vancouver bach festival 2019...2019/07/19 · alessandro piccinini: toccata xi (lute solo) maria...

earlymusic.bc.ca Song of Songs Vancouver Bach Festival 2019 1

the artists

THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING

DEVICE IS STRICTLY PROHIBITED

Pre-concert chat with host Matthew White at 6:45:

Alex Potter

Generously supported by the

EMV Board of Directors

Suzie LeBlanc&

Dorothee Mieldssopranos

Alex Potteralto & leader

Samuel Bodentenor

Matthew Brookbass-baritone

Lucas Harristheorbo

Michael Jarvisharpsichord & organ

and with readers

Dana Camil Hewitt&

Yotam Ronen

song of songs— a concert designed and led by alex potter —

the audience is requested not to applaud until the end of each half

(Song of Songs Chapter 1 complete)

Giovanni Pierluigi da Palestrina: Osculetur me Palestrina: Trahe me post te

reading: song of songs 1:1-8

Palestrina: Si ignoras te

reading: song of songs 1: 8-15

Palestrina: Ecce tu pulcher

(End of Song of Songs Chapter 1 complete)

Alessandro Piccinini: Toccata XI (lute solo)

Maria Xaveria Perucona: Propera veni dilecte mi Alessandro Grandi: Surge propera

reading: song of songs chapter 5 complete

Orlande de Lassus: Anima mea liquefacta est

INTERVAL“O friends; drink, yea, drink abundantly, O beloved.”

(Excerpt from Song of Songs, Chapter 5, Verse 1)— wine is available for sale at intermission! —


Claudio Monteverdi: Ego flos campi Cristóbal de Morales: Ecce amica mea Girolamo Frescobaldi: Toccata Terza (harpsichord solo) Giovanni Antonio Rigatti: Surge Columba


Lucrezia Orsina Vizana: Sonet vox tua Giovanni Rovetta: Surge propera

reading: song of song shapter 3 complete

Domenicho Mazzochi: Dialogo della cantica

Thanks to Ray Nurse for the use of his theorbo

based on 17th-century Venetian models (Ray Nurse, 1999, Vancouver, B.C.)

VANCOUVER BACH FESTIVAL 2019

tuesday august 6 at 7:30 pm | christ church cathedral

2 Vancouver Bach Festival 2019 Song of Songs [email protected]

PARTNERSboard of directors

Chris Guzy president

Fran Watters vice president

Ron Kruschentreasurer

Tony Knoxpast president

Ilia Korkhsecretary

Kathleen BourchierSpencer Corrigal cpa,ca

Sherrill GraceMelody Mason

Tim Rendell cpa,caJohanna Shapira Ingrid Söchting

Vincent Tan÷

José Verstappen cmartistic director emeritus

÷

staffMatthew White

executive & artistic director

Nathan Lorchbusiness manager

Michelle Herrewynen development manager

Jonathan Evansproduction manager

Laina Tanaharamarketing & volunteer coordinator

Mei Chi Chinsummer production assistant

Jan Gatesevent photographer

Murray Paterson Marketing Group

marketing & media relations

Trevor Mangionand

The Chan Centre Box Office Staffemv ticket office: 604.822.2697

1254 West 7th Avenue, Vancouver BC, V6H 1B6

tel: 604.732.1610 fax: 604.732.1602

[email protected]

We also gratefully acknowledge the generosity of our many donors and volunteers.

thank you!

We acknowledge the support ofthe Province of British Columbia

EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Per-forming Arts, with the support of the Chan Endowment Fund at the University of British Columbia.

pacificbaroque

orchestraalexander weimann

MUSIC director

THE BRENNAN SPANO FAMILY FOUNDATION

Early Music Vancouver gratefully acknowledges the assistance and support of:

government support

foundations

2019-20 production partners

production partners in victoria bc

corporate supportRosedale on Robson

Suite HotelVANCOUVER, BC Tony Knox

Barrister & Solicitor, Arbitrator

1291 West 40th Avenue,Vancouver, B.C. V6M 1V3 Canadawww.knoxlex.com

Knox & Co. denotes D.A.Knox Law Corporation

Tel: 604 263 5766Cell: 604 374 7916Fax: 604 261 1868Email: [email protected]

THE DRANCE FAMILYEARLY MUSIC VANCOUVER FUND

You can be in good company too!The corporate sponsors of Early Music Vancouver give back to their community through the support of our performances and education & outreach programmes. Their efforts make a meaningful difference for concertgoers and musicians alike.Our wide range of activities offers unique sponsorship opportunities for both large and small companies to support us while also reaching their corporate goals. A range of sponsorship advantages is available, including logo recognition, complimentary tickets for your clients, employee discounts, and many other benefits tailored to your specific needs.

Call Nathan Lorch to discuss how our audience profile may fit with your company’s objectives: 604 732 1610.

Early Music Vancouver acknowledges that we are gathered on the traditional, ancestral and unceded territory of the Coast Salish peoples – Sḵwxwú7mesh (Squamish), Stó:lō and Səlilwətaʔ/Selilwitulh (Tsleil-Waututh) and xʷməθkʷəyəm (Musqueam) Nations.


Singing Evensong in my youth brought me into daily contact with Christianity’s Judaic heritage. From its opening paraphrasing of Psalm 51, “O Lord open thou our lips”, the service is steeped in the language of the Hebrew scriptures. Indeed, through the singing of psalms and anthems, as well as hearing readings, the Old Testament (essentially identical to the Hebrew Tanakh) became increasingly familiar to me. Thanks to Evensong, as a child I already knew about well-known figures like Abraham, Moses and Ruth, and the story of Exodus, for example. I also learned about the less familiar: Og the King of Bashan, Nebuchadnezzar II, as well as the fact that Noah’s Ark was exactly 300 cubits long!

Texts from the Song of Songs were less frequently encountered, but bound up with very fond memories of performing wonderful pieces like Patrick Hadley’s My beloved spake, Palestrina’s Surge amica mea, John Ireland’s Greater love hath no man, and William Walton’s Set me as a seal – a work I sang numerous times at weddings, and which provided much-needed beer money as a student.

