieter, with a whispered request at the very end.

Songs

Oi u vyshnevomu sadu (Oh, in the Cherry Orchard) is a folksong telling the story of a young woman’s bitter- sweet encounter with her lover in the spring.

Reve ta stohne Dnipr shyrokyj (The Mighty Dnipro Roars is a favorite chorus (and can be found in many different arrangements). It is a setting of a poem by the renowned Ukrainian poet, Taras Shevchenko. This original setting has the character of a sturdy folk hymn.

Mykola Vitaliyovych Lysenko (22 March 1842 – 6 November 1912) was a Ukrainian composer, pianist, conductor, and ethnomusicologist of the late Romantic period. In his time he was the central figure of Ukrainian music. He is often credited with founding a national music tradition during the Ukrainian national revival, in the vein of contemporaries such as Grieg in Norway, The Five in Russia, as well as Smetana and Dvořák in what is now the Czech Republic. By studying and drawing from Ukrainian folk music, promoting the use of the Ukrainian language, and separating himself from Russian culture, his com- positions form what many consider the quintessential essence of Ukrainian music.

Molytva za Ukrainu (Prayer for Ukraine) is Lysenko’s arrangement of a poem by Taras Hryhorovych Shevchenko, a revered Ukrainian poet, writer, and public figure, whose literary heritage is regarded as the foundation of modern Ukrainian literature and the modern Ukrainian language. This beloved composition is essentially the unofficial Ukrainian national anthem.

Thanks

Thanks to Yevgeniya Ignatenko for her help in producing performing editions of the two motets by Mykola Dyletsky that we are performing for this set—very likely the first time this music has been performed in the United States. Yevgeniya Ignatenko is a notable figure in the field of Ukrainian and Belarusian church music. She teaches at the Ukrainian National Tchaikovsky Academy of Music in Kyiv, one of the oldest and the most prestigious higher music education institutions in the country. We would also like to thank Ivetta Irkha, a Ukranian musician and pianist residing in Stockholm, Sweden, for providing her father’s arrangement of The mighty Dnipro roars. And finally, thanks to Gary Graden, an American conductor who is currently the Director of Music at the Stockholm Cathedral, who provided the other scores for our Ukrainian selections.

Acknowledgements:

Music of the Spheres: Astronomy and Shamanism in the Music of Urmas Sisak, David Michael Edmonds, B.M., M.M., Doctoral Dissertation, August 2012, University of North Texas.

Wikipedia

Paul Hillier Ensemble, liner notes from their re- cording of music by Arvo Pärt

—Patricia Jennerjohn

Program Notes for The Christmas Story

Johann Rosenmüller, date unknown

Johann Rosenmüller’s music is exquisite, yet not well known and seldom performed. He was born in 1619 in Oelsnitz, Saxony, Germany. He studied at the University of Leipzig, graduating in 1640. He served as organist of the Nikolaikirche in Leipzig from 1651, and had been assured of advancement to cantor, a position later held by J.S. Bach.  However, in the wake of a personal scandal, he fled to Italy and, by 1658, was employed at Saint Mark's in Venice.  

He composed many vocal works while teaching at an orphanage for girls in Venice (Ospedale della Pietà, where Vivaldi would later teach), between 1678 and 1682. The works of Giovanni Legrenzi were among his Italian influences; his sacred compositions show the influence of Heinrich Schütz (who had also been influenced by the Italian style during his stay in Venice, where he studied with Giovanni Gabrieli).  

In his last years, Rosenmüller returned to Germany, where he served as choir master in the court of  Duke Anton-Ulrich of Brunswick-Wolfenbüttel. He died in Wolfenbüttel in 1684 and is buried there.

The Christmas Story

Weihnachtshistorie is a loose narrative telling the story of the nativity. It is formed of sacred compositions by Johann Rosenmüller and Heinrich Schütz, arranged in the order of the story in the Gospels. It was first compiled in this fashion by Konrad Junghänel and recorded by Cantus Cölln in 2004.

Piazza San Marco by Canaletto, ca. late 1720s. Both Rosenmüller and Schütz spent time in Venice studying and composing.

The young Rosenmüller composed a number of these sacred works in the period 1645-50, when he was enjoying a rapid rise to eminence in Leipzig. He was perceived in his time as the musical successor to Heinrich Schütz by Schütz himself, and the stylistic inheritance is obvious in these motets, which have all the rich palette of instrumental virtuosity of Schütz’s “Psalmen Davids.”

Long before his enforced exile in Venice, a typically Italian suavity is already clearly perceptible all through these remarkable settings of St Luke’s account of the Nativity, and other sacred texts and poems.  Many of the pieces on this program are for multiple choirs: two vocal choirs, plus a choir of cornetti and sackbuts, and a choir of strings.

We are presenting our own version of the Weihnachtshistorie, compiled by our artistic director, Paul Flight.  We also thank Brian Clark, who contributed greatly to this compilation.  He worked from microfilm of the original manuscripts from the repository of Rosenmüller’s work in Berlin’s Staatsbibliothek and provided modern scores of many of the pieces on our program. He also suggested one of the most interesting pieces, “Siehe, eine Jungfrau ist schwanger,” which to our knowledge has never been recorded.  In fact, our 2010 performance may have been a world premiere.

The other pieces are very much in the style of Schütz and were written for various occasions; in addition to the flamboyance of Rosenmüller’s theatrical writing (Magnificat, Gloria), moments of sweet simplicity are revealed in O nomen Jesu and Lieber Herre Gott.  

Magnificat – This composition was written while Rosenmüller was living in Venice.  The text is the song of joy and submission sung by Mary during the Annunciation.  The ten sections (corresponding to the verses of the text) explore all of the permutations possible in the Venetian polychoral style – from lyrical duets to eight-part double choruses, full instrumental ensembles, and a lively double fugue for the final doxology (Gloria Patri/Sicut erat in principio).

