JEFFREY THOMASmusic director

2011/2012Our Twenty Third Season

Double ConcertosJohann Sebastian Bach

March 30 - April 2 2012Belvedere - Berkeley - San Francisco - Davis

Brandenburg Concertos2 CDs $15

Harpsichord Concertos$10

Jeffrey Thomasmusic director

“the best American specialists in early music”

The Washington Post

MusicSourcesG i l be r t Ma r t i nez , A r t i s t i c D i r e c t o r2011/2012 Season

Our Next Event:

Saturday, April 14, 2012, 8:00 pmSt. Mary Magdalen Church, 2005 Berryman Street, Berkeley$40 general, $35 Seniors, Students, MusicSources and SFEMS members

Mus icSou rcesPO Box 6882 , A lbany CA, 94706(510 ) 528 -1685in fo@mus icsou rces .o rgwww.mus icsou rces .o rgCon tac t us to r ece ive ou r season b rochu re

“ F o r s h e e r d i v e r s i t y , t h e e a r l y - m u s i c o f f e r i n g s o f M u s i c S o u r c e s a r e h a r d t o b e a t .” . . . S a n F r a n c i s c o C l a s s i c a l Vo i c e

EMMA KIRBY, soprano & MARcIA HAdjIMARKoS, fortepiano: Music of Haydn, Benda, and Mozart

Don’t miss the exclusive Bay Area appearance of Dame Emma Kirkby, one of Early Music’s most distinguished voices.

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Our all-Bach, 23rd season continues tonight with a program featuring concertos by Bach for 2, 3, and even 9 soloists. ABS is pleased to feature ABS Young Artist Competition winner Andrew Fouts and Goldberg Prize winner Leon Schelhase along with ABS favorites, John Abberger, Elizabeth Blumenstock, Katherine Kyme, and Corey Jamason. These performances are generously sponsored by Jan Goldberg with additional sponsorship of the Davis performance by Jim and Jennifer Steelquist. We are grateful for these sponsors and for all donors who enable ABS to continue to present the finest performances in Northern California.

In just a few weeks, May 4 – 7, our 2012 subscription season concludes with a program of Bach’s Easter Oratorio & Favorite Cantatas. However, this is not the last chance you’ll have to hear ABS this season. On June 8, ABS will present an additional all-Bach concert at First Congregational Church as part of the 2012 Berkeley Festival & Exhibition. The program—a Tribute to the Legacy of Laurette Goldberg—will feature three motets based on Old Testament scriptures: Fürchte dich nicht, ich bin bei dir; Der gerechte kommt um; and Singet dem Herrn ein neues Lied, as well as the elegant Trauerode: Laß, Fürstin, laß noch einem Strahl, a musical ode dedicated to Christiane Eberhardine, Electress of Saxony and a personal friend of Bach himself. Tickets are available by visiting americanbach.org/bfx.

The 2012 ABS Festival & Academy, July 12 – 22, continues to attract the finest new talent in early music. This year’s Academy participants will travel to San Francisco from across the United States, Mexico, Canada, Switzerland, and Germany to work with some of the finest faculty in the world. Details of the Festival including concert descriptions, methods to order tickets, and information on public master classes, lectures, and other events can be found on pages 12–13.

The wait is over! Details for the 2013 season can be found on page 7. Among the exciting programming for next season will be concerts with the San Francisco Girls Chorus; a special holiday concert at St. Stephen’s in Belvedere and at the Mondavi Center in Davis featuring Vivaldi’s Gloria, Corelli’s Christmas Concerto, and Charpentier’s In Nativitatem; three performances of Handel’s Messiah in Grace Cathedral; Bach’s St. John Passion and the Concerto for Oboe d’amore, and Handel’s Silete Venti and Apollo & Dafne. Soloists for the season will include Jesse Blumberg, Mischa Bouvier, Derek Chester, Ian Howell, Debra Nagy, Wesley Rogers, Clara Rottsolk, William Sharp, Aaron Sheehan, and Mary Wilson. Subscription renewals will begin April 16 with new subscriptions available for sale May 4. Single tickets will go on sale July 1.

For more information about American Bach Soloists, please visit our website at americanbach.org. For more information about supporting ABS, please visit americanbach.org/giving. There you will find complete details about our donor levels, as well as the ability to make your contribution online.

On behalf of the board of directors, staff, and music director Jeffrey Thomas, thank you for being a part of this evening’s performance.

Welcome from the Executive Director

Don Scott CarpenterExecutive Director

AMERICAN BACH SOLOISTS44 Page Street, Suite 504

San Francisco CA 94102-5973

Tel: (415) 621-7900Fax: (415) 621-7920

americanbach.orginfo@americanbach.org

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American Bach Soloists are Artists-in-Residence at

St. Stephen’s Church, Belvedere.

© 2012 American Bach Soloists. All rights reserved.

Reproduction in whole or in part without permission is prohibited.

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About American Bach Soloists

The AMERICAN BACH SOLOISTS (“ABS”) were founded in 1989 with the mission of introducing contemporary audiences to the cantatas of Johann Sebastian Bach through historically informed performances. Under the leadership of co-founder and Music Director Jeffrey Thomas, the ensemble has achieved its vision of assembling the world’s finest vocalists and period-instrument performers to bring this brilliant music to life. 

For more than two decades, Jeffrey Thomas has brought thoughtful, meaningful, and informed perspectives to his performances as Artistic and Music Director of the American Bach Soloists. Recognized worldwide as one of the foremost interpreters of the music of Bach and the Baroque, he continues to inspire audiences and performers alike through his keen insights into the passions behind musical expression. Fanfare Magazine proclaimed that “Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach performance.” 

Critical acclaim has been extensive: The Wall Street Journal named ABS “the best American specialists in early music…a flawless ensemble…a level of musical finesse one rarely encounters.” San Francisco Classical Voice declared “there is nothing routine or settled about their work. Jeffrey Thomas is still pushing the musical Baroque envelope.” And the San Francisco Chronicle recently extolled the ensemble’s “divinely inspired singing.” 

PERFORMANCES

The American Bach Soloists present an annual Subscription Series with performances in Belvedere, Berkeley, Davis, and San Francisco. Their annual holiday performances of Handel’s Messiah—presented each December before capacity audiences since 1992—have become a Bay Area tradition. Each season culminates with the American Bach Soloists Festival, held every

summer in July in the spectacular facilities of the San Francisco Conservatory of Music. Components of the annual summer Bach Festival include the Masterworks Series, Chamber Music Series, Distinguished Artist Series, Academy-in-Action Series, free Lecture and Master Class Series, and public Colloquia on a variety of topics. In addition to their regular subscription season, the American Bach Soloists have been presented at some of the world’s leading early music and chamber music festivals, and have appeared worldwide from Santa Fe to Hong Kong and Singapore. 

ABS has been a leader throughout the Bay Area in its commitment to artistic collaborations. Some recent examples include a collaboration with two San Francisco dance organizations, Xeno and Ultra Gypsy, at The Crucible in Oakland in 2004 and collaborations with the well-known Mark Morris Dance Group in 2004 and 1999. To celebrate the 20th Anniversary Season, ABS joined forces with San Francisco’s Grace Cathedral and Lighting Systems Design Inc. (based in Orlando FL) in a spectacular laser show rendering of Handel’s Music for the Royal Fireworks.

HISTORY

The first public concerts were given in February 1990 at St. Stephen’s Church in Belvedere, where the ensemble serves as Artists-in-Residence. The debut of ABS’s first annual summer festival in Tiburon/Belvedere took place in 1993. By the fifth season, regular performances had been inaugurated in San Francisco and Berkeley, and as a result of highly successful collaborations with the Robert and Margrit Mondavi Center for the Performing Arts, ABS’ full concert seasons expanded to the Davis/Sacramento region in 2005. As the audience increased, so the artistic direction of the ensemble expanded to include Bach’s purely instrumental and larger choral masterpieces, as well as music of his contemporaries and that of the early Classical era.

“Superbly musical ... wonderfully suave ... fresh, different” — Gramophone

“ABS is a rare, perhaps unique, organization that does something highly specialized and quite esoteric that still involves (and delights) a general audience…the houses were full and the concerts

were rich, rewarding, and well-received.” — Marin Independent Journal

“Thomas’ Bach orchestra is superb!” — Goldberg Magazine

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In 1998, in conjunction with the Fifth Biennial Berkeley Festival & Exhibition, ABS established the American Bach Soloists & Henry I. Goldberg International Young Artists Competition as a way to foster emerging musicians who wish to pursue a career in early music.