When I was a child, I thought as a child and didn’t really consider the peculiarity of the Song of Songs belonging to the religious canon. The transition to adulthood, of course, also gave me a more understanding of the text, but at the same time led me to wonder what this kind of erotic sensuality was doing in the Bible! Scholars now generally agree that it was originally Hebrew love poetry composed, adapted and expanded over generations, between 500 and 200 BCE, with recognizable Egyptian, Persian and Hellenistic influences. The Hebrew title Shir ha-Shirim (“Song of Songs”) is used in a superlative sense,

“the most beautiful of songs”, (similar to “Holiest of Holies”). The poem’s place in both the Jewish and Christian scriptures was established in late antiquity, significantly thanks to Rabbi Akiva (50-135 CE), who interpreted it as an allegory of the love between God and Israel. Akiva’s writing was then highly influential on the Christian theologian Origen (184-253 CE), who regarded the bridegroom as representing Christ and the bride being the believer.

Against this theological background it is hardly surprising that there was a huge proliferation of musical settings of the Song of Songs in the sixteenth and seventeenth centuries. In the early sixteenth century, the Reformation split the Western Church into Roman Catholic and Protestant factions, both vying for the souls of the believers. Alongside killing and torture, both sides readily embraced mysticism to win over hearts and minds. With its potent sensuality, the Song of Songs became a central resource for composers working in both traditions.

Within tonight’s concert, we can hear how the text was used in different ways by composers. In Palestrina’s and Monteverdi’s settings, we hear unchanged settings of the original texts, while in settings by Grandi and Rigatti we might observe how composers also drew together non-consecutive verses from different parts of the collection, thus in effect creating their own texts. Finally, a third type is represented by those settings which use the language of the Song of Songs, but change and paraphrase it to express something explicitly Christian, as exemplified in the Vizana and Mazzochi.

More radically different than the types of text is the way the composers set them. The works in the can roughly be divided into “Renaissance” and “Baroque”, or to use the terminology of the time: prima and seconda pratica. In the prima pratica several a cappella voices overlap and imitate each another according to strict rules of consonance and dissonance. The text is frequently not declaimed simultaneously. Renaissance composers such as Morales, Lassus, and particularly Palestrina were three of the greatest exponents of this polyphonic style. By contrast, the seconda pratica, which emerged around 1600, prioritized a more rhetorical delivery of the text. To this end, the older rules of harmony were relaxed and the words became more clearly audible. The music is frequently just with one voice and accompanying instruments (in this case, lute, harpsichord or organ). Monteverdi, Grandi and Rovetta were key figures of this radical new, “modern” way of composing music, which marked the beginning of what we now term “Baroque”.

On one level, this concert might thus appear to be an incompatible juxtaposition of styles. In fact, composers of the seconda pratica continued to write in the polyphonic style of the prima pratica, and routinely performed sixteenth-century music alongside their own music well into the eighteenth century. Claudio Monteverdi, for example, published an a cappella mass (the Missa In illo tempore) in the same publication as his famous 1610 Vespers. We also know that in 1614 he ordered six volumes of polyphonic masses for St. Mark’s Venice. Even J.S. Bach still performed motets by Renaissance composers like Lassus and Gallus alongside his own music in Leipzig in the 1720s. This concert is therefore ‘historical’ in its approach in terms of presenting the two styles in direct juxtaposition, and hopefully offering an insight into their complementarities.

The Song of Songs is very unusual in the wider context of scripture and historical documents of its time, in that we are often directly addressed by the rarely heard female voice. Almost equally unusual in the early modern Period was music

PROGRAMME NOTESby alex potter


written by women, who generally lacked the training and the opportunities to become composers. However, as much of the text of the Song of Songs is spoken by a woman, it seems only appropriate to include works by female composers. Maria Xaveria Perucona and Lucrezia Orsina Vizzana were both nuns in Northern Italy who wrote in the modern style under the influence of Claudio Monteverdi and others. I am very grateful to Suzie Le Blanc for suggesting including works by these two female composers.

The spoken texts are principally drawn from the King James Bible Translation (1611). While this was primarily intended to present the most accurate translation of the Bible, it represents some of the most beautiful and influential language in the history of English. The Old Testament in the King James was translated by a team of twenty-six scholars, who used Daniel Bomberg’s Hebrew Rabbinic Bible (1524-5) as the basis for their

work. When I had just moved to Basel to study, I recall waxing lyrical to my Israeli flat-mate Uri about the King James Bible, to which he replied, “Yes, it is very nice. But the Hebrew is much more beautiful!” It is therefore partly thanks to Uri Smilanskiy that you will hear the opening and closing verse of each section of spoken text in both English and the original Hebrew.

I am well aware that tonight’s programne could be seen as confusingly heterogeneous, with Hebrew from the Tanakh, Latin for the Roman Catholic Liturgy, English from the Protestant King James Bible, music of the prima and seconda pratiche, and many different male and female composers. Yet, at the same time, all these elements are profound æsthetic responses to the Song of Songs, which has moved, provoked and inspired in different ways for over two millennia — and will hopefully move, provoke and inspire both the performers and you, the audience, this evening. n

THE ARTISTS

VOCAL SOLOISTS:

Suzie LeBlanc soprano

Born in Acadia, Suzie LeBlanc fell in love with the Baroque early in life. Now an international star, the charismatic soprano is well-known for her passionate performances of Early Music, art song, contemporary music and Acadian traditional repertoire.

She has sung with many of the world’s leading early music ensembles in concert and opera performances as well as on film and on disc. Concerts have taken her to festivals all over the world and on the opera stage, she has performed for De Nederlandse Opera, Festival de Beaune, Opéra de Montréal, the Boston Early Music Festival, Tanglewood, Festival Vancouver and Early Music Vancouver.

Recently appointed to the Order of Canada for her contribution to Acadian culture and to the performance of Early Music, she has also earned four honorary doctorates and a career grant from the Conseil des Arts du Québec.

Suzie’s recordings have received several prestigious awards, including a Grammy award for a recording of Lully’s Thésée with the Boston Early Music Festival, an Opus award for best world music recording – “Tempi con Variazioni” – and best contemporary album, for a disc of early songs by Olivier Messiaen. In 2014, she was awarded ECMA’s Best Classical Album (2014) for “I am in need of music”, which was also a finalist for the Lieutenant Governor of Nova Scotia Masterworks Award.