Siehe, eine Jungfrau ist schwanger (Behold, a virgin is with child) is a six-part composition that celebrates the coming birth of Mary’s son, and the blessings that will come to him.  The musical ideas are tossed back and forth, almost like a conversation, between the full chorus and lighter duets and trios.

Verbum caro factum est (The Word was made flesh) is a work by Rosenmüller’s teacher, Henrich Schütz.  It is from his Kleine Geistliche Konzerte, a collection of works for small musical forces.  This is a simple and lyrical duet for sopranos and continuo.

O Nomen Jesu is from a collection of simple motets, published by Rosenmüller, called Kernsprüche (Core Teachings) This particular motet is a setting of a prayer dating back to medieval times.  It is a prayer in praise of the name of Jesus, and its saving powers.  Musical interest comes from the alternation of duple and triple meter, used to emphasize the text in key areas.

Strictly speaking, the ‘Christmas Story’ of the title is only partly found in an account of the angels’ visitation of the shepherds in Es waren Hirten auf dem Felde. This was written 20 years before Schütz’s Weihnachtshistorie. The evangelist starts the story, with the angel appearing to a group of shepherds – and the heavens (alternating between full choir and antiphonal responses) resound in joy; the amazed shepherds (their conversation conveyed in a charming rustic style) decide to go to Bethlehem.  An instrumental sinfonia (perhaps representing the shepherds’ journey) leads into a resplendent final song of praise for twelve-part double chorus, in full Venetian style.

Another contribution by Schütz from his Kleine Geistliche Konzerte is Ein Kind ist uns geboren (Unto to us a child is born)—one of two settings of the same text in that collection.  Although simply written for four parts and continuo, this piece provides a great deal of musical interest with its subtle rhythmic permutations.

Christus ist mein Leben is a work meant for the feast of St. Stephen (December 26).  It is set into three distinct sections, based on the text.  After an introductory Symphonia, the first section declares the dedication of the soul to Christ.  Then, the words of Christ to the thief crucified with him are presented in a strong and stately bass solo.  The final section wraps the words in colorful word painting to describe the soul’s journey to heavenly rest, finally wrapping up with setting of the text to the chorale Denn Jesu Christus, Gottes Sohn, accompanied with brilliant writing in the instrumental accompaniment. 

Another offering from Rosenmüller’s Kernsprüche is the sweet and lively Lieber Herre Gott with the unusual combination of solo soprano and sackbuts.  It is likely Martin Luther’s translation of a pre-Reformation collect for Advent.

Gloria in excelsis/Das Wort ward Fleisch (Gloria in excelsis/The word became flesh) is set for six vocal parts and full orchestra, combining the traditional Latin text from the Gospel of St. Luke —“Gloria in excelsis,” with a German translation of text from the Gospel of St. John—“Das Wort ward Fleisch.” The two sections of the text define the musical structure, contrasting the heavenly angels and earthly mankind, using the high and the low voices. The texts in Latin represent the heavenly realm, and the German texts represent humanity. The top voices, sopranos, introduce the sprightly and glorious theme that opens the work; they carry this theme above the other parts throughout. The lower voices bring in the earthly themes: “Et in Terra pax” (And peace on earth) and “Das Wort ward Fleisch” (The word became flesh). The final section is sung by all voices, uniting heaven and earth at last: “Pax hominibus bonae voluntatis” (Peace to people of good will).

—Patricia Jennerjohn

Sources:
Wikipedia
Barbara Davidson, program notes from our 2010 concert
Paul Flight
Liner notes from Cantus Cölln album
Review of Cantus Cölln album

Meet our soloists: Mass in B Minor

Born and raised in Anchorage, Alaska, soprano Victoria Fraser holds degrees from the San Francisco Conservatory of Music, University of Notre Dame, and University of Limerick in Ireland. Victoria has performed as a soloist and chorister in Europe and North America, notably with Il Coro del Duomo in Florence, Italy; the Vocalensemble Frankfurt Dom, in Frankfurt, Germany; Vox Humana in Texas; True Concord in Arizona; the Berwick Chamber Chorus at the Oregon Bach Festival; and the Bachkantaten-Akademie in Thuringia, Germany. Her most recent appearances with CBS were in the 2022 performances of the St. John Passion and last season’s Plaisirs Baroque concerts. She has sung under the direction of Masaaki Suzuki, Helmut Rilling, Matthew Halls, John Nelson, and Jeffrey Thomas.
Passionate about interdisciplinary performance, Victoria produces and performs concerts which re-contextualize classical music through visual art, dance, and technology. Also a composer, Victoria’s compositions were recently featured at the Hot Air Music Festival and Concert of Compassion. Born to a mountaineer father, Victoria loves to ski, rock climb, mountain bike, hike, SCUBA dive, and row.

Australian soprano Morgan Balfour has shared her “crystal-clear tone” and “broad palette of emotional and vocal colors” (San Francisco Classical Voice) with Bay Area audiences since relocating here in 2016. Most recently, Morgan appeared with the San Francisco Symphony as the Soprano II Soloist in Bach’s Magnificat conducted by Jane Glover, and with American Bach Soloists as Céphise in Rameau’s Pygmalion conducted by Jeffrey Thomas. In 2022, she appeared at the Carmel Bach Festival as a Virginia Best Adams Fellow, and finished last season as a soloist with Cantata Collective. She will perform with Cantata Collective again in January 2024 in a program featuring Bach Cantatas BWV 140 and 187.
Morgan performed Bach’s Mass in B Minor earlier this year with Internationale Bachakademie Stuttgart conducted by Hans-Christoph Rademann and again with SF Bach Choir conducted by Magen Solomon. Her strong affinity for early music and the concert stage has seen her appear as a soloist with Australian Brandenburg Orchestra, Pinchgut Opera, Madison Bach Musicians, Canberra Symphony Orchestra, Sydney Philharmonia, and the Brisbane Baroque Festival.