The Chorus of the American Bach Soloists has shone in repertoire from the Baroque and early Classical eras. With the inception of the Choral Series in 2004, these fine singers have been featured on programs exploring over five centuries of choral music. To acknowledge this splendid work, the American Bach Soloists announced in 2006 a new name for their choral ensemble: American Bach Choir. Critics have acclaimed their “sounds of remarkable transparency and body.”

In July 2010, the American Bach Soloists inaugurated North America’s newest annual professional training program in Historically Informed Performance Practice. Drawing on their distinguished roster of performers, the AMERICAN BACH SOLOISTS ACADEMY offers unique opportunities to advanced conservatory-level students and emerging professionals to study and perform Baroque music in a multi-disciplinary learning environment. The ACADEMY is held in the San Francisco Conservatory of Music’s exquisite new facilities in the heart of the city’s arts district. 

RECORDINGS

The American Bach Soloists have a discography of nineteen titles on the Koch International Classics, Delos International, and American Bach Soloists labels, including six volumes of Bach cantatas, many performed one on a part. The ensemble’s critically acclaimed disc of Bach’s Mass in B Minor has been called a benchmark recording and a

“joyous new performance” (The Washington Post). One of their most popular offerings is an historically significant version of Handel’s Messiah, recorded live during performances in 2004 at the Robert and Margrit Mondavi Center for the Performing Arts at UC Davis, and released in November 2005 on the Delos International label.

In 2007, ABS’ entire catalogue of critically acclaimed recordings of Bach’s Mass in B Minor, cantatas, and transcriptions of Italian music, Haydn Masses, choral and vocal works by Schütz, and other works was re-released on iTunes, Magnatune.com, Amazon, CDBaby, and ABS’ own excellent and resourceful web site, which features free streaming audio of most titles. The same year brought two new and much-anticipated releases: Beethoven’s Ninth Symphony and Bach’s Brandenburg Concertos. The most recent release, 1685 & The Art of Ian Howell, features the remarkable young countertenor (and recent winner of the ABS Young Artist Competition) in works by Bach, Handel, and Domenico Scarlatti. Coming soon this season will be Bach’s Violin Concertos featuring the brilliant virtuoso, Elizabeth Blumenstock.

The American Bach Soloists are recipients of major grants from Grants for the Arts/San Francisco Hotel Tax Fund, The Clarence E. Heller Charitable Foundation, The Charles Hosmer Morse Foundation, The National Endowment for the Arts, The Ann and Gordon Getty Foundation, The Bernard Osher Foundation, The Wallis Foundation, The AT&T Foundation Matching Gifts Program, The AXA Foundation Matching Gifts Program, Clorox Foundation, County of Marin, and The San Francisco Foundation. An administrative staff and Board of Trustees support ABS’ activities as a non-profit organization.

About American Bach Soloists

BOARD OF DIRECTORS

Hugh Davies, President Marie Hogan, Vice President Jose Alonso, Treasurer Angela Hilt, Secretary Richard J. Boyer David Cates Cindy Cooper John H. Crowe (on sabbatical) Judith Flynn Jan Goldberg Blake Reinhardt

FOUNDERS

Jeffrey Thomas Jonathan Dimmock Richard H. Graff The Rev. & Mrs. Alvin S. Haag Mr. & Mrs. Robert V. Kane Dr. & Mrs. Paul C. Ogden

STAFF

Jeffrey Thomas Artistic Director

Don Scott Carpenter Executive Director

Steven Lehning Music Administrator

Jeff McMillan Executive Administrator

Katherine McKee Development Associate

Heli Roiha Bookkeeper

Box Office Lisa May, Manager

Stage and House Managers Kiel Curtis Jonathan Szin

Stage Crew E. J. Chavez

Writers Joseph Sargent Sam Smith

Office Volunteers Elfrieda Langemann William Langley Leonore Levit Wendy Brewster Moseley

ADVISORY COUNCIL The Rt. Rev. Marc Andrus Irving Broido Karen Broido Corty Fengler Tom Flesher John Karl Hirten Corey Jamason Harvey Malloy Sandra M. Ogden Don Roth Peter Sonnen Kwei Ü Charles E. Wilts Elizabeth F. Wilts

Board of Directors, Founders, Staff, & Advisory Council

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We Believe:• The experience of Art is a human right.• Music is essential to our quality of life.• Bach’s creativity and life epitomize ideals

of artistic virtuosity, humanitarianism within changing worlds, and the primacy of education.

Every Arts Organization must:• educate present and future generations.• uphold the highest aesthetic standards.• enlighten its own and greater audiences.• relate to the community and culture in

which it thrives.• inspire the intellects of its patrons.• serve as a compelling model for other

cultural organizations.

Arts Patrons want:• to have meaningful, memorable, and

valuable experiences.• to be empowered, knowledgeable, and

informed consumers.• to be involved as integral participants, not

just observers.

The American Bach Soloists:• promote artistic excellence.• sustain the musical heritage of historical

cultures.• value and respect the diversity of our

patrons and sponsors.• treasure the gifted instrumentalists and

singers that we present.• nurture young and emerging talent.• support the efforts of all who endeavor

to preserve history, celebrate culture, and ensure the accessibility of the Arts.

INSIGHTS Learn more about the program! One hour prior to each performance from January through May, enjoy a free and informative lecture given by ABS musicians and guest luminaries.

MASTER CLASSES Each season, ABS presents Master Classes in collaboration with the San Francisco Conservatory of Music. All Master Classes are open to the public and take place in the Conservatory’s Recital Hall. Admission is free and no tickets or advance reservations are required.

FREE CHORAL WORKSHOP Each year, ABS presents a Choral Workshop designed specifically for experienced choral singers. Within a rehearsal environment under the leadership of ABS music director Jeffrey Thomas, historically informed performance practice and aesthetics regarding Baroque vocal technique, phrasing, tempos, choral balance, and rhetoric are examined and cultivated in a musically enlightening and enriching event. The workshop is provided completely free of charge, but space is limited. For more information, visit: americanbach.org/workshop

FREE TICKETS FOR MUSIC EDUCATORS All K-12 music educators are invited to attend one of our concerts free of charge in exchange for their input regarding our educational programs. And each educator may purchase one additional companion ticket at 50% off. For more information, please call (415) 621-7900 or go to: americanbach.org/educators

ABS WEB SITE - americanbach.org Our excellent web site features over 200 artist biographies, links to program notes and concert repertory details, and options to listen to or purchase our celebrated series of critically acclaimed recordings. Additionally, you will find information about how you can help ABS by volunteering, providing financial support, or purchasing ads in our concert program booklets. Educational resources are available, including information about early instruments, our education and outreach programs, and links to other important organizations.

The American Bach Soloists engage and inspire

audiences through historically informed

performances, recordings, and educational programs

that emphasize the music of the Baroque, Classical,

and Early Romantic eras.

Our Mission

Education & Outreach

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Belvedere 415.789.8686 Kent�eld 415.448.1100 Larkspur 415.945.6300

Mill Valley, Downtown 415.380.6100 Mill Valley, Strawberry 415.383.1900

Ross 415.464.8686 415.461.8605 415.461.8686

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Mill Valley, Downtown 415.380.6100 Mill Valley, Strawberry 415.383.1900

Pacific Union InternationalProud Sponsor

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A Member Of Real Living

Belvedere 415.789.8686 Kent�eld 415.448.1100 Larkspur 415.945.6300

Turning Dreams IntoExtraordinary Realities

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Announcing Our 2012-2013 SeasonOctober 2012

Annual Gala - An Olympian Feast Saturday October 6 2012 5:00 pm - St. Stephen’s Church, BELVEDERE

December 2012

Gloria! - A Baroque Christmas with ABS with the San Francisco Girls Chorus & American Bach Choir

Vivaldi: Gloria ~ Handel: Laudate pueri Dominum Corelli: “Christmas Concerto” ~ Charpentier: In Nativitatem

Saturday December 15 2012 8:00 pm - St. Stephen’s Church, BELVEDERE Sunday December 16 2012 4:00 pm - Mondavi Center, DAVIS

Handel’s MessiahMary Wilson • Ian Howell • Wesley Rogers • Jesse Blumberg

Thursday December 20 2012 7:30 pm - Grace Cathedral, SAN FRANCISCO Friday December 21 2012 7:30 pm - Grace Cathedral, SAN FRANCISCO