In 2019, she premiered MOUVANCE, a multidisciplinary work by Jerôme Blais supported by the Canada Council and made her debut as a conductor with the Studio de Musique Ancienne in a programme of music from 17th century Italian convents. She

performed with Vancouver’s Elektra, Constantinople and toured Fiorè with Elinor Frey. She frequently performs with Ensemble Constantinople and Elinor Frey, celllist.

Suzie is vocal coach and director of Cappella Antica at McGill University and the founder and co-artistic director of Le Nouvel Opéra, an organisation presenting early and contemporary chamber opera in Montreal.

Dorothee Mields soprano

Dorothee Mields is one of the leading interpreters of 17th- and 18th-century music and is beloved by audiences and critics alike for her unique timbre and moving interpretations.

She appears regularly with the Collegium Vocale Gent, Netherlands Bach Society, L’Orfeo Barockorchester, Freiburger Barockorchester, RIAS Kammerchor, Bach Collegium Japan, Orchestra of the 18th Century, Lautten Compagney Berlin, Tafelmusik Baroque Orchestra Toronto, The English Concert and Klangforum Wien under conductors such as Stefan Asbury, Beat Furrer, Michi Gaigg, Paul Goodwin, Philippe Herreweghe, Emilio Pomàrico, Hans-Christoph Rademann, Andreas Spering, Masaaki Suzuki and Jos van Veldhoven.

Dorothee Mields is a welcome guest at international festivals, including the Leipzig Bach Festival, Suntory Music Foundation Summer Festival in Japan, Boston Early Music Festival, Flanders Festival, Wiener Festwochen, the Handel Festival in Halle, Musikfestspiele Potsdam, Styriarte Graz, Niedersächsische Musiktage, Musikfest Bremen, Mainzer Musiksommer and Mosel Musikfest.

She is a devoted chamber musician and offers a range of highly interesting projects such as “Lord Nelson at the river Nile” (music


by Haydn and contemporaries dealing with the battles of Lord Nelson), “White as Lillies was her Face” with songs by John Dowland combined with texts by Heinrich Heine, “Mort exquise, mort parfumée” with French impressionistic compositions, “Duft und Wahnsinn” (fragrance and lunacy) together with Hille Perl, viola da gamba, and Lee Santana, lute, as well as “Birds” with flutist Stefan Temmingh.

A steadily growing discography with several award-winning recordings documents her artistic achievements. “Inspired by Song” and “Birds” with Stefan Temmingh, “Handel” with Hille Perl, Monteverdi “La dolce vita” with the Lautten Compagney Berlin and Wolfgang Katschner (all DHM), Bach “Kantaten für Solo-Sopran” with L’Orfeo Barockorchester and Michi Gaigg and Boccherini Stabat mater with the Salagon Quartett (both Carus) have been especially well received.

In 2018/19, Dorothee Mields is artist in residence at the Heinrich-Schütz-Musikfest. Upcoming highlights include appearances in Japan with the RIAS Kammerchor, at the Wigmore Hall with The English Concert, with Seattle Symphony, and at the Internationale Orgelwoche Nürnberg, as well as tours with Collegium Vocale Gent, Freiburger Barockorchester, Gli Angeli Genève and Holland Baroque.

Alex Potter alto & leader

My mother always sang to me when I was a small child, which is why I began to sing. Her voice for me was intensely bound together with emotion, which will always remain with me. As a cathedral chorister, this emotional basis became intertwined with a fascination for text and symbolism in music, expanded upon and deepened during studies in Oxford and Basel. Remaining faithful to these origins over nearly twenty years in the profession, I continue to develop as a singer, musician and human, changed and enriched by the joy and sadness which life brings.

Nowadays you are most likely to hear me somewhere with Bach, although I also love to sing other music. When not performing, you will find me at home with my family, reading something geeky, wasting time on the internet, or cooking. Sharing and exchanging with other people, be it music, food, or conversation, is one of the great pleasures of life.

Samuel Boden tenor

British tenor Samuel Boden began his career as a chef and then went on to study singing with John Wakefield at Trinity Laban Conservatoire.

Samuel has sung roles in the operas of Monteverdi, Cavalli, Charpentier, Rameau, Purcell, Handel, Glück, Britten, George Benjamin and Thomas Larcher. He has appeared in productions at the Royal Opera House, Covent Garden, Glyndebourne, Dutch National Opera, Hamburg State Opera, Opéra de Lyon, Badisches Staatstheater, Karlsruhe; Nederlandse Reisopera, Musica Viva, Moscow; Theater St Gallen, Pinchgut Opera, Sydney; Opéra de Dijon, Opéra de Lille and the Aldeburgh Festival. In addition he has performed operas in concert at the Aix-en-Provence Festival and Salzburg Mozart Week.

On the concert platform Samuel has appeared with many highly-regarded period ensembles as well as symphony and chamber orchestras: Bavarian Radio Symphony Orchestra / Giovanni

Antonini; Gabrieli Consort / Paul McCreesh; Ex Cathedra / Jeffrey Skidmore; the Royal Northern Sinfonia / Thomas Zehetmair; Scottish Chamber Orchestra / Harry Bicket; Kristiansand Symphony Orchestra / Nicholas Kraemer; Les Arts Florissants / William Christie and Jonathan Cohen; BBC Symphony Orchestra / Sir Andrew Davis, John Storgårds, Sakari

Oramo, Giancarlo Guerrero and John Butt; Frankfurt Radio Orchestra / Emmanuelle Haïm; Collegium Vocale Gent / Philippe Herreweghe; Wiener Akademie / Martin Haselböck; Salzburg Camerata / Teodor Currentzis and the Rotterdam Philharmonic / Nathalie Stutzmann.

His growing discography includes discs of Monteverdi, Charpentier, Daniel Purcell, Rameau, Bach, and Blow alongside Berlioz, George Benjamin, Davies, Alec Roth on Hyperion, Erato, Archiv, Chandos, OAE Released, Nimbus, Resonus Classics, NMC and Signum.