Filipino countertenor Kyle Sanchez Tingzon has been praised for his “powerful countertenor” voice (The Wall Street Journal) and “lovely, plummy voice” (Opera Today). Kyle appeared as soloist in this year’s California Bach Society concerts of the Biber Requiem and Steffani Stabat Mater. Other recent performances include work with American Bach Soloists, Philharmonia Baroque Chorale, his soloist debut with Pacific Opera Project in the US premiere of Vivaldi’s Ercole su’l Termodonte, his debut with Tacoma Opera  in the world premiere of Tacoma Method, and his debut in Handel’s Rinaldo with the Glimmerglass Festival.
In 2022, Kyle completed his graduate and postgraduate studies in Vocal Performance, with a Historical Performance emphasis, at the San Francisco Conservatory of Music, studying under César Ulloa. While there, he made role debuts in Handel’s Giulio Cesare in Egitto (in the title role) and Monteverdi’s L’incoronazione di Poppea (as Ottone). He is the first-prize winner of the Handel Aria Competition, third-prize winner of the Loren L. Zachary Society National Vocal Competition, and a Colorado-Wyoming district winner and Rocky Mountain regional finalist in the Metropolitan Opera Laffont Competition.

Tenor Edward Betts has been singing professionally in the Bay Area for several decades, recently with notable ensembles including the California Bach Society, Marin Symphony, American Bach Soloists, and Cantata Collective. He often sings with the Grace Cathedral Choir of Men and Boys, Schola Adventus at Church of the Advent, St Mark’s Episcopal Choir (Berkeley), and the High Holiday Choir at Temple Sinai (Oakland).  Over his career he has also performed with Volti, the San Francisco and Oakland Symphony Choruses, Philharmonia Baroque Orchestra Chorale, Theatre of Voices, Pacific Boychoir, and the San Francisco Boys Chorus.

For the past decade, tenor David Taylor Siegel has been performing with a wide variety of amateur and professional choral groups throughout the Bay Area, including the California Bach Society, Lacuna Arts, Schola Cantorum San Francisco, and the Chalice Consort. Prior to that, he appeared with a number of New York City-based choral ensembles including the New Amsterdam Singers and the Dessoff Choirs, performing in venues such as Lincoln Center and Carnegie Hall. David also serves as vice president and member of the board of directors of the California Bach Society. When not singing, he practices corporate and startup law in Cupertino.

The grandson of a lifelong church musician, bass/baritone, and Michigan native, Adam Cole studied as an organist with Robert H. Murphy at Interlochen Arts Academy and Paula Pugh Romanaux at Kalamazoo College before turning his focus to voice. He recently appeared as soloist in the California Bach Society’s 2022 Plaisirs Baroques concerts featuring the grand motets of Charpentier, Mondonville, and Telemann.
An eleven-year American Guild of Musical Artists member of the San Francisco Symphony Chorus and currently in his seventeenth year with the Grace Cathedral Choir of Men and Boys, Adam has sung, toured, and/or recorded professionally with the San Francisco Symphony, American Bach Soloists, Philharmonia Baroque, Cappella SF, Grace Cathedral, California Bach Society, and San Francisco Renaissance Voices; and has appeared as soloist, section leader, and chorister with many other current and former Bay Area concert and liturgical ensembles over the past three decades. When not rehearsing or performing, Adam enjoys exploring the California hills and mountains, and creating solo and virtual choir recordings of his favorite Renaissance polyphony and pop songs.

Bass-baritone Chung-Wai Soong has sung with companies in Australia and the US, including San Francisco Opera, West Bay Opera, Victoria State Opera, Volti, American Bach Soloists, and Philharmonia Baroque. He was bass soloist in Schubert’s Mass in A flat and Mozart’s Coronation Mass with Chora Nova, and appeared in this year’s French Impressions program for the California Bach Society as soloist in the Fauré Requiem, which he has also sung at Grace Cathedral.
Chung-Wai has performed with the San Francisco Symphony as Mityukha in Boris Godunov, and the bass solo in Beethoven’s Choral Fantasy under Kurt Masur, which he also performed at the Ojai Festival with Jeremy Denk. His extensive repertoire includes world premieres by David Chesworth (Sabat Jesus), Lisa Bielawa’s groundbreaking streaming opera, Vireo, and the title role in Meira Warshauer’s Elijah’s Violin. His performance of Schumann’s Dichterliebe at the Melbourne International Festival was broadcast live nationally on ABC.
Recent roles: Sadistic Sailor (Mazolli’s Breaking the Waves), High Priest of Baal (Nabucco), Melchior (Amahl and the Night Visitors), Kuligin (Katya Kabanova), Un vieux paysan (Dukas’ Ariane et Barbe-Bleue), Marco (Gianni Schicchi, Hawaii Opera Theatre), Chamberlain (Stravinsky’s Le Rossignol, West Edge Opera), and the title role in Il Ducato-The New Mikado (Lamplighters Music Theatre).

Program Notes for Mass in B Minor

Thomaskirche, Leipzig, artist unknown, 1735

The Mass in B Minor is considered to be the summation of Johann Sebastian Bach’s art and one of the greatest masterpieces of Western sacred music. In approaching this work, one of the first things one notices is that Bach, a devout Lutheran church musician, put so much of his talent and energy into creating a massive and complex Latin mass that would never be performed in his lifetime and was not appropriate for either the Lutheran church services in Leipzig or for the Catholic court of the Elector in Dresden. And as an additional observation, the musical content is almost entirely comprised of adaptations of Bach’s existing works.