Saturday December 22 2012 7:30 pm - Grace Cathedral, SAN FRANCISCO

January 2013

Bach’s St. John PassionClara Rottsolk • Derek Chester • Aaron Sheehan • Joshua Copeland • William Sharp

Friday January 25 2013 7:30 pm - St. Stephen’s Church, BELVEDERE Saturday January 26 2013 7:30 pm - First Congregational Church, BERKELEY

Sunday January 27 2013 4:00 pm - St. Mark’s Lutheran Church, SAN FRANCISCO Monday January 28 2013 7:00 pm - Davis Community Church, DAVIS

March 2013

Bach, Handel, & VivaldiHandel: Dixit Dominus ~ Vivaldi: Beatus vir

Bach: Concerto for Oboe d’amore ~ Vivaldi: Concerto for Viola d’amore Debra Nagy • Elizabeth Blumenstock • Kathryn Mueller

Danielle Reutter-Harrah • Robert Stafford Friday March 1 2013 8:00 pm - St. Stephen’s Church, BELVEDERE

Saturday March 2 2013 8:00 pm - First Congregational Church, BERKELEY Sunday March 3 2013 4:00 pm - St. Mark’s Lutheran Church, SAN FRANCISCO

Monday March 4 2013 7:00 pm - Davis Community Church, DAVIS

May 2013

Handel’s Apollo & Dafne Bach: Arias for Bass ~ Handel: Silete venti

Mary Wilson • Mischa Bouvier Friday May 3 2013 8:00 pm - St. Stephen’s Church, BELVEDERE

Saturday May 4 2013 8:00 pm - First Congregational Church, BERKELEY Sunday May 5 2013 4:00 pm - St. Mark’s Lutheran Church, SAN FRANCISCO

Monday May 6 2013 7:00 pm - Davis Community Church, DAVIS

Season Renewals begin April 16New Subscriptions starting May 4

Single Tickets go on sale July 1

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The Musicians and Their Instruments

Oboe

John Abberger H. A. Vas Dias, Decatur, GA; after Thomas Stanesby, Sr., London, circa 1700.

Harpsichord

Corey Jamason Kevin Fryer, San Francisco, CA, 1998; after Ioannes Ruckers, Antwerp, 1638.

Leon Schelhase John Phillips, Berkeley, CA, 1997; after Ruckers-Taskin, Paris, 1780.

Violin

Elizabeth Blumenstock (leader) Andrea Guarneri, Cermona, 1660. *

Andrew Fouts (solo) Anonymous, 18th century Parisian.

Katherine Kyme (solo) Johann Gottlob Pfretzichner, Mittenwald, 1791.

Lisa Grodin Paulo Antonio Testore, Contrada Larga di Milano, 1736.

Lisa Weiss (principal) Anonymous, 19th century; after Paolo Antonio Testore, Contrada Larga di Milano, 1730s.

David Wilson Timothy Johnson, Hewitt, TX, 2007; after Stradivari, Cremona, 18th century.

Alicia Yang Richard Duke, London, 1762.

Viola

Katherine Kyme Anonymous, 18th century German.

Jason Pyszkowski Jay Haide, El Cerrito, CA, 2008; after Giovanni Paolo Maggini, Brescia, circa 1580.

Aaron Westman Dmitry Badiarov, Brussels, 2003; after Antonio Bagatella, Padua, circa 1750.

Violoncello

Gretchen Claassen Anonymous, American early 18th century.

Shirley Edith Hunt Anonymous, Milanese, circa 1706.

Elisabeth Reed Anonymous, Italian, 1685.

Violone grosso

Steven Lehning Hammond Ashley Luthiers, Seattle, WA, 1977; after 17th century models.

* The 1660 Andrea Guarneri violin played by Ms. Blumenstock, is made available to her though the generosity of the Philharmonia Baroque Period Instrument Trust.

AMERICAN BACH SOLOISTS

Beethoven and the BridgeWorld Premiere: Chrysopylae (kris-sop’-i-lee) Golden Gate Bridge Opus Commission byRob Kapilow, plusBeethoven Symphony No. 9

Alasdair Neale, conductor Featuring the Marin Symphony Chorus and vocal soloists

Sun. May 6, 2012 at 3:00pm Tues. May 8, 2012 at 7:30pm

Get tickets: call 415.499.6800 or purchase in person at the Marin Center Box Office 10 Avenue of the Flags, San Rafael

Fresh. Local. Music.

www.marinsymphony.org415.479.8100 | greatmusic@marinsymphony.org

www.facebook.com/marinsymphony | www.facebook.com/goldengateopus

www.clerestory.org

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Program

AMERICAN BACH SOLOISTSJeffrey Thomas, conductor

JohnAbberger,oboe•AndrewFouts,violinElizabethBlumenstock,violin•KatherineKyme,violin

CoreyJamason,harpsichord•LeonSchelhase,harpsichord

DOUBLE CONCERTOSJohann Sebastian Bach (1685-1750)

March 30 – April 2, 2012Belvedere•Berkeley•SanFrancisco•Davis

These performances are generously sponsored by Jan Goldberg.The Davis performance is sponsored by Jim & Jennifer Steelquist.

•

Concerto for Two Violins in D Minor, BWV 1043Vivace - Largo ma non tanto - Allegro

Concerto for Oboe and Violin in C Minor, BWV 1060Allegro - Adagio - Allegro

Concerto for Three Violins in D Major, BWV 1064r Allegro - Adagio - Allegro

- Intermission -

Concerto for Two Harpsichords in C Major, BWV 1061[Allegro] - Adagio - Vivace

Brandenburg Concerto No 3 in G Major, BWV 1048[Allegro] - Adagio - Allegro

•

Our Next Performances

BACH: EASTER ORATORIO & CANTATASChrist lag in Todesbanden, BWV 4

Ein feste Burg ist unser Gott, BWV 80Kommt, eilet und laufet, BWV 249

KathrynMueller,soprano•JudithMalafronte,altoJonLeeKeenan,tenor•TylerDuncan,baritone

with the American Bach Choir

Friday May 4 2012 8:00 pm - St. Stephen’s Church, BELVEDERESaturday May 5 2012 8:00 pm - First Congregational Church, BERKELEY

Sunday May 6 2012 7:00 pm - St. Mark’s Lutheran Church, SAN FRANCISCOMonday May 7 2012 8:00 pm - Davis Community Church, DAVIS

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650-485-1097 · www.calbach.org

Chandos and Chapel RoyalGeorge Frideric Handel with guest conductor Charlene Archibequefeaturing Elspeth Franks, mezzo soprano, and Brian Thorsett, tenor

April 27, 8 pm, San Francisco · April 28, 8 pm, Palo Alto · April 29, 4 pm, BerkeleySt. Mark’s Lutheran Church All Saints’ Episcopal Church St. Mark’s Episcopal Church 1111 O’Farrell at Franklin 555 Waverley at Hamilton 2300 Bancroft at Ellsworth

April 19 - 22

Alexander’s FeastPhilharmonia Baroque OrchestraNicholas McGegan, conductor Philip Cutlip, baritoneDominique Labelle, soprano James Taylor, tenorPhilharmonia Chorale, Bruce Lamott, director

HANDEL: Alexander’s Feast, or the Power of MusickHANDEL: Concerto Grosso in C Major, “Alexander’s Feast”

Concerts in San Francisco, Berkeley, and Atherton Tickets start at $25!Call 415-392-4400 for tickets philharmonia.org

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AXA Advisors, LLC member FINRA,SIPC. Boyer & Cobert Financial Group is not owned or operated by AXA Advisors,LLC. Boyer & Cobert Financial Group and AXA Advisors, LLC do not provide tax or legal advice.