Matthew Brook bass-baritone

Matthew Brook has appeared widely as a soloist, and has worked extensively with conductors such as Sir John Eliot Gardiner, Richard Hickox, Sir Charles Mackerras, Harry Christophers, Christophe Rousset, Paul McCreesh and Sir Mark Elder, and many ensembles including the Philharmonia, London Symphony Orchestra, the St Petersburg Philharmonic, the Royal Philharmonic Orchestra, Freiburg Baroque Orchestra, Orchestra of the Age of Enlightenment, the English Baroque Soloists, the Gabrieli Consort & Players, the Sixteen, the Royal Northern Sinfonia and Orchestre National de Lille.

Recent and future highlights include Purcell’s The Fairy Queen and Dido and Aeneas with the Handel and Haydn Society, Bach’s St John Passion with the St Paul Chamber Orchestra, Haydn’s Creation with the City of Birmingham Symphony Orchestra, Bach’s Magnificat and Brahms’ Triumphlied with the Cincinnati Symphony Orchestra, Il Rè di Scozia in Ariodante with the Staatstheater Stuttgart and on tour with the English Concert, Bach’s B minor Mass at the Al Bustan Festival in Beirut and with Les Violons du Roy in Québec, Fauré’s Requiem with the Royal Philharmonic Orchestra, Mozart’s Requiem with the Fryderyk Chopin Institute in Warsaw, a tour of Bach cantatas with the Monteverdi Choir and Sir John Eliot Gardiner, and with the Nederlandse Bachvereniging and Early Music Vancouver, a tour of Bach’s St Matthew Passion with the Orchestra of the Age of Enlightenment, and with Gli Angeli Genève, Elgar’s The Dream of Gerontius with the Indianapolis Symphony Orchestra, Tippett’s A Child of Our Time at Festival Saint-Denis, and the roles of Herod and Father in Berlioz’s L’Enfance du Christ with the Melbourne Symphony Orchestra and Sir Andrew Davis.

INSTRUMENTALISTS:

Lucas Harris theorbo

Lucas Harris discovered the lute during his undergraduate studies at Pomona College, where he graduated summa cum laude. He then studied early music in Italy at the Civica scuola di musica di Milano (as a scholar of the Marco Fodella Foundation)


and then in Germany at the Hochschule für Künste Bremen. After several years in New York City, he moved to Toronto in 2004 and became the regular lutenist for the Tafelmusik Baroque Orchestra. He is a founding member of the Toronto Continuo Collective, the Vesuvius Ensemble (dedicated to Southern Italian folk music), and the Lute Legends Ensemble (a multi-ethnic trio of lute, pipa, and oud). For many years he has been on faculty at the Tafelmusik Summer and Winter Baroque Institutes as well as Oberlin Conservatory’s Baroque Performance Institute, and has also taught for Vancouver Early Music’s Baroque Vocal Programme, the International Baroque Institute at Longy, and Amherst Early Music. In 2014 Lucas completed graduate studies in choral conducting at the University of Toronto, the degree

having been funded by a prestigious SSHRC research grant not often awarded to performers. Upon graduating, Lucas was chosen as the Artistic Director of the Toronto Chamber Choir (which just finished its 50th anniversary season), for which he has created and conducted nearly twenty themed concert programmes. He has also directed projects for the Pacific Baroque Orchestra, the Ohio State University Opera Program, Les Voix Baroques, and the Toronto Consort. Lucas recently became a Canadian citizen and is also the proud father of Daphnée (age 8).

Michael Jarvis harpsichord & organ

In addition to performing across Canada, Michael Jarvis has performed as soloist and continuo player throughout the USA, England, Italy and Bermuda.

Michael Jarvis may be heard on the Marquis Classics, Hungaroton, ATMA, Naxos, Solitudes and Avalon CD labels, and has often broadcast nationally and regionally for the CBC, as well as nationally across the US on NPR. He and violinist Paul Luchkow’s CD of Hummel’s op. 5 violin sonatas was chosen as a finalist as best classical album of the year in the Western Canadian Music Awards 2013.

He has taught harpsichord and continuo and lectured many times at the University of Toronto. He has taught harpsichord performance at Wilfred Laurier University in Waterloo, Ontario and at Havergal College, Toronto, and taught fortepiano at UBC.

When he is not playing early music, Michael is an avid collector of early jazz and early opera 78 rpm recordings and is an early phonograph restorer. Michael lives in Victoria, BC.

READERS:

Dana Camil Hewitt reader

Dana Camil Hewitt is the Director of the Dena Wosk School of Performing Arts at the Vancouver JCC as well as the JCC Jewish Book Festival. A musicologist and pianist by training, her extensive experience in all aspects of arts and culture management started as repertoire and programming coordinator of the Israel Philharmonic Orchestra in Tel-Aviv, and continued with a strong track record of published professional writing, in English and Hebrew. With a broad range of competencies and interests, from curating educational classical concerts to organizing classes in dance, music and theatre, Dana fostered her passion for literature by also adding a literary festival to the mix. She currently revels in juggling performing and literary arts and welcomes this wonderful opportunity that embodies both!

Yotam Ronen reader

Yotam Ronen was born and raised in Israel. He grew up studying music and performing in various venues around the country. After completing his Master’s degree in Asian Studies, he came to Vancouver to start his PhD in Educational Studies at UBC, where he works on the history of education. He is also an active musician on the Vancouver scene. n

Host an EMV Guest MusicianDo you have a guest room that often sits empty?

Do you enjoy well-educated, articulate houseguests from across the country and the world?

Do you like Classical music?

Would you like to get the ‘inside scoop’ about performing from a professional musician?

If your answer to any of these questions is ‘yes’, then I invite you to consider joining the growing number of

EMV supporters who house visiting guest musicians.

Get to know some of the wonderful musicians that come to Vancouver to bring you great music.

Host only when it is convenient for you; all you need to provide is a private room.

For more information please contact Jonathan Evans, Production Manager,

Early Music Vancouver:[email protected] or 604.732.1610, extension 2004

Special thanks to the following for hosting our guest musicians:

Honey & Tony Dawson, Martha Hazevoet, Delma Hemming, Margie & Tony Knox, Janice & J. Evan Kreider, Marlene & Al LeGates, Patricia Lim, Chloe Meyers & Alexander Weimann, Marc White & Joey Schibild, Judy & Bern Storr, Kimberly & Stuart Smith, Olivia & Nicholas Swindale, Rosemary & Alex Waterhouse-Hayward, Valerie Weeks & Barry Honda, and Penny Williams.