It is generally acknowledged that Bach intended to create a large work that would be his legacy: to show his talents and experience in choral writing and also to document the art of counterpoint, which, at the end of his life, was becoming old fashioned. What he created is a stunningly complex work, with twenty-six individual sections, all based on differing melodic material and written in a variety of styles. There are large Baroque fugal choruses, motet-like sections in the tradition of Palestrina, Gregorian chant, arias and duets in ornamented operatic styles and in the more modern “galant” style of the mid to late 18th century, full orchestral sections with unique instrumental obbligatos, and smaller continuo accompaniments—all masterfully interwoven to create an integral whole. Bach divided the work into four parts: Kyrie and Gloria; Credo; Sanctus; and the remaining sections of the mass, Osanna, Benedictus, Agnus Dei, and Dona nobis pacem.

While the Mass in B Minor as a whole was never intended for liturgical use, the oldest segments—the Sanctus, and the Kyrie and Gloria—were composed with performance in mind. Unlike other Protestant religions, the German Lutheran Church retained the mass, or Holy Communion, as its principal worship service. In Bach’s time in Leipzig, these three sections of the mass were still performed in Latin on feast days and holy days. The Sanctus was written for Christmas Vespers in 1724. It stands alone as a separate section in Bach’s B-Minor Mass, as it would have in the Lutheran service. In 1733, Bach composed a Missa Brevis, or short mass, to accompany his petition to Augustus III, the Elector of Saxony, to be appointed court composer. This short mass was composed in Latin and consisted of the first two sections of the Catholic mass, the Kyrie and Gloria. However, there was nothing “short” about this work. It is almost an hour in performance length and was written for full orchestral forces, such as those available at the Dresden court. Bach wrote four other short masses for performance in Leipzig or Dresden. It wasn’t until the late 1740s, near the end of his life, that Bach turned to creating the larger work that we know as the Mass in B Minor.

The mass begins with the traditional Kyrie, sung in Greek (“Kyrie eleison, Christe eleison” God have mercy, Christ have mercy). The three sections, organized on the division of the liturgical text, provide excellent examples of the varied musical styles in the mass. The opening Kyrie is a large Baroque fugal chorus for five voices and full orchestra. In the Christe, the duet that follows, Bach uses a simpler style, more typical of the “gallant” style, with less ornamented melodic lines and more straightforward instrumentation. The final section, the return to the Kyrie, is a slow and measured four-part chorus more in the style of the Italian Renaissance, although supported with a Baroque bass line.

The Kyrie is a section of supplication, asking for mercy. The Gloria is an extended hymn of praise and thanks to God for providing salvation, an important theme of the Reformation and probably the reason that the Kyrie and Gloria were retained as a part of the Lutheran service. The Gloria is divided into nine individual sections based on the text, and includes five impressive choruses, three solos and a duet. The solos and duet are all accompanied by various instrumental obbligatos. The Laudamus te, for soprano solo and strings, contrasts with the Christe duet from the Kyrie with a highly ornamented vocal line and complex accompaniment with violin obbligato.

First page of the Symbolum Nicenum (Credo) from Johann Sebastian Bach's Mass in B minor, BWV 232 (Source: Wikipedia)

The Credo, or creed, is a lengthy statement of Christian beliefs and an integral part of the mass. The composition of this large section dates from the late 1740s when Bach undertook the expansion of the original short mass. The Credo begins with a Renaissance-style fugue that uses the Gregorian chant melody for the fugal subject. The five vocal parts each present the subject over a Baroque “running bass” line that provides a more immediate sense of motion. The following chorus is a dramatic contrast, a lively reiteration and continuation of the text, in a style more similar to the 18th century, with full orchestra, trumpets, and timpani. In the Confiteor, a five- voice motet style chorus, Bach has slipped the Gregorian chant into the middle of the work sung by the middle voices (bass and alto) in canon and in the tenor part, in augmentation (sung with longer note values).

The two choruses of the Sanctus form the third large part in the B-Minor Mass. The first is a grand and majestic chorus, six-vocal parts in common time with a triplet figure that flows like large waves. The dramatic bass line, which repeats in loose passacaglia fashion, punctuates and relentlessly drives the movement forward. The Pleni sunt coeli is a lively Baroque fugue.

The final part is comprised of the remaining texts of the ordinary of the mass: the Osanna, Agnus Dei, Benedictus, and Dona nobis pacem. The Osanna is the only eight-part double chorus section in the mass. It is triumphant music that contrasts eight-part double chorus homophonic sections with four-part fugal sections, alternating between the two choirs. The mass ends with Dona nobis pacem.

Barbara Davidson
October, 2012

Remembering David Lance Goines: Artist, Music Lover, Friend

The first time I met my dear friend David Lance Goines was at his Berkeley Craftsman home around 2012. It was a potluck organized by his partner at the time. She was my hip hop teacher at the Downtown Berkeley YMCA, and she had welcomed me into this small group of regulars because I had volunteered to design a t-shirt for the group’s fundraising “dance-a-thon” event.

That evening, I discovered that David was a fabulous cook and had a deep love for Bartok and Bach. It was at that gathering, and many more to follow, that he invited me to sightread Bartok on his piano. It thrilled him, and I remember him speaking eloquently of his love for Wanda Landowska’s playing of Bach on the harpsichord. I never imagined that years later I would be playing Bach for him on the harpsichord at my house.

I invited David to my performances with CBS, and he was soon given a complimentary, never-ending subscription to our concerts, once it was discovered that this was the David Lance Goines who had designed the beloved CBS poster way back in the ‘70s! He never missed a CBS concert that I was in, and he was delighted to hear my progression from chorister to soloist.