San Francisco’s Summer Bach Festival

Bach’s MASS IN B MINORRameau’s PIGMALION

Purcell’s DIDO & AENEASTHE LEIPZIG MASTERS

Distinguished Artist SeriesChamber Music Series

Academy-in-Action SeriesFree Public Lectures & Master ClassesColloquium: “Invitation to the Dance”

sfbachfestival.org

FESTIVAL EVENTS

Masterworks SeriesAnnual performances of Bach’s Mass in B Minor, large-scale instrumental and vocal works, and concert performances of Baroque oratorio and opera. Jeffrey Thomas conducts the American Bach Soloists Academy Orchestra and soloists, joined by the American Bach Choir and Festival Chorus. ($18 to $50)

Chamber Series Virtuoso performances by the American Bach Soloists of both favorite and lesser-known masterpieces by Bach and his contemporaries. ($18 to $40)

Distinguished Artist SeriesNew for 2012, these concerts feature performances by acclaimed early music specialists. Within the framework of an intimate recital, instrumentalists and singers will present solo works with accompaniment, in programs built around themes of cultures, places, or events in history. ($18 to $40)

Academy-in-Action SeriesThese performances feature ABS Academy participants—the next generation of early music virtuosi—as they perform Bach cantatas conducted by Academy co-director Corey Jamason, and chamber music by masters of the Baroque. ($10)

Public ColloquiumEngaging forums for performers, presenters, and audience members alike explore a variety of topics including arts collaborations, education, community outreach, and trends in arts programming. (Free)

Lecture SeriesJoin the members of the American Bach Soloists Academy for a series of enlightening and informative public lectures presented by the Academy faculty and guest speakers. (Free)

Master Class SeriesThe ABS Academy opens its doors to the public to witness the artistic transformations that make Master Classes so tremendously exciting. You’ll take with you knowledge and insights usually known only to performers and their master teachers. (Free)

American Bach Soloists AcademyIn July 2010, ABS inaugurated North America’s newest annual professional training program in Historically Informed Performance Practice. The American Bach Soloists Academy—the educational component of the ABS Summer Bach Festival—offers advanced conservatory-level students and emerging professionals unique opportunities to study and perform Baroque music in a multi-disciplinary learning environment.

THURSDAY JULY 12 5:00 p.m. Opening Night Gala Dinner 8:00 p.m. Chamber Series: Music by J. S. Bach •SonatainAMajorforViolin&Harpsichord •Ich habe genug, cantata 82 •SonatainDMajorforVioladagamba&Harpsichord •Brandenburg Concerto No. 6 in B-flat Major

FRIDAY JULY 13 8:00 p.m. Chamber Series: Parisian Baroque •Couperin:Sonata“La Sultane” & La Paix du Parnasse •Leclair:FluteSonataNo.2inEMinor •Clerambault:ChaconneinDMajor •Rameau:IIIe Pièce de Clavecin en Concert

SATURDAY JULY 14 2:30 p.m. Public Colloquium: “Invitation to the Dance” 8:00 p.m. Masterworks Series: The Leipzig Masters •Kuhnau:Ihr Himmel jubilirt von Oben •Graupner:MagnificatinCMajor •Telemann:La Bourse (Paris Stock Exchange) •Bach:OrchestralSuiteNo.3inDMajor

SUNDAY JULY 15 2:00 p.m. Masterworks Series: Mass in B Minor

MONDAY JULY 16 3:00 p.m. Master Class: Harpsichord 5:00 p.m. Lecture: Jeffrey Thomas - The Evolution of Bach’s Cantatas 8:00 p.m. Academy-in-Action •BachCantatasandworksbyBaroquemasters

TUESDAY JULY 17 3:00 p.m. Master Class: Violin & Viola 5:00 p.m. Lecture: Corey Jamason - A Day in the Life of a Parisian Musician 8:00 p.m. Academy-in-Action •BachCantatasandworksbyBaroquemasters

WEDNESDAY JULY 18 3:00 p.m. Master Class: Voice 5:00 p.m. Lecture: Steven Lehning - Purcell’s Orchestra 8:00 p.m. Academy-in-Action •BachCantatasandworksbyBaroquemasters

THURSDAY JULY 19 3:00 p.m. Master Class: ‘Cello/Viola da gamba/Violone 5:00 p.m. Lecture: Debra Nagy - Rameau the Revolutionary

FRIDAY JULY 20 3:00 p.m. Master Class: Winds & Brass 5:00 p.m. Lecture: Robert Mealy - Rameau & the Metamorphosis of the Baroque 8:00 p.m. Masterworks Series: Pigmalion and Dido & Aeneas

SATURDAY JULY 21 4:30 p.m. Lecture: Robert Commanday A Millennium in 50 Years...The Discovery of Early Music 8:00 p.m. Distinguished Artist Series: Ian Howell - Voice & Viols •SongsandConsortMusicbyWilliamByrdandHenryPurcell •J.C.Bach:Ach, daß ich Wassers gnug hätte •Hoffmann:Schlage doch, gewünschte Stunde •J.S.Bach:Gott soll allein mein Herze haben, cantata 169

SUNDAY JULY 22 2:00 p.m. Masterworks Series: Mass in B Minor

Program and Artists subject to change. All events at the San Francisco Conservatory of Music, 50 Oak Street.

americanbach.org (415) 621-7900

Elizabeth Blumenstock violin & viola

Ian Howell countertenor

Corey Jamason harpsichord

Steven Lehning violone

Judith Malafronte alto

Michael McCraw bassoon

Robert Mealy violin & viola

Sandra Miller flauto traverso

Debra Nagy oboe & recorder

Elisabeth Reed violoncello & viola da gamba

William Sharp baritone

Jeffrey Thomas conductor

John Thiessen trumpet

Tanya Tomkins violoncello

2012 FESTIVAL HIGHLIGHTS

•Bach&Leipzig’sSt.ThomasChurch••Renaissance&RestorationLondon•

•ParisianBaroqueComposers•

The American Bach Soloists FESTIVAL & ACADEMY is held at the

Bach’s Mass in B MinorThe composition that many call the greatest musical work of all time will be performed by the ABS Academy Orchestra, the American Bach Choir, and soloists from the Academy, conducted by ABS Music Director Jeffrey Thomas. Fanfare Magazine wrote that “Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach performance.”

Rameau’s PIGMALION & Purcell’s DIDO & AENEASIn this double-bill of Baroque operas, love brings life to a statue and sorrowful death to a queen. Rameau’s protagonist, the sculptor Pigmalion, faithfully entreats Venus to turn his artistry into a beautiful (singing) creature. In Purcell’s tragedy, the ambitious Trojan Prince, Aeneas, leaves his betrothed Queen of Carthage abandoned and resigned to a lovelorn death. Vocalists and instrumentalists from the 2012 ABS Academy will be joined by the American Bach Choir in this evening about the magical and mortal powers of love.

Bach, Graupner, Kuhnau, and Telemann: THE LEIPZIG MASTERSJohann Sebastian Bach succeeded Johann Kuhnau as cantor of the Thomaskirche (St. Thomas Church) in Leipzig. But Bach was the Leipzig town council’s third choice! This program of masterful compositions presents the music of Kuhnau and Bach, along with masterpieces by Christoph Graupner and Georg Philipp Telemann - the first and second choice candidates for the job.

Distinguished Artist Series: IAN HOWELL - VOICE & VIOLSPraised by San Francisco Classical Voice for the “heart at the core of his soulful sound,” countertenor Ian Howell will present a recital accompanied by members of ABS and a viol consort drawn from the 2012 Academy. The performance will feature J.S. Bach’s solo cantata “Gott soll allein,” and music by William Byrd, Henry Purcell, Johann Christoph Bach, Georg Melchior Hoffman, and Franz Tunder.

Public Colloquium: “Invitation to the Dance”Join Academy faculty and participants in an exploration of the dances that provide the foundation and framework of Baroque music. Guest artist Sandra Noll Hammond will give an informative presentation and lead Academy members in a Baroque Dance workshop.

An Afternoon with Robert CommandayRobert Commanday, celebrated music critic, conductor, and founding editor of San Francisco Classical Voice, will give a lecture titled “A Millennium in 50 Years: The Discovery of Early Music,” about the rich history of the early music movement in the San Francisco Bay Area and beyond. Following the lecture and joined by his colleagues and associates, Mr. Commanday’s outstanding contributions to the cultural life of Northern California will be celebrated at this special tribute.