Giovanni Pierluigi da Palestrina (1525-94)

Osculetur me

Osculetur me osculo oris sui, quia meliora sunt ubera tua vino.

Fragrantia unguentis optimis. Oleum effusum nomen tuum, ideo adulescentulae dilexerunt te.

PalestrinaTrahe me post te

Trahe me post te, curremus in odorem unguentorum tuorum.Introduxit me Rex in cellaria sua:exultabimus et laetabimurin te memores uberum tuorum super vinum:recti diligunt te.


Let him kiss me with the kiss of his mouth: for thy breasts are better than wine.

Smelling sweet of the best ointments. Thy name is as oil poured out: therefore young maidens have loved thee.

Draw me, we will run after thee:the king hath brought me into his chambers:we will be glad and rejoice in thee,we will remember thy love more than wine:the upright love thee.

SHE: 1 The song of songs, which is Solomon’s. 2 Let him kiss me with the kisses of his mouth: for thy love is better than wine. 3 Because of the savour of thy good ointments thy name is as ointment poured forth, therefore do the virgins love thee. 4 Draw me, we will run after thee: the king hath brought me into his chambers: HE: we will be glad and rejoice in thee, we will remember thy love more than wine: the upright love thee. SHE: 5 I am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon. 6 Look not upon me, because I am black, because the sun hath looked upon me: my mother’s children were angry with me; they made me the keeper of the vineyards; but mine own vineyard have I not kept. 7 Tell me, O thou whom my soul loveth, where thou feedest, where thou makest thy flock to rest at noon: for why should I be as one that turneth aside by the flocks of thy companions?

HE: 8 If thou know not, O thou fairest among women, go thy way forth by the footsteps of the flock, and feed thy kids beside the shepherds’ tents.

ךל־יאצ םישנב הפיה ךל יעדת אל־םאח תונכשמ לע ךיתידג־תא יערו ןאצה יבקעב :םיערה

TEXTS & TRANSLATIONS

1:1 שיר השירים, אשר לשלמה

ישקני מנשיקות פיהו, כי-טובים דדיך מיין. 8:1 אם-לא תדעי לך, היפה בנשים; צאי-לך בעקבי הצאן, ורעי את-גדיתיך,

על, משכנות הרעים. {פ} 1:9 לססתי ברכבי פרעה, דמיתיך רעיתי. ( י נאוו לחייך בתרים, צוארך

בחרוזים.) 1:17 קרות בתינו ארזים,רחיטנו (רהיטנו) ברותים

Chapter 5

באתי לגני, אחתי כלה--אריתי מורי עם-בשמי, אכלתי יערי עם-דבשי שתיתי ייני עם-חלבי; אכלו רעים, שתו ושכרו דודים.

5:16 חכו, ממתקים, וכלו, מחמדים; זה דודי וזה רעי, בנות ירושלם

2:1 אני חבצלת השרון, שושנת העמקים 2:13 התאנה חנטה פגיה, והגפנים סמדר נתנו ריח; קומי לכי (לך) רעיתי

יפתי, ולכי-לך

2:14 יונתי בחגוי הסלע, בסתר המדרגה, הראיני את-מראיך, השמיעני את-קולך: כי-קולך ערב, ומראיך נאוה.

2:17 עד שיפוח היום, ונסו הצללים: סב דמה-לך דודי לצבי, או לעפר האילים--על-הרי בתר.

3:1 על-משכבי, בלילות, בקשתי, את שאהבה נפשי; בקשתיו, ולא מצאתיו. 3:11 צאנה וראינה בנות ציון, במלך שלמה--בעטרה, שעטרה-לו אמו ביום

חתנתו, וביום, שמחת לבו.





Chapter 5













Chapter 5









Please turn page quietly, and only after the music has ended.

Each of the readings will be framed by the original Hebrew, which either repeats of preempts the adjacent verse in English, meaning the opening and final verses are spoken twice but in different languages.

– the audience is requested not to applaud until the end of each half –


PalestrinaSi ignoras te

Si ignoras te, o pulchra inter mulieres,egredere et abi post vestigia gregum tuorumet pasce haedos tuos iuxta tabernacula pastorum.

Equitatui meo in curribus Pharaonisadsimilavi te amica mea.


If thou know not, O thou fairest among women,go thy way forth by the footsteps of the flock,and feed thy kids beside the shepherds’ tents.

I compare you, my love, to my company of horsemenamong Pharoah’s chariots.

HE:יתיער ךיתימד הערפ יבכרב יתססל:

9 I have compared thee, O my love, to a company of horses in Pharaoh’s chariots.10 Thy cheeks are comely with rows of jewels, thy neck with chains of gold.11 We will make thee borders of gold with studs of silver.

SHE:

12 While the king sitteth at his table, my spikenard sendeth forth the smell thereof.13 A bundle of myrrh is my wellbeloved unto me; he shall lie all night betwixt my breasts.14 My beloved is unto me as a cluster of camphire in the vineyards of Engedi.

HE:

15 Behold, thou art fair, my love; behold, thou art fair; thou hast doves’ eyes.

SHE:

16 Behold, thou art fair, my beloved, yea, pleasant: also our bed is green.

HE:

17 The beams of our house are cedar, and our rafters of fir. (ביתכ ונטיחר) ונטיהר םיזרא וניתב תורקזי :םיתורב

Palestrina Ecce tu pulcher

Ecce tu pulcher es dilecte mi et decorus.

Lectulus noster floridus, tigna domorum nostrarum cedrina, laquearia cupressina.

Ego flos campi et lilium convallium

Behold thou art fair, my beloved, and comely.

Our bed is adorned with flowers, the beams of our houses are of cedar, our fretted roofs are of cypress.

I am the flower of the field, and the lily of the valleys.





Chapter 5













Chapter 5













Chapter 5










Maria Xaveria Perucona (1652-1709)

Propera veni dilecte mi

Propera veni dilecte mi,egrediamur in agros.Iam mihi tellus sordetnec mundanus terret amor,non angustia, non clamor,non diaboli tormenta,non terrena blandimenta.Ut fruar Iesu meo,ut coniugar caro Deo.Languet cor, deficit vita,vivo moriar in vita.Mori vivere non queosine Iesu Deo meo.Ergo moriar cum Iesu,ego vivam cum Iesu.