David always had the loveliest things to say about the choir and donated regularly in support of CBS. I know we’ll all miss seeing him at our concerts. It was a great loss to the world when this famous poster artist passed in February of this year. As for me, I will miss his friendship and the opportunity to make music for him, but I’ll take comfort in dedicating future performances to his memory and imagining him out there in the third row, sitting up straight in his signature black attire, his bowler hat in his lap, and his handlebar mustache curving upward in a gentle smile of quiet delight.

Caroline Jou Armitage
May, 2023

Caroline Jou Armitage performing on the harpsichord, June 2022. Photo Credit: Tom Wootton

Meet our soloists, Biber Requiem & Steffani Stabat Mater

Rita Lilly, Soprano

Rita Lilly has been lauded by The New York Times for “possessing a voice of strength, clarity, and virtuosity” and by the S.F. Classical Voice for “having a pure, silvery voice with plenty of color.” As a specialist of Baroque and early music, Rita has been a featured artist with the American Boychoir, American Classical Orchestra, Artek, Clarion Music Society, Concert Royal, Rebel, the Folger Consort, Sacabuche, and the New York Consort of Viols, among others. As the soprano of the Waverly Consort, she toured throughout the U.S. and abroad, including performances at Alice Tully Hall and Town Hall.  Rita has been featured on live broadcasts on WNYC, WNCN, National Public Radio, and Radio-Canada.

Rita is a frequent soloist with some of the finest Bay Area groups, such as the Albany Consort, American Bach Soloists, California Bach Society, Chora Nova, Marin Oratorio, Sacramento Baroque, San Francisco Bach Choir, and Soli Deo Gloria. She can be heard on the EMI, Naxos, Musical Heritage, and Newport Classic labels. 

Rita is the choral director at Mills College, music director at Lafayette Christian Church, and director of Sorella Girls Chorus. She is on the faculty of the Pacific Boychoir Academy and maintains an active vocal studio in her home.

Caroline Jou Armitage, soprano

Proud CBS chorister from 2011-2017, soprano Caroline Jou Armitage is known to Bay Area audiences for her “absolutely beautiful” performances sung with “pitch-perfect clarity and affecting intensity” (San Francisco Classical Voice). As a frequent soloist with the California Bach Society, she has performed Handel’s Dixit Dominus, Bach’s Cantatas BWV 21 and 198, Bach’s Mass in G Major, Bach’s Mass in A Major, and most recently in last fall’s Plaisirs Baroques concerts. On May 19, she sings Rameau’s La Lyre Enchantée with tenor Brian Thorsett and Harmonia Felice. 

A multi-instrumentalist, Caroline made her Hertz Hall debut at the 2022 Berkeley Festival and Exhibition, playing repertoire from Bach’s Well-Tempered Clavier on the harpsichord. The same festival found her debuting on the Baroque violin with the Albany Consort.

Caroline currently studies voice with Karen Clark and is the soprano soloist and section leader at St. Stephen’s Episcopal Church in Belvedere.

Kyle Sanchez Tingzon, countertenor

Filipino countertenor Kyle Sanchez Tingzon has been praised for his "lovely, plummy voice" (Opera Today). As a 2022 Gerdine Young Artist with Opera Theatre of Saint Louis, he made his company and role debut as The Messenger in Stewart Wallace’s world premiere of Harvey Milk Reimagined, and covered the Third Spirit in The Magic Flute. His current season includes work with American Bach Soloists, California Bach Society, Philharmonia Baroque Chorale, his soloist debut with Pacific Opera Project in the US premiere of Vivaldi's Ercole su'l Termodonte, his debut with Tacoma Opera  in the world premiere of Tacoma Method, and his first summer with the Glimmerglass Festival and debut in Handel’s Rinaldo.

In 2022, Kyle completed his graduate and postgraduate studies in Vocal Performance, with a Historical Performance emphasis, at the San Francisco Conservatory of Music, studying under César Ulloa. While there, he made role debuts in Handel’s Giulio Cesare in Egitto (in the title role) and Monteverdi’s L’incoronazione di Poppea (as Ottone).

He is the first-prize winner of the Handel Aria Competition, third-prize winner of the Rochester Oratorio Society Competition (RIVC), and most recently, a Colorado-Wyoming district winner and Rocky Mountain regional finalist in the Metropolitan Opera Laffont Competition.

Corey Head, tenor

Corey Head specializes in early music with a special affinity to J.S. Bach. His solo concert performances include The Evangelist in Bach’s St. John Passion, as well as tenor soloist in his Magnificat, Christmas Oratorio, B-Minor Mass, and many of his cantatas. Other oratorio roles include Uriel in Haydn’s Creation, “The Evening” in Telemann’s Die Tageszeiten, and tenor soloist in Handel’s Messiah. He has also performed solos in Mozart’s Requiem, Orff’s Carmina Burana, Britten’s Rejoice in the Lamb, William Boyce’s Solomon: A Serenata, Handel’s Acis and Galatea, Beethoven’s Mass in C Major, and Mozart’s C Minor Mass.

Operatic performances include the roles of Ferrando in Mozart’s Così Fan Tutte, Damon in Handel’s Acis and Galatea, and Mordocai in Cristiano Lidarti’s Hebrew setting of Esther.

Corey has performed as soloist with many San Francisco Bay Area groups including Albany Consort, Bay Choral Guild, California Bach Society, Chora Nova, Marin Baroque, Marin Oratorio, Marin Symphony, San Francisco Choral Society, San Francisco Renaissance Voices, San Francisco Symphony, Stanford Choirs and Orchestras, and Viva La Musica. He performs regularly in the chorale with Philharmonia Baroque Orchestra and Chorale.

Curtis Streetman, bass

Curtis Streetman is an artist who strives to perform a rich and excitingly varied repertoire. He has appeared in Le Nozze di Figaro (Figaro), Die Zauberflöte (Sarastro), La Bohème (Colline), Don Giovanni (Leporello), and Rigoletto (Sparafucile), as well as leads in other Verdi, Handel, and Rossini operas. Operatic performances include appearances at the Salzburg Festival, as well as opera houses in Vienna, Bilbao, Dortmund, Halle, and Victoria. 