The Festival Colloquium, Lectures, and Public Master Classes are free events. For more information visit: SFBACHFESTIVAL.org

THURSDAY JULY 12 5:00 p.m. Opening Night Gala Dinner 8:00 p.m. Chamber Series: Music by J. S. Bach •SonatainAMajorforViolin&Harpsichord •Ich habe genug, cantata 82 •SonatainDMajorforVioladagamba&Harpsichord •Brandenburg Concerto No. 6 in B-flat Major

FRIDAY JULY 13 8:00 p.m. Chamber Series: Parisian Baroque •Couperin:Sonata“La Sultane” & La Paix du Parnasse •Leclair:FluteSonataNo.2inEMinor •Clerambault:ChaconneinDMajor •Rameau:IIIe Pièce de Clavecin en Concert

SATURDAY JULY 14 2:30 p.m. Public Colloquium: “Invitation to the Dance” 8:00 p.m. Masterworks Series: The Leipzig Masters •Kuhnau:Ihr Himmel jubilirt von Oben •Graupner:MagnificatinCMajor •Telemann:La Bourse (Paris Stock Exchange) •Bach:OrchestralSuiteNo.3inDMajor

SUNDAY JULY 15 2:00 p.m. Masterworks Series: Mass in B Minor

MONDAY JULY 16 3:00 p.m. Master Class: Harpsichord 5:00 p.m. Lecture: Jeffrey Thomas - The Evolution of Bach’s Cantatas 8:00 p.m. Academy-in-Action •BachCantatasandworksbyBaroquemasters

TUESDAY JULY 17 3:00 p.m. Master Class: Violin & Viola 5:00 p.m. Lecture: Corey Jamason - A Day in the Life of a Parisian Musician 8:00 p.m. Academy-in-Action •BachCantatasandworksbyBaroquemasters

WEDNESDAY JULY 18 3:00 p.m. Master Class: Voice 5:00 p.m. Lecture: Steven Lehning - Purcell’s Orchestra 8:00 p.m. Academy-in-Action •BachCantatasandworksbyBaroquemasters

THURSDAY JULY 19 3:00 p.m. Master Class: ‘Cello/Viola da gamba/Violone 5:00 p.m. Lecture: Debra Nagy - Rameau the Revolutionary

FRIDAY JULY 20 3:00 p.m. Master Class: Winds & Brass 5:00 p.m. Lecture: Robert Mealy - Rameau & the Metamorphosis of the Baroque 8:00 p.m. Masterworks Series: Pigmalion and Dido & Aeneas

SATURDAY JULY 21 4:30 p.m. Lecture: Robert Commanday A Millennium in 50 Years...The Discovery of Early Music 8:00 p.m. Distinguished Artist Series: Ian Howell - Voice & Viols •SongsandConsortMusicbyWilliamByrdandHenryPurcell •J.C.Bach:Ach, daß ich Wassers gnug hätte •Hoffmann:Schlage doch, gewünschte Stunde •J.S.Bach:Gott soll allein mein Herze haben, cantata 169

SUNDAY JULY 22 2:00 p.m. Masterworks Series: Mass in B Minor

Program and Artists subject to change. All events at the San Francisco Conservatory of Music, 50 Oak Street.

americanbach.org (415) 621-7900

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Program NotesThe term “concerto” was rather widely used in Bach’s day; he

employed it most frequently on the title pages to many of the works we now call “cantatas,” as a way of denoting those sacred works in which instruments and voices participated (literally, “concerted”) together. Bach’s earliest essays in the genre that we now term “concerto” (i.e. pieces in which one or several instruments are profiled against a body of accompanying strings) were, in fact, transcriptions for solo harpsichord and organ of modern Italian violin concertos. Thus he cut his teeth in concerto composition by copying and adapting the works of others (primarily Vivaldi) to the medium with which he was most familiar, the keyboard. Ironically, this process removed perhaps the most characteristic feature of the genre—the contrast between various instrumental sonorities—yet it enabled him to experience many of the compositional devices involved, most particularly the ritornello form. This latter proved one of the most enduring strategies Bach was to employ throughout his subsequent career as a composer: it involved writing a clearly-recognizable block of music, played by all the instruments to open the piece; this could then be used, entirely or in part, to mark out the major key areas later on in the piece, bringing the soloists back “to order” as it were, and ultimately providing the conclusion for the piece as a whole. Bach’s concerto transcriptions for keyboard arose during his employment as organist, and later Kapellmeister, at the ducal court of Weimar, an appointment that lasted until 1717. Later that year, he became the Kapellmeister to Prince Leopold of Anhalt-Köthen, where he was expected to compose regularly for the court orchestra. This became the opportunity for Bach to transfer the concerto style back to its native, orchestral habitat, now in music of his own composition.

Between the years of 1717 and 1723, Bach composed a great number of orchestral and chamber works for Prince Leopold. The young prince was an accomplished amateur musician who played keyboard instruments, the violin, the viola da gamba, and sang with a good baritone voice. Since Cöthen was a Calvinist principality with no tolerance for elaborate church music, Bach’s desire to write “well-regulated church music” (Bach’s own term) had to be put on hold until he would take up his post in Leipzig. For the time being, however, the excellent court orchestra of about eighteen players was probably an inspiration to Bach. The prince went to considerable expense to assemble not only the best players in the land, but also to acquire the best instruments.

Life at this particular court had other merits, too. Bach would accompany the young prince (and the court musicians) on their sojourns to the spas at Carlsbad. During one of those in 1720, however, which lasted six months, both Bach’s first wife Maria Barbara and their ten-month old son Leopold Augustus passed away. Bach learned of this only upon his return to Cöthen. He was devastated, of course, and suffered a temporary loss of productivity. Left with four young children, a year later he married Anna Magdalena Wilken, with whom he produced thirteen more.

At Cöthen, Bach composed (or at least put into final form) two of the Orchestral Suites, the Brandenburg Concertos, the violin concertos, the sonatas and partitas for solo violin, and the suites for solo violoncello. All of these are considered to be supreme 18th-century masterpieces of their genres. The concertos, especially, mark Bach’s fascination with supreme mastery of the Italian concerto grosso style, which is marked by the interactions of soloist(s) and ripienists (the non-soloist members of the orchestra), who play alternatively or together (called tutti). The violin concertos

composed at Cöthen are especially significant, because many of them, though now lost in their original forms, were later transcribed or “recycled” as harpsichord concertos when Bach would assume the directorship of Leipzig’s Collegium Musicum in 1729.

The Collegium Musicum, a semi-professional musical performance society that Telemann had founded in 1702, was one of two such societies in Leipzig: the other had been founded in 1708 and was directed during Bach’s time in Leipzig by J.G. Görner, the University Church music director and Thomaskirche organist with whom Bach was not on the best of terms. Bach’s Collegium Musicum was supported by university students and some professional musicians, almost certainly including his older sons. This ensemble could be adapted to the performance of anything secular from chamber music to small orchestral/choral works, and was a fixture of the lively middle-class musical life in Leipzig. Meetings were held on Friday evenings at Gottfried Zimmermann’s coffee house (or sometimes al fresco in summer). In addition to these regular concerts, which were open to the public, the Collegium also performed from time to time for royal or academic occasions. We know that Bach composed several pieces for such events, but unfortunately there is no known record of the music played at the Collegium’s ordinary concerts. Nevertheless we believe that Bach arranged his many harpsichord concertos for these evenings, and also quite probably the Orchestral Suites and pieces of his chamber music were used. Except for a brief two-year period, Bach oversaw the Collegium Musicum until at least 1741.

Concerto for Two Violins in D Minor, BWV 1043

Bach’s Concerto for Two Violins in D Minor, like his other violin concertos, the “Brandenburg” Concertos, and many other instrumental works, dates from his years as Kapellmeister to the Prince of Anhalt-Cöthen, the period in Bach’s early thirties which he later recalled as the happiest time of his life. If the stormy and occasionally chromatic D minor of the outer movements might seem to belie that happiness, the serene lyricism of the second movement accords perfectly with Bach’s recollection. The framing movements are based on almost mirror-image musical figures: an upward-sweeping theme dominates the Vivace, and a

Bach at Cöthen in 1720

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Program Notesdownward gesture permeates the Allegro. In both outer movements, the two soloists are pitted against the orchestral strings, which alternately support and overwhelm them. In the Largo, the solo violins are the uncontested focus of attention, the orchestra providing gentle accompaniment to their arabesques. The first movement has especially interesting architectural and programmatic qualities, including the appearance of a fugue right from the start. The opening ritornello, with its fugal entrances, already generates an expectation that there will be some sort of imitative elements further down the road, perfect for a double concerto. Indeed, within the movement we find a decidedly equilibrated swapping of material between the two soloists, providing both a complete independence of the parts as well as the feeling that the two are absolutely equally matched. Also noteworthy is the fact that the opening ritornello contains at least five clearly defined entrances of the main subject, lasting about one fourth of the length of the entire movement.