Alessandro Grandi(1590-1630)

Surge propera

he: Surge, propera amica mea, columba mea, formosa mea et veni.

she: En dilectis meus loquitur mihi et vocat me.

he: Veni delecta mea, Jam enim hiems transiit, imber abiit et recessit. Flores apparuerent in terra nostra.

she: Vox dilectir mei vocantis me: en ipse stat pos parietem nostrum, respiciens, per fenestras, prospiciens per cancellos.

he: Veni, amica me. Jam vox turturis audita est in terra nostra. Vineas florentes dederunt odorum suum.

she: Vox adhuc delecti mei. Laeva ejus sub capite meo, et dextera illius amplexabitur me.

he: Surge propera speciosas mea et veni.

he and she together: Surgam et quaerem quem diligit anima mea.

Arise, make haste, my love, my dove, my beautiful one, and come.

Behold my beloved speaketh to me and calleth me.

Come, come, my beloved. For winter is now past, the rain is over and gone. The flowers have appeared in our land.

The voice of my beloved is calling me: behold he standeth behind our wall, looking through the windows, looking through the lattices.

Come, my love. The voice of the turtle is heard in our land. The vines in flower yield their sweet smell.

The voice of my beloved: his left hand is under my head, and his right hand shall embrace me.

Arise, make haste, my beautiful one, and come.

I will rise and I will seek her/him whom my soul loveth.

Alessandro Piccinini (1566 - c. 1638)

Toccata XI(theorbo solo)

Come, my beloved,let us go forth into the field;I am already dirty from the earth,Yet earthly love does not frighten me,nor does anguish, nor clamor,nor do the torments of the devil,nor earthly blandishments.If I may delight in my Jesus,if I may wed my dear God,My heart languishes, my life slips away.I live that I may die in life.I do not wish to live in deathwithout Jesus my God.Therefore I will die with Jesusso that I may live with Jesus.



reading: song of songs - chapter 5 complete

HE: 1 I am come into my garden, my sister, my spouse: I have gathered my myrrh with my spice; I have eaten my honeycomb with my honey; I have drunk my wine with my milk: eat, O friends; drink, yea, drink abundantly, O beloved.

SHE: 2 I sleep, but my heart waketh: it is the voice of my beloved that knocketh, saying, Open to me, my sister, my love, my dove, my undefiled: for my head is filled with dew, and my locks with the drops of the night. 3 I have put off my coat; how shall I put it on? I have washed my feet; how shall I defile them? 4 My beloved put in his hand by the hole of the door, and my bowels were moved for him. 5 I rose up to open to my beloved; and my hands dropped with myrrh, and my fingers with sweet smelling myrrh, upon the handles of the lock. 6 I opened to my beloved; but my beloved had withdrawn himself, and was gone: my soul failed when he spake: I sought him, but I could not find him; I called him, but he gave me no answer. 7 The watchmen that went about the city found me, they smote me, they wounded me; the keepers of the walls took away my veil from me. 8 I charge you, O daughters of Jerusalem, if ye find my beloved, that ye tell him, that I am sick of love.

HE: 9 What is thy beloved more than another beloved, O thou fairest among women? what is thy beloved more than another beloved, that thou dost so charge us?

SHE: 10 My beloved is white and ruddy, the chiefest among ten thousand. 11 His head is as the most fine gold, his locks are bushy, and black as a raven. 12 His eyes are as the eyes of doves by the rivers of waters, washed with milk, and fitly set. 13 His cheeks are as a bed of spices, as sweet flowers: his lips like lilies, dropping sweet smelling myrrh. 14 His hands are as gold rings set with the beryl: his belly is as bright ivory overlaid with sapphires. 15 His legs are as pillars of marble, set upon sockets of fine gold: his countenance is as Lebanon, excellent as the cedars. 16 His mouth is most sweet: yea, he is altogether lovely. This is my beloved, and this is my friend, O daughters of Jerusalem.

Orlande de Lassus (1532-94)

Anima mea liquefacta est

Anima mea liquefacta est, ut dilectus locutus est. Quaesivi et non inveni illum; vocavi et non respondit mihi.

Invenerunt me custodes civitatis, percusserunt me et vulneraverunt me.

Tulerunt pallium meum custodes murorum. Filiae Hierusalem, nuntiate dilecto quia amore langueo.

My soul failed when he spake: I sought him, but I could not find him; I called him, but he gave me no answer.

The watchmen that went about the city found me, they smote me, they wounded me; the keepers of the walls took away my veil from me.

I charge you, O daughters of Jerusalem, if ye find my beloved, that ye tell him, that I am sick of love.

INTERVAL“O friends; drink, yea, drink abundantly, O beloved.”

(Excerpt from Song of Songs, Chapter 5, Verse 1)— wine is available for sale at intermission! —





Chapter 5













Chapter 5














Chapter 5













Chapter 5










נשוש ןורשה תלצבח ינאא :םיקמעה ת

HE: 1 I am the rose of Sharon, and the lily of the valleys. 2 As the lily among thorns, so is my love among the daughters.

SHE: 3 As the apple tree among the trees of the wood, so is my beloved among the sons. I sat down under his shadow with great delight, and his fruit was sweet to my taste. 4 He brought me to the banqueting house, and his banner over me was love. 5 Stay me with flagons, comfort me with apples: for I am sick of love. 6 His left hand is under my head, and his right hand doth embrace me. 7 I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the field, that ye stir not up, nor awake my love, till he please. 8 The voice of my beloved! behold, he cometh leaping upon the mountains, skipping upon the hills. 9 My beloved is like a roe or a young hart: behold, he standeth behind our wall, he looketh forth at the windows, shewing himself through the lattice. 10 My beloved spake, and said unto me,

HE: Rise up, my love, my fair one, and come away. 11 For, lo, the winter is past, the rain is over and gone; 12 The flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in our land; 13 The fig tree putteth forth her green figs, and the vines with the tender grape give a good smell. Arise, my love, my fair one, and come away.

ונתנ רדמס | םינפגהו היגפ הטנח הנאתהגי :ךל־יכלו יתפי יתיער (יכל ביתכ) ךל ימוק חיר





Chapter 5










White Rock Concertscongratulates Early Music Vancouver

on its 50th Anniversary and vitalcontribution to the revival of early musicand historically informed performance.