Recent debuts include performances in Geneva, Basel, and at the Theatre Champs-Élysées. Festival appearances include Ravinia, the Savannah Music Festival, the Hong Kong Arts Festival, Tanglewood, Herrenchiemsee Festspiele, the Halle Handel Festival, and the San Juan Arts Festival. 

Curtis toured Canada with Bernard LaBadie and Les Violons du Roi in performances of Bach’s St. John Passion. He has toured the United States with the chamber ensembles Aulos and Rebel, and Europe with Kammerorchesterbasel in performances of Handel’s Riccardo Primo.  He performed the role of Christus in Sir Jonathan Miller's acclaimed fully staged production of the Saint Matthew Passion, produced by the Brooklyn Academy of Music, and performed the title role in Lalo’s Le Roi d'Ys with the American Symphony Orchestra, which marked his Lincoln Center debut. 

Program Notes for Biber Requiem & Steffani Stabat Mater, May 5–7

Lamentation Over the Dead Christ, by Fra Angelico from around 1436-1440

Our program presents the work of two composers who—although perhaps unfamiliar to modern audiences—are both acknowledged masters of the Middle German Baroque, Agostino Steffani and Heinrich Biber.

Agostino Steffani (1653-1728) was born in Venice, where he was a chorister at St. Mark's Basilica. As a young singer, he came to the attention of a visiting dignitary from Bavaria who invited him to Munich. He received much of his formal musical training there. He spent a year studying in Rome and formed connections that he maintained throughout his lifetime. In 1688, Steffani accepted the post of Kapellmeister at the Court in Hanover and came into contact with the young Georg Frideric Handel. Although Steffani did not accompany the Elector of Hanover to England when the latter became King George I, his music was known there, and manuscripts of his work are found in the library at Buckingham Palace. The Stabat Mater was one of the works that he submitted upon his election as honorary president for life of the London Academy of Vocal Music.

Heinrich Ignaz Franz von Biber (1644-1704) was born in what was then Bohemia. Little is known of his early life and musical education. He emerged onto the musical scene as a young man in the employ of the archbishop in Olmütz (now Olomouc in the Czech Republic), serving as valet and violinist. By his early 20s, he had already gained a reputation as a violin virtuoso and moved to Salzburg, Austria, where he spent the remainder of his life. While his best-known works are for violin, Biber has also left a large body of sacred choral works, written during his tenure as Kapellmeister of the Cathedral at Salzburg. It is a mark of the esteem in which he was held during his lifetime that despite humble beginnings as a servant, he rose to be knighted and lived his later life in wealth and comfort.

The Stabat Mater and Requiem are musical forms that developed in the Roman Catholic Church during the Middle Ages. They tend to be quite personal and introspective in style. 

The Stabat Mater is a sequence, or hymn, one of five prescribed in the Roman Catholic tradition (the “Dies irae” from the Requiem Mass is another). The text comprises numerous three-line rhymed verses that fall into two sections. The first section describes the suffering of Mary, the mother of Jesus, during the Crucifixion. The second section is a series of petitions to Mary for help and salvation. Like Biber in the Requiem, Steffani employs numerous combinations of singers in his Stabat Mater, alternating solo and duet sections with chorus in unison or divided into six parts (soprano 1 and 2, alto, tenor 1 and 2, bass). The choral sections weave together short musical segments that are introduced sequentially in several of the voices and are specific to each line of text. The musical style can be quite descriptive: for example, the chromaticism in the soprano opening underscores the suffering of Mary, a tremolo represents trembling at the text et tremebat (and trembled), and uncomfortable melodic intervals depict the harshness of the word flagelis (whipped). 

The Requiem is a special form of the Latin Mass intended for use at funerals. As in Masses for other special occasions, several of the "ordinary," or standard, Mass sections are replaced by "proper" sections specific to the occasion: 

• Introit, Requiem aeternam dona eis, Domine (Grant them eternal rest, O Lord) 

• Sequence, Dies irae, dies illa (Day of wrath, day of mourning), which describes the final day of judgment 

• Offertory, Domine, Jesu Christe, Rex gloriae (Lord Jesus Christ, King of glory) 

• Communion, Lux aeterna luceat eis (May everlasting light shine upon them) 

Dozens, if not hundreds, of composers have composed a Requiem to commemorate a special person or event, some intending the work for liturgical use and others for concert performance. Requiems most familiar to contemporary audiences include those by Mozart, Brahms, Fauré, Berlioz, Verdi, and Britten, who wrote his famous War Requiem to commemorate the rededication of Coventry Cathedral upon its rebuilding after World War II. 

Biber structures his Requiem in F minor around the sections of the Mass. While it would have been intended for liturgical use, it is equally suitable for concert performance. The complete original score is lost, but remaining sources suggest that Biber intended the work for performance in the Cathedral of Salzburg, the design of which was ideal for music featuring multiple physically separated ensembles: in the Requiem, two five-voice choirs with one singer on a part and a third five-part ensemble with multiple singers on each part. The Requiem employs varied musical forms and textures to describe and underscore the text, alternating solos and duets with smaller five-part groups and with the full ensemble. There are imitative and homophonic choral sections, declamatory phrases, and lovely florid melodies. In the Dies irae, almost a separate work in itself, Biber varies the music and style as the text progresses from the dramatic opening at the final day of judgment through sweet verses of contrition and supplication to Jesus for salvation to the final solemn request for eternal rest. Throughout the Requiem, Biber's masterful weaving of unique and interesting melodic lines within a complex musical texture is evident.