Concerto for Oboe and Violin in C Minor, BWV 1060

It has proved relatively easy to deduce the dates of composition and performance for much of Bach’s church music owing to the structure of the church year and to the manner in which Bach’s original scores and performing materials have survived. This is not the case, however, with his orchestral and chamber music, since this repertory was not tethered to specific events or single performances within a regular cycle. Quite often we can only guess the type of occasion for which any particular work was composed. The poor survival of original manuscripts means that we often have to rely on the copies of pupils and associates who may not have had much concern for preserving the finer details of Bach’s notated intentions.

The Concerto for Oboe and Violin in C Minor, BWV 1060, survives as a concerto for two harpsichords (in manuscripts dating mostly from after Bach’s death). This presumably originated during Bach’s association with the Leipzig Collegium Musicum, since the majority of his autograph manuscripts of harpsichord concertos can be dated to this period. However, like most of the other harpsichord concertos, Bach undoubtedly composed it originally for another instrumental medium. Since the late nineteenth century the hypothesis that this was originally a concerto for oboe and violin has barely been challenged. Certainly the disparity between the two parts is unusual in a Bach concerto. The solo violin parts to the double violin concerto, for instance, are identical in texture and figuration, but in this work the oboe line is generally more lyrical but less agile than that of the violin. In other words, it is the unequalness of the two right hand parts in the surviving concerto for two harpsichords that points so clearly to an earlier version for two “unequal” instruments. Even if this accepted solution is ever invalidated, it is one that preserves virtually all the notes from the “authentic” harpsichord version, requiring minimal transcription (or rather “detranscription”).

The supremely lyrical central movement has much in common with the equivalent movement in the concerto for two violins. It is interesting to note that Bach seldom wrote such unadulterated and continuous melody for voices; indeed much of his originality as a composer comes from his ability to transfer the style of one performance medium to another, creating an entirely new form of musical expression in the process. Like the majority of Bach concertos, the outer movements are based on the ritornello principle, where an opening statement returns in a variety of keys and guises during the course of the movement. In the opening movement the ritornello is remarkably adaptable (the echoes at the end of the opening phrases allow it to be fragmented or extended with great ease). The complete ritornello is heard only at the beginning and end, while during the course of the movement Bach teases the listener with partial and modified statements. These always present something new and unexpected while still providing the orientation which is the customary function of the ritornello. Another subtlety is Bach’s reuse of some of the intervening episodic material in a new order towards the end of the movement. The spectacular final movement uses a similar principle: but here the ritornello and its associated motives pervade virtually every measure of the piece.

Concerto for Three Violins in D Major, BWV 1064r

We believe that, some time around 1735, Bach and his sons performed a concerto for three harpsichords in C major (BWV 1064) at Zimmermann’s Coffee House. This concerto, like so many others that were performed in Leipzig around that time, was

Zimmermann’s Coffee House

Bach’s manuscript of the opening of the Concerto for Two Violins in D Minor

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Advance $28/$24 ($15 Student) Door $35/$30 ($20 Student)

855- 4Sf-bAch (855-473-2224)www.sfbach.org

Music from Town and TavernWorks in the popular vein—Music by bach, Telemann, Weckmann and Schein from the rich German collegium Musicum tradition and music by handel and Purcell—with catherine Webster, soprano and the Sfbc baroque Orchestra

SATurdAy, MAy 19, 8PMSundAy, MAy 20, 4PM(free Lecture Sunday, 3PM)calvary Presbyterian church,fillmore & Jackson, Sf

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probably the result of another successful transcription by Bach of a pre-existing work for violins. Accordingly, the lost and likely original concerto has been reconstructed, or reverse-engineered, into the form we present tonight.

Transposed to D major, a more likely and more idiomatic key for a triple violin concerto, the work opens with another clearly intelligible ritornello. The accompanying orchestral musicians play nearly all the time (in all three movements), and “teamwork” seems to be the subtext. The soloists enter always in order, either first-second-third, or third-second-first. The central movement presents a fuller-spectrum of sound than the first, especially when the ripienists occasionally play in the lower parts of their instruments’ ranges. The third movement gives the chance for all the soloists, in succession from third to second to first, to demonstrate their prowess, in a commendably polite contest. Only the first violinist is given the opportunity to play in a more or less improvisational style in a pseudo-cadenza that brings us to the final ritornello and the concerto’s close.

Concerto for Two Harpsichords in C Major, BWV 1061

Bach’s concerti for various numbers of harpsichords were produced around 1730 for the weekly performances at Zimmermann’s Coffee House. The soloists were Bach and (depending on the number of harpsichordists required) his sons Wilhelm Friedemann and Carl Philipp Emmanuel; in the solitary case of the concerto for four harpsichords, the remaining seat may have been filled by Bach’s pupil Johann Ludwig Krebs. “Produced” is a safer word than “written” in the case of this music, for all but one of the harpsichord concerti are Bach’s adaptations or re-workings of concerti for other instruments. The Concerto for Two Harpsichords in C Major, BWV 1061, is in a class by itself, more or less, due to the fact that it can be played with or without orchestral accompaniment (ripienists). Bach probably composed the first version of this work for two harpsichords alone, adding the accompanying string players for a performance with the Collegium in or around 1735. The power inherent in Bach’s expert utilization of ritornello is immediately evident and even greatly highlighted in this case, as he utilized the orchestra to clearly indicate the ritornello elements.

The first movement’s opening statement, strong despite the fact that it is barely one measure long, returns throughout the movement in a panoply of different keys. At the soloists’ first unaccompanied episode, new material is introduced which actually is never subsequently played by the orchestra, and clearly distinguishes the soloists from their (at least in this case) much less significant colleagues. Following an extended middle section—a tour of neighboring keys—we expect to hear a full da capo return to the beginning of the movement. But it is now introduced by the harpsichords alone, without accompaniment, and heralded by ascending 32nd-note scales of two and a half octaves. The kinetic energy of this movement can only be stopped abruptly, as Bach composed a sudden Adagio cadence to bring the proceedings to a halt.

The central movement, which does not utilize the orchestra at all, is a lovely four-part Adagio, but which seems, in context, to be the least impressive of the concerto’s three movements, especially when compared to the brilliant Vivace fugue that follows: The first harpsichordist introduces the first three voices, followed by the second harpsichordist’s introduction of three more.

Now the strings join in as the first harpsichordist makes his re-entry into the texture. A substantial episode for the harpsichords alone follows, in which they do not play together, but rather alternate in their forays. Soon, we notice that the subject of the fugue is used as a sort of ritornello, punctuating each significant modulation, and serving as delineations of two shorter episodes for the two soloists. A return to the key of C major is supported by the orchestra, and the exuberant fugue subject is heard one last time, played by the bass instruments, and in octaves by the two left hands.

Brandenburg Concerto No. 3 in G Major, BWV 1048

On 24 March 1721, a few days after his thirty-sixth birthday, J.S. Bach signed the dedicatory preface to a meticulously prepared and beautifully penned manuscript of “Concerts avec plusieurs instruments” (“Concertos with several instruments”), an offering to the Margrave Christian Ludwig of Brandenburg, who lived in Berlin. Bach did not compose these concertos specifically for this collection; indeed, the set can be seen as his selection of the best concerto movements he had written over the previous decade, as he encountered, emulated, and finally assimilated the concerto style of Vivaldi and other contemporary Italian masters. Early definitions of the concerto as a musical genre alternatively (and ambiguously) translate the term as “disputation” and “agreement”—scarcely a sign of terminological clarity! Nevertheless, this contradiction does give a useful sense of the formal rhetoric of the concerto: the very differentiation of instrumental forces into tutti and solo groupings generates an immediate sense of opposition, or disputation, but the composer’s task is to render this opposition productive and agreeable.

By the time he copied out the manuscript for the Margrave, he would have had several years’ supply of orchestral works from which to draw. This may account, at least in part, for the diversity of style and instrumentation in the collection: from the smooth, sonorous agreement of all the instruments in the Sixth, to the highly developed contrasts of the Fourth, with its distinctive recorders, or the Fifth, with its three independent soloists, we can hear Bach experimenting with different realizations of the concerto idea.

Eager perhaps to offer a collection which would effectively compliment the Margrave’s excellent orchestra, Bach’s aims in revision and compilation seem to have been to present six entirely disparate solutions to the concerto genre, which was by no means fixed and which could imply many instrumental combinations. Never, in fact, was he to better his achievement here, and each concerto seems exhaustively to exploit a different aspect of the genre: no two share the same instrumentation.