Now in our 63rd season, White RockConcerts Society offers a member-only

series of seven concertsMore information can be found at:

www.whiterockconcerts.com

White Rock Concertscongratulates Early Music Vancouver

on its 50th Anniversary and vitalcontribution to the revival of early musicand historically informed performance.

Now in our 63rd season, White RockConcerts Society offers a member-only

series of seven concertsMore information can be found at:

www.whiterockconcerts.com

Interested in joining our Board?Interested in rolling up your sleeves to help one of the most ac-tive and acclaimed musical organizations in our region? The EMV board of directors is a varied and collegial group of individuals dedicated to providing support and leadership to our professional artistic and management team.

We are always interested in hearing from potential new directors and welcome energetic, positive people with broad community connections, business experience, and skills relevant to non-prof-it governance, including fundraising, leadership, and strategic planning. Directors serve a two-year term, meeting once a month from September to June at Hodson Manor (West 7th Ave and Birch) in Vancouver.

If you have some of this experience and if you would relish a leadership role in building something truly great in our community, please get in touch with us by emailing us your resume and a short note outlining what you feel you can contribute and why taking up the challenge of helping shape EMV interests you.

We look forward to hearing from you!All enquiries can be emailed to

[email protected]


Cristobal de Morales(1500-53)

Ecce amica mea

prima pars

Behold, O my love, my dove, my beautiful, my beautiful one.She cometh leaping upon the mountains, skipping over the hills. My beloved is like a roe, or a young hart. Behold my beloved, my beautiful one, standeth behind our wall, looking through the windows, looking through the lattices.

Behold my beloved speaketh to me: Arise, make haste, my love, my dove, my beautiful one, and come. For winter is now past, the rain is over and gone. Come, my dove.

The flowers have appeared in our land, the time of pruning is come: the voice of the turtle is heard in our land: The fig tree hath put forth her green figs: the vines in flower yield their sweet smell. Arise, my love, my beautiful one, and come: My dove in the clefts of the rock, in the hollow places of the wall, shew me thy face, let thy voice sound in my ears: for thy voice is sweet, and thy face comely.

Ecce amica mea, columba mea,speciosa mea,formosa mea,venit saliens in montibus, transiliens colles. Similis est dilecta mea capree hynuloque cervorum. En dilecta mea, formosa mea stat post parietem nostrum respiciens per fenestras, prospiciens per cancellos.

En dilectus meus loquitur mihi: Surge, amica mea, columba mea, formosa mea, et veni. Iam enim hiems transiit, imber abiit et recessit. Columba mea, veni.

secunda pars

Flores apparuerunt in terra nostra, tempus putationis advenit; vox turturis audita est in terra nostra, ficus protulit grossos suos, vineae florentes dederunt odorem suum; surge, amica mea, propera, speciosa mea, et veni, columba mea, in foraminibus petrae, in caverna maceriae. Ostende faciem tuam mihi, sonet vox tua in auribus meis; vox enim tua dulcis, et facies tua decora.

Girolamo Frescobaldi (1683-1643)

Toccata Terza (from Toccate e partite d’intavolatura di cimbalo... Libro primo, 1615)

(harpsichord solo)

Giovanni Antonio Rigatti(1613-48)

Surge Columba

Surge, columba mea, amica mea, formosa mea, et veni. Veni in foraminibus petræ, veni in caverna maceriæ, ostende mihi faciem tuam, sonet vox tua in auribus meis,o pulcherrima mulierum.Vox enim tua dulcis, et facies tua decora. Alleluia.

Arise, my dove, my love, my beautiful one, and come.Come in the clefts of the rock, in the hollow places of the wall,shew me thy face, let thy voice sound in my ears,O thou most beautiful among women.For thy voice is sweet, and thy face comely. Alleluia

Claudio Monteverdi (1567-1643)

Ego flos campi

Ego flos campi et lilium convallium. Sicut lilium inter spinas sic amica mea inter filias. Sicut malum inter ligna silvarum sic dilectus meus inter filios. Sub umbra illius quam desideraveram sedi et fructus eius dulcis gutturi meo

I am the rose of the field, and the lily of the valleys. As the lily among thorns, so is my love among the daughters. As the apple tree among the trees of the woods, so is my beloved among his sons. I sat under his shadow with great delight, and his fruit was sweet to my taste.




HE: 14 O my dove, that art in the clefts of the rock, in the secret places of the stairs, let me see thy countenance, let me hear thy voice; for sweet is thy voice, and thy countenance is comely. 15 Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes.

SHE: 16 My beloved is mine, and I am his: he feedeth among the lilies. 17 Until the day break, and the shadows flee away, turn, my beloved, and be thou like a roe or a young hart upon the mountains of Bether.

Lucrezia Orsina Vizana(1590-1662)

Sonet vox tua

Giovanni Rovetta(1596-1668)

Surge propera

Surge, propera, amica mea, formosa mea, et veni.Jam enim hiems transiit; imber abiit, et recessit.Vox turturis audita est in terra nostra. Surge, propera, amica mea, columba mea, et veni. Repleta est Spiritu Sancto Elisabeth. Et exclamavit: Benedicta tu inter mulieres,et benedictus fructus ventris tui.Quae est ista quae processit sicut solet formosa tamquam Jerusalem.Viderunt eam filiae Sion, et beatam dixerunt,et reginae laudaverunt eam.

Arise, make haste, my love, my beautiful one, and come. For winter is now past, the rain is over and gone. The voice of the turtle is heard in our land. Arise, make haste, my love, my dove one, and come.And Elizabeth was filled with the Holy Ghost. And she cried out: Blessed art thou among women,and blessed is the fruit of thy womb. Who is she that cometh forth as the sunand fair as Jerusalem. The daughters of Sion saw her, and declared her most blessed, and the queens praised her.

Sonet vox tua in auribus cordis mei,amabilissime Iesu,et abundantia plenitudinis gratiae tuaesupere abundantiam peccatorum meorum.Tunc enim cantabo,exultabo, iubilabo,et psalmum dicam iubilationis et laetitiae,et erit vox mea quasi cithare citharizantium,et eloquim meum dulce super mel et favum.