Meet our Soloists, French Impressions

Welsh pianist-singer Nalini Ghuman is the Luther Marchant Professor of Music at Mills College and an award-winning ethno/musicologist.  She studied piano at the University of Oxford and at the Royal Academy of Music, and has performed solo recitals, chamber music, and works for piano and orchestra in Oxford, London, and the Bay Area. In partnership with countertenor and baritone Paul Flight, Nalini has performed French mélodies (Chausson, Fauré, Cécile Chaminade and Reynaldo Hahn), and German Lieder; in April 2022, the Flight-Ghuman duo performed songs of Henry Cowell and Lou Harrison, including pieces for prepared piano and string piano, at the four-day festival, Music in the Fault Zone, at Mills College. Nalini has performed solo recitals on Berkeley’s Noon Concert Series in Hertz Hall, including music by Berg, Bartók, Ravel, and Debussy; Meredith Monk’s two-piano pieces at Mills College; and Stravinsky’s Symphony of Psalms with the UCB Symphony Orchestra.  She recently performed chamber music by Mario Castelnuovo-Tedesco, Clara Schumann, and Johannes Brahms with her students at Mills College. In May, she will perform Brahms’ Requiem in the composer’s own two-piano arrangement with Chora Nova in Berkeley.

Soprano Mara McMillan holds a Masters of Music in Vocal Performance from San Francisco State
University, where she studied with Christine Brandes. She has performed as a soloist and chorister with
the California Bach Society, Bay Area Classical Harmonies (Bach St. John Passion and Vivaldi Gloria), San Francisco Renaissance Voices, Schola Cantorum SF, and the Cathedral of Christ the Light in Oakland.

With Briarbird Baroque Ensemble, Mara has performed solo and duet works in two concert series, one of Charpentier’s Quatuor anni tempestates, for the Berkeley Early Music Festival Fringe concerts, and the second a concert set of German Baroque music for voices and viol consort. She has also sung in recital the complete Handel solo cantata HWV 110 Agrippina condotta a morire. Mara’s opera roles include Belinda in Purcell’s Dido and Aeneas and Beatrice in Berlioz’s Beéatrice and Bénédict.

While early music is her primary interest, Mara has also performed such works as Arvo Pärt’s Passio (St.
John Passion), as one of the Evangelist solo quartet, under Ragnar Bohlin, and premiered John Hirten’s
Missa Brevis with the Camerata of the Cathedral of Christ the Light.

Bass-baritone Chung-Wai Soong has sung with companies and ensembles in Australia and the US, including West Bay Opera, Victoria State Opera, Volti, American Bach Soloists, and Philharmonia Baroque. He has sung the baritone solo in the Fauré Requiem with Grace Cathedral Choir, and was bass soloist in Schubert’s Mass in A flat and Mozart’s Coronation Mass, both with Chora Nova.

Chung-Wai has sung with the San Francisco Symphony as Mityukha in Mussorgsky’s Boris Godunov and Beethoven’s Choral Fantasy under Kurt Masur, which he also performed at the Ojai Festival with Jeremy Denk. His extensive repertoire includes world premieres by David Chesworth (Sabat Jesus), Lisa Bielawa’s groundbreaking streaming opera, Vireo, and the title role in Meira Warshauer’s Elijah’s Violin. His performance of Schumann’s Dichterliebe at the Melbourne International Festival was broadcast live nationally on ABC. Recent roles include Erster Nazarener (Salome), Sadistic Sailor (Mazolli’s Breaking the Waves), High Priest of Baal (Nabucco), Melchior (Amahl and the Night Visitors), Kuligin (Katya Kabanova), and Un vieux paysan (Dukas’ Ariane et Barbe-Bleue). Upcoming engagements include Marco (Gianni Schicchi, Hawaii Opera Theatre) and Chamberlain (Le Rossignol, West Edge Opera). He is excited to be making his debut with the California Bach Society.

Program Notes for French Impressions, March 3-5

Gabriel Urbain Fauré (1845–1924) was a French composer, organist, pianist, and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more complex harmonic and melodic style.

Fauré’s music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré’s death, jazz and the atonal music of the Second Viennese School were being heard. The Grove Dictionary of Music and Musicians, which describes him as the most advanced composer of his generation in France, notes that his harmonic and melodic innovations influenced the teaching of harmony for later generations.

Influences on Fauré, particularly in his early work, include not only Chopin, but also Mozart and Schumann. In contrast with his harmonic and melodic style, which pushed the bounds for his time, Fauré’s rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he used discreet syncopations, similar to those found in Brahms’s works. Copland referred to him as “the Brahms of France.” The music critic Jerry Dubins suggested that Fauré “represents the link between the late German Romanticism of Brahms. . .and the French Impressionism of Debussy.”

Cantique de Jean Racine, Op. 11 

The text, “Verbe égal au Très-Haut” (“Word, one with the Highest”), is a French paraphrase by Jean Racine of a Latin hymn from the breviary for matins, Consors paterni luminis. Nineteen-year-old Fauré set the text in 1864–65 for a composition competition at the École Niedermeyer de Paris, and it won him the first prize. The work was first performed the following year in a version with accompaniment of strings and organ. The style shows similarities with his later Requiem. Today, the two works are often performed together.

Zachary Gates noted in a paper dedicated to the work: “The long sweeping melodies and strong melodic and harmonic appoggiaturas in Cantique are a testament to the Romantic side of the piece, but there is a definite contemporary tint to what he’s writing, hidden in very minute and well-justified atonal note choices in the harmonic structure and melody. After ten years of training at the school focused on liturgy, Fauré was able to set the inspiring text with a gorgeously restrained and respectful charm.”

Madrigal, Op. 35

This four-part song, set to words by Armand Silvestre, was composed in 1883. It is written to be sung by vocal quartet or choir, with piano or orchestral accompaniment.