Sonorous repartee invigorates the more traditional homogenous string instrumentation of the Brandenburg Concerto No. 3 in G major. The three distinct groups—three violins, three violas, and three violoncellos (joined, of course, by the basso continuo)—conflate the roles of solo and ripieno, sustaining a harmonic fullness amid the contrapuntal interaction. The delightful, three-way motivic rallies provide balance and energy to the two fast movements, an energy checked only momentarily by the two-note Adagio transition (the shortest movement in all of Bach’s compositions) before bursting forth once again.

— John Butt and Jeffrey Thomas with contributions by Kristi Brown-Montesano and Alan Lewis

Program Notes

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Music Director Jeffrey ThomasJEFFREY THOMAS has brought thoughtful, meaningful, and informed perspectives to his performances as Artistic and Music Director of the American Bach Soloists for more than two decades. Recognized worldwide as one of the foremost interpreters of the music of Bach and the Baroque, he continues to inspire audiences and performers alike through his keen insights into the passions behind musical expression. He has directed and conducted recordings of more than 25 cantatas, the Mass in B Minor, Musical Offering, motets, chamber music, and works by Schütz, Pergolesi, Vivaldi, Haydn, and Beethoven. Fanfare magazine has praised his series of Bach recordings, stating that “Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach performance.”

Before devoting all of his time to conducting, he was one of the first recipients of the San Francisco Opera Company’s prestigious Adler Fellowships. Cited by the Wall Street Journal as “a superstar among oratorio tenors,” Mr. Thomas’ extensive discography of vocal music includes dozens of recordings of major works for Decca, EMI, Erato, Koch International Classics, Denon, Harmonia Mundi, Smithsonian, Newport Classics, and Arabesque. Mr. Thomas is an avid exponent of contemporary music, and has conducted the premiers of new operas, including David Conte’s Gift of the Magi and Firebird Motel, and premiered song cycles of several composers, including two cycles written especially for him. He has performed lieder recitals at the Smithsonian, song recitals at various universities, and appeared with his own vocal chamber music ensemble, L’Aria Viva.

He has appeared with the Baltimore, Berkeley, Boston, Detroit, Houston, National, Rochester, Minnesota, and San Francisco symphony orchestras; with the Vienna Symphony and the New Japan Philharmonic; with virtually every American baroque orchestra; and in Austria, England, Germany, Italy, Japan, and Mexico. He has performed at the Santa Fe Chamber Music Festival, Spoleto USA Festival, Ravinia Festival, Saratoga Performing Arts Center, Berkeley Festival and Exhibition, Boston Early Music Festival, Bethlehem Bach Festival, Göttingen Festival, Tage Alte Musik Festival in Regensburg, E. Nakamichi Baroque Festival in Los Angeles, the Smithsonian Institution, and at the Brooklyn Academy of Music’s “Next Wave Festival,” and he has collaborated on several occasions as conductor with the Mark Morris Dance Group.

Educated at the Oberlin Conservatory of Music, Manhattan School of Music, and the Juilliard School of Music, with further studies in English literature at Cambridge University, he has taught at the Amherst Early Music Workshop, Oberlin College Conservatory Baroque Performance Institute, San Francisco Early Music Society, and Southern Utah Early Music Workshops, presented master classes at the New England Conservatory of Music, San Francisco Conservatory of Music, SUNY at Buffalo, Swarthmore College, and Washington University, been on the faculty of Lehigh University in Pennsylvania, and was artist-in-residence at the University of California, where he is now professor of music (Barbara K. Jackson Chair in Choral Conducting) and director of choral ensembles in the Department of Music at UC Davis. He was a UC Davis Chancellor’s Fellow from 2001 to 2006; and the Rockefeller Foundation awarded him a prestigious Residency at the Bellagio Study and Conference Center at Villa Serbelloni for April 2007, to work on his manuscript, “Handel’s Messiah: A Life of Its Own.” Mr. Thomas serves on the board of Early Music America and hosts two public radio programs on Classical KDFC.

San Francisco Renaissance Voices

Todd Jolly, Music Director

CONCERT from the COURT of KHANGXI Berkeley Festival & Exhibition of Early Music

June 3 – 10, 2012 We’ll be joining early music colleagues from across the bay

area & the world to participate in this year’s festival focusing on cross-cultural influences in early music. We’re

restaging our popular concert featuring Charles D’Ambleville’s (c1597-1637) “Mass of the Bejing Jesuits”

performed alternatim style with traditional Chinese instruments & music, as well as a lion dance to start the

concert. Watch our website for the announcement of the specific date we will present this concert at the Festival!

The RENAISSANCE ZOO FAMILY CONCERT July 14 – 4:00 pm

We present our first-ever Family Concert! Designed to be enjoyed by everyone, this concert will especially delight

audience members ages 7-11 with music by owls, dogs, cats & other animals of the Renaissance including opportunities

for you to sing & play along! A special price as well – just $10 per ticket!

Our 2012-13 Season “Other Renaissance Voices”

Will be announced soon – watch our website for details!

www.SFRV.org

“Best Classical Music 2010” – SFWeekly

“Thomas united enlightened historical performance practice with native musical intelligence.”

San Francisco Examiner

“Under the dexterous leadership of Music Director Jeffrey Thomas, the choir produced sounds of remarkable transparency and body.”

San Francisco Chronicle

“Thomas’ direction seems just right, capturing the humanity of the music…there is no higher praise for Bach performance.”

Fanfare Magazine

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JOHN ABBERGER (oboe), one of North America’s leading performers on historical oboes, is a principal oboist with Tafelmusik (Toronto) and the American Bach Soloists (San Francisco). He has performed extensively in North America, Europe, and the Far East with these ensembles, and appears regularly with other prominent period-instrument ensembles, including the Philharmonia Baroque Orchestra, the Washington Bach Consort, the Portland Baroque Orchestra, Ensemble Voltaire, the Indianapolis Baroque Orchestra, the Handel and Haydn Society, and Aston Magna.

A specialist in the performance of the music of J. S. Bach, his recordings of reconstructed oboe concertos and orchestral suites by this composer for the ANALEKTA label have received critical acclaim, and have been widely heard on radio broadcasts across Canada and the United States. In addition, his recent recording of Bach Orchestral Suites in their original instrumentation is featured as “CD of the Month” in the September-October 2011 issue of the German music magazine Toccata-Alte Musik Akutell. Mr. Abberger’s recording of the Concerto for Oboe by Alessandro Marcello (with Tafelmusik) was glowingly reviewed by Gramophone Magazine as “one of the best there is” and “alone worth the price of the disc, even if you have other versions.” In addition, he records regularly with many of the above mentioned orchestras, and can be heard on numerous recordings on the ANALEKTA, Sony Classical Vivarte, Koch International, Harmonia Mundi, BMG Classics, Pro Arte, and Newport Classic labels. Since 2007 Mr. Abberger has also been the director of “The Bach Project” with the Indianapolis Baroque Orchestra. This project is a special initiative of the Orchestra to perform the vocal and instrumental works of J.S. Bach using historically appropriate performing forces. Mr. Abberger serves on the faculty at the University of Toronto, and the University of Western Ontario. A native of Orlando, Florida, he received his training at the Juilliard School, and Louisiana State University. In addition, he holds a Performers Certificate in Early Music from New York University.

ANDREW FOUTS (violin) is becoming one of the country’s leading performers on the baroque violin. He has been noted for his “mellifluous sound and sensitive style” by the Washington Post, and as “an extraordinary violinist” who exhibits “phenomenal control” (Bloomington Herald-Times), while the Lincoln Journal-Star wrote that his “talent challenges the top soloists of today’s classical stage.” In 2008 Andrew won first prize at the American Bach Soloists’ International Baroque Violin Competition. That same year he joined Pittsburgh’s acclaimed trio, Chatham Baroque, which performs over 50 concerts annually, both at home and on

tour. This past 20th anniversary season the ensemble performed in New York, Washington D.C., Oregon, Kansas, and in Lima, Peru, and served as faculty at the Madison Early Music Festival. Chatham Baroque’s concert series at home was augmented by collaborations with the Pittsburgh Opera, Pittsburgh Symphony Orchestra, Attack Theatre, Renaissance City Choirs, and the Renaissance and Baroque series. Three of their performances were included in the Pittsburgh Post-Gazette’s top ten performances of 2010, with the paper proclaiming, “the group… sounds better than ever, especially with the dynamic playing of its violinist, Andrew Fouts.”