Let your voice sound in the ears of my heart,most beloved Jesus,and may the abundance of your graceovercome the abundance of my sins.Then truly I will sing,I will exult, I will rejoice,I will recite a psalm of jubilation and rejoicing.And my voice will be like the striking of the kithara,and my speech sweeter than honey and the honeycomb.





Chapter 5













Chapter 5













Chapter 5













Chapter 5














Chapter 5













Chapter 5









reading:song of songs - chapter 3 complete

SHE: 1 By night on my bed I sought him whom my soul loveth: I sought him, but I found him not. 2 I will rise now, and go about the city in the streets, and in the broad ways I will seek him whom my soul loveth: I sought him, but I found him not. 3 The watchmen that go about the city found me: to whom I said, Saw ye him whom my soul loveth? 4 It was but a little that I passed from them, but I found him whom my soul loveth: I held him, and would not let him go, until I had brought him into my mother’s house, and into the chamber of her that conceived me. 5 I charge you, O ye daughters of Jerusalem, by the roes, and by the hinds of the fi eld, that ye stir not up, nor awake my love, till he please.

HE: 6 Who is this that cometh out of the wilderness like pillars of smoke, perfumed with myrrh and frankincense, with all powders of the merchant? 7 Behold his bed, which is Solomon’s; threescore valiant men areabout it, of the valiant of Israel. 8 They all hold swords, being expert in war: every man hath his sword upon his thigh because of fear in the night. 9 King Solomon made himself a chariot of the wood of Lebanon. 10 He made the pillars thereof of silver, the bottom thereof of gold, the covering of it of purple, the midst thereof being paved with love, for the daughters of Jerusalem. 11 Go forth, O ye daughters of Zion, and behold king Solomon with the crown wherewith his mother crowned him in the day of his espousals, and in the day of the gladness of his heart.





Chapter 5









Media Sponsors

604.739.0559 | bardonthebeach.org

TICKETS FROM $26 Season Brochures at stores

H O WA R D FA M I LY S TAG E

M A I N S TAG E

SHAKESPEAREIN LOVE

THE TAMINGOF THE SHREW

ALL’S WELLTHAT

ENDS WELLCORIOLANUS

Shakespeare in Love Charlie Gallant & Ghazal AzarbadPhoto: Emily Cooper

Season Sponsors

“(Shakespeare in Love is) an exhilaratingtour de force.” — Georgia Straight

ON STAGENOW – BOOK

TODAY!

Photo: Emily CooperON STAGE

NOW – BOOK TODAY!


Domenico Mazzochi(1592-1665)

Dialogo della cantica

I charge you, O daughters of Jerusalem, saw ye him whom my soul loveth?

What is thy beloved more than another beloved, that thou dost so charge us?

My beloved is white and ruddy, crucified, and this is my beloved.

We have seen him; he was neither fair nor pleasant, and that is why we took no notice of him.

O how fair, yea, how pleasant is he, when even he discards his ornaments. When his piety is most resplendent. I will rise now, and go about the city in the streets, and in the broad ways. My beloved spake, and said unto me: Come, by beloved, Let us go forth into the field; let us lodge in the villages.

If you linger, I will remain patiently until you come.

What must I do so that quickly you come and show me thy countenance, For sweet is thy voice, and thy countenance is comely. I beg of you: Rise up and come away! Run, my love, come away! Behold, I called him, but he gave me no answer; I sought him, but I found him not. Therefore I charge you, if ye find my beloved, That ye tell him, that I am sick of love, and tell him yet:

A bundle of myrrh is my well-beloved Christ unto me, He shall lie betwixt my breasts.

Adjuro vos, filiae Jerusalem, num quem diligit anima mea vidistis?

Qualis est dilectus tuus ex dilecto, quia sic adjura nos?

Amor meus candidus et rubicundus crucifixus est et ipse est dilectus meus.

Vidimus eum non habentem speciem neque decorum unde nec reputavimus eum.

O quam pulcher est et decorus in ipsa sui deposition decoris. Ubi pietas magis effulget. Surgam et circuibo civitatem quaerens per vicos et plateas. En, dilectus meus loquitur mihi: Veni dilecti mi Egrediamur in agrum, in villis commoremur.

Si moram feceris, exspectabo te et sustinebo, donec.

Quid faciam, ut cito venias at appareas ante faciem meam, Quia vox tua dulcis et facies tua decora. Suppliciter exoro: Surge propera et veni Cure, mi Amor, veni. Ecce vocavi illum et respondit mihi, quaesivi et non inveni. Ideo adjuro vos, si inveneritis dilectum meum, Ut nuntietis ei, quia amore langueo et dicetis:

Fasciculus myrrhae dilectus meus Christus est, Inter ubera mea commorabitum.

THANK YOU TO OUR VOLUNTEERS!EMV’s activities are made possible through the generous assistance of many volunteers who offer their time.

We would like to thank the following:

Ju Dee Ang, Pam Atnikov, Nila Golmaghani Azar, Richard Cameron, Alexandra Charlton, Catherine Crouch, Phil Daum, Bill Dovhey, Sandy Dowling, Al Dreher, Susan Edwards, Helen Elfert, Uchechi Emelogu, Elizabeth Ferguson, Bev Ferguson, Nel Finberg, Gail Franko, Maureen Girvan, Stanley Greenspoon, Satoko Hashigasako, Delma Hemming, Margaret Hendren, Murray Hendren, Margaret Hendren, Michiko Higgins, Maggie Holland, Gene Homel, Richard Huber, Nancy Illman, Ron Jobe, Gerald Joe, Susan Kaufman, Barb Knox, Susan Larkin, Marlene LeGates, Pat Lim, Christina MacLeod, Wanda Madokoro, Ina McLay, Kathryn McMullen, Vania Mello, Robert Middleton-Hope, Carole Nakonechny, Tom Nesbit, Sharon Newman, Veronika Ong, Betty Lou Phillips, Melanie Ross, Selma Savage, Joey Schibild, Traudi Schneider, Shilpa Sharma, Alison Stockbrocks, Eleanor Third, and Sharron Wilson.

Interested in joining our volunteer corps? Phone 604.732.1610 for details.

vancouver bach festival 2019...2019/07/19 · alessandro piccinini: toccata xi (lute solo) maria...

Documents