Fauré had a liking for Silvestre’s poems and set several of them. This one, titled “Pour un chœur alterné,” is from Silvestre’s 1878 collection La chanson des heures. With its theme of young men and women accusing each other of selfishness and cruelty in affairs of the heart, Fauré set it as a mischievous wedding present for his friend and ex-pupil André Messager. The pianist and scholar Graham Johnson commented that the song has “the wittiness and suggestiveness of a speech by the best man at a wedding.” 

Requiem, Op. 48

Gabriel Fauré composed his Requiem in the late 1880s, revising it in the 1890s, and finishing it in 1900. This setting of the shortened Catholic Mass for the Dead in Latin is the best-known of his large works. Its focus is on eternal rest and consolation. He composed the work not to the memory of a specific person but, in his words, “for the pleasure of it.” It has been described as “a lullaby of death” because of its predominantly gentle tone. Fauré revised the Requiem over the years, and a number of different performing versions are now in use, from the earliest, for small forces, to the final revision with full orchestra. It was performed at his own funeral in 1924 and was first performed in the United States in 1931.

In seven movements, the work is scored for soprano and baritone soloists, mixed choir, instruments, ,and organ. Following the French Baroque tradition, the full sequence Dies irae is omitted, replaced by its section Pie Jesu. Reference to the day of judgment appears in the Libera me, which, along with the final movement In Paradisum, is based on a text that is not part of the liturgy of the funeral Mass but of the Order of Burial. Fauré wrote of the work, “Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest.”

Marie Juliette “Lili” Boulanger (1893–1918) was a French composer and the first female winner of the Prix de Rome composition prize. Her older sister was the noted composer and composition teacher Nadia Boulanger.

As a Paris-born child prodigy, Lili Boulanger’s talent was apparent at the age of two, when Gabriel Fauré, a friend of the family, discovered she had perfect pitch. Her parents, both of whom were musicians, encouraged their daughter’s musical education. Her mother, Raissa Myshetskaya, was a Russian princess who married her Paris Conservatoire teacher, Ernest Boulanger, also a Prix de Rome winner. Lili Boulanger’s grandfather Frédéric Boulanger had been a noted cellist and her grandmother Juliette, a singer.

Boulanger grew up in a time of musical transition and her music fits easily into what was becoming defined as a post-Romantic style. Like Debussy, Boulanger associated herself more with Symbolism than Impressionism, with her music featuring the sense of obscurity and indirection more common in Symbolism. However, she explored the Impressionists’ harmonic palette. While much of Boulanger’s music reflects the feelings of isolation and alienation that were starting to emerge during the twentieth century, it also reveals her own struggles with depression and loneliness caused by a long-term illness. She often chose texts that conveyed a strong sense of hopelessness and sadness, as seen in her song Demain fera un an: “Nothing more. I have nothing more, nothing to sustain me” and “I seem to feel a weeping within me, a heavy, silent sobbing, someone who is not there”.

Sous bois: Dennis Keen, artistic director of Voices of Ascension, wrote on their website: “This exquisite piece is virtually unknown and was out of print for decades. I believe this performance [March 20, 2019] was actually the NY Premiere even though the piece was composed in the early years of the 20th century. The work ([a setting of a] poem by Philippe Gille) depicts two lovers on a walk in the woods and their tender remembrance of it.”

Henk Badings  (1907–1987) was born in Java when it was still a Dutch colony; he later acknowledged the influence of Indonesian music heard in childhood as the source for his adult interest in microtonal scales. Badings was a largely self-taught musician who was able to function at the highest levels of academic teaching.

When Badings graduated from Delft Politechnical Institute in 1931, he initially turned to geology and engineering, the trades for which he studied, but the desire to compose proved too strong. He received a number of commissions, and from 1935, began to teach as well, accepting the position of head at the Royal Conservatory of the Hague from the Nazi-controlled Dutch government in 1942, replacing of the sitting director, who was Jewish. Although this did not make Badings a “Nazi collaborator” in the conventional sense, this decision would have fatal ramifications concerning Badings’ later career.

In the 1960s an inquiry into that incident permanently devastated his reputation in Holland: Badings’ music was banned from Dutch radio, and his music disappeared from the concert halls. He was still permitted to teach, and his students highly valued his insights. However, his name has remained practically unknown in Holland, even though it appears on practically all short lists of great Dutch composers. His international reputation was not as strongly affected.

Badings composed more than 1,000 works and wrote for practically every instrumental combination available to him. Badings had an innate sense of formal development, a preference for luxuriant textures, and a taste for exoticism.

Trois Chansons Bretonnes

This setting of three French poems by Théodore Botrel was composed in 1946. While all three movements are part of the same cycle, each work is thematically independent from the others and tells its own story.

La nuit en mer enters the minds and hearts of fishermen marveling at the ocean on a quiet night. The voices of the choir move gently with the waves of the piano accompaniment like an evening in a fishing boat on the calm sea. As the fisherman go to sleep, they imagine the beauty of the sea and how eager they are to sail in the morning with the rising sun.

La complainte des âmes is both a lament and a prayer. The unaccompanied voices, in what can almost be considered a chant, pray to the Virgin Mary, expressing the bitter pains of souls lost to the fires of Purgatory. With eerie harmonies, they pray for the souls of the mothers and fathers whose children will not pray for them.

Soir d’été begins, like La nuit en mer, at the end of the day. Two lovers rush home before dark, but not before taking in the sights, sounds, and smells of the sensuous world around them. The light-hearted music accompanies the gaiety of the couple’s hearts. Then quickly, before they lose themselves too much in the timelessness of love, they hurry home on a warm summer night.

Sources:
California State Long Beach Chamber Choir - Program Notes, March 21, 2015
Wikipedia
Voices of Ascension

– Patricia Jennerjohn