The 2010-2011 season also brought Mr. Fouts to London, Madrid, Holland, Ottawa, Cleveland, Washington D.C, Boston, New York City, and California, in performances with Apollo’s Fire, The Four Nations Ensemble, Musica Pacifica, Quince, Live Oak Baroque Orchestra, and as concertmaster with the Washington Bach Consort. Highlights of his 2011-2012 season include a North American and European tour with Apollo’s Fire, performances as concertmaster and soloist with the Washington Bach Consort as well as his solo engagement with American Bach Soloists. He has recorded with Chatham Baroque, American Bach Soloists, Alarm Will Sound, Bloomington Early Music Festival Orchestra, Musik Ekklesia, and Philharmonia Baroque.

ELIZABETH BLUMENSTOCK (violin) is widely admired as a performer of interpretive eloquence and technical sparkle. A frequent soloist, concertmaster, and leader with American Bach Soloists, Philharmonia Baroque Orchestra, and the Italian ensemble Il Complesso Barocco, she is also a member of several of California’s finest period instrument ensembles, including Musica Pacifica, Ensemble Mirable, the Arcadian Academy, and Trio Galanterie. She has appeared with period orchestras and chamber ensembles throughout the United States and abroad, and has performed for the Boston and Berkeley Early Music Festivals, Germany’s Goettingen Handelfestspiel, Los Angeles Opera, the Carmel Bach Festival, the Oulunsalo Soi festival in Finland, and the San Luis Obispo Mozart Festival, among many others. Ms. Blumenstock has recorded for Harmonia Mundi, Deutsche Grammophon, Virgin Classics, Dorian, BMG, Reference Recordings, Koch International, and Sono Luminus. She is instructor of baroque violin at the University of Southern California, teaches regularly at the International Baroque Institute at Longy, has taught at the Austrian Baroque Academy, and has coached university Baroque ensembles at USC, Roosevelt University, the University of Virginia, and California Institute of the Arts.

KATHERINE KYME (violin and viola) received her musical training at the University of California, Berkeley, where she studied with Felix Khuner of the Kolisch Quartet, and at Yale University, where she studied with Broadus Erle of the Yale Quartet. For three years, she was a member of the Seattle Symphony, but after a year’s leave to study baroque violin in Vienna, she began to devote her energies to specializing in music before 1850. She has been a member of and frequent soloist and concertmaster with Philharmonia Baroque

Artist Profiles

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Artist ProfilesOrchestra since its debut season, as well as a founding member of the American Bach Soloists, the Arcadian Academy, the Streicher Trio, and the Artaria Quartet, performing throughout the United States, in Europe, and in Asia, making dozens of recordings. In 2006, she founded the New Esterhazy Quartet with colleagues, Lisa Weiss, Anthony Martin and William Skeen, and they are currently in the middle of the wondrous project of performing and recording all of the string quartets of Franz Joseph Haydn. In addition to her active performing schedule as a baroque and classical violinist, she is an enthusiastic advocate and performer of music of the 20th Century. In that capacity, she has performed with Earplay, the Stanford New Music Ensemble, the Berkeley Contemporary Players, the Yale New Music Ensemble, the Steve Reich Ensemble, and the Cornish New Music Ensemble in Seattle. As a teacher, she is also energetically engaged in the training and education of young musicians through her work at Yale University, the University of Puget Sound, Cornish Institute of Allied Arts, Sonoma State University, and currently in her capacity as conductor of the Junior and Intermediate level orchestras of the California Youth Symphony.

COREY JAMASON (harpsichord) was named Artistic Director of the San Francisco Bach Choir in the spring of 2007, becoming the choir’s third director in its 72-year history. As a harpsichordist and chamber music collaborator, Mr. Jamason is active throughout the United States and Europe. Jamason has appeared numerous times on NPR’s Performance Today and has performed the Goldberg Variations and The Well-Tempered Clavier throughout the United States. Chamber music collaborations have included performances with Jean-Pierre Rampal, Wieland Kuijken, Eva Legêne, Eliot Fisk, and Marion Verbruggen. He has appeared as a concerto soloist with American Bach Soloists, Musica Angelica, Camerata Pacifica, and in collaboration with Joseph Silverstein at the Music in the Vineyards Festival.

Mr. Jamason has performed with a variety of other ensembles including LA Opera, Philharmonia Baroque Orchestra, San Francisco Symphony, El Mundo, and with members of the Bach Aria Group as well as festival appearances including the Berkeley and Bloomington Early Music Festivals, Bach Aria Festival, San Luis Obispo Mozart Festival, Whidbey Island Chamber Music Festival, and the Norfolk Chamber Music Festival. Mr. Jamason also co-directs the ensemble Theatre Comique, which specializes in recreating late nineteenth and early twentieth century American musical theatre. In May 2007 he conducted performances of Monterverdi’s Orfeo at the Bloomington Early Music Festival in celebration of the 400th

anniversary of the opera’s premiere. He received degrees in music from SUNY College at Purchase, Yale University, where he was a student of Richard Rephann, and from Indiana University’s Early Music Institute, where he received a Doctor of Music degree. Recent recordings include performances with the violinist Gilles Apap, El Mundo, and with American Bach Soloists. Since 2001 he has been a member of the faculty of the San Francisco Conservatory of Music.

LEON SCHELHASE (harpsichord), a native of Cape Town, South Africa, found himself resonating with Baroque music from an early age. His musical studies brought him to the harpsichord early on, and subsequently landed him in the United States where he has rapidly become sought after as both soloist and continuo performer. A recipient of the American Bach Soloists’ prestigious Goldberg Prize, his solo performances have been praised as “exquisite” and filled with “virtuosity” by the Boston Musical Intelligencer, and his continuo playing described as revealing “ clean and clear lines… always distinct within the surrounding textures. ” Having lived and studied in Boston, Mr. Schelhase has had the privilege of performing with Emmanuel Music, Ensemble Florilege, and the Gardener Museum Orchestra. His involvement with conductor-less string band A Far Cry, described by the Montpelier Times Argus as “matching [the soloists’] tasteful ornamenting with unusual sensitivity, ” culminated in an appearance as guest artist on their first CD “Debut.” But Mr. Schelhase’s most notable musical collaboration in Boston has been with Cambridge Concentus, an ensemble specializing in the music of Bach, and of which he is a founding member. In 2010, musicologist and conductor Joshua Rifkin directed the ensemble in performances of J.S. Bach’s St Matthew Passion on tour in Japan.

Mr. Schelhase holds a Bachelor of Music with Honors from the University of Cape Town, and a Master’s Degree in Historical Performance from Boston University where he was a student of Peter Sykes. He currently resides in Philadelphia where his local and broader involvement in early music is evident with performances with his chamber ensemble, Old City Music, Choral Arts Society of Philadelphia, the Philadelphia Bach Festival Orchestra and New York State Baroque, Pegasus Early Music (Rochester) and continuo accompanist fellow at the Baroque Performance Institute in Oberlin. Future engagements include tours to Colombia and Taiwan, and appearances as guest of the St. Cecilia Baroque Festival, Austin, TX.

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Contributors & AcknowledgmentsThe American Bach Soloists gratefully acknowledge the generous support received from

This list represents contributions received between February 8, 2011 and February 8, 2012. We sincerely regret any errors or omissions.

Nakamichi Foundation

ClarenCe e. Heller

CHaritable Foundation

$20,000 and aboveGrants for the Arts/San Francisco Hotel Tax

FundClarence E. Heller Charitable Foundation

$10,000-$19,999AnonymousCharles Hosmer Morse Foundation

$5,000-$9,999Ann and Gordon Getty FoundationThe Bernard Osher FoundationE. Nakamichi FoundationWallis Foundation

$2,500-$4,999Citi Private BankMichael J. Weller Trust

Up to $2,499AXA Foundation Matching Gifts ProgramMechanics BankWells-Fargo Bank

CORPORATE, GOVERNMENT, AND FOUNDATION SUPPORT

Benefactor ($20,000 and above)Hugh Davies & Kaneez MunjeeDan & Lee DrakeJan GoldbergPatricia & George LockeKwei & Michele Ü

Royal Patrons ($10,000-$19,999)AnonymousFraser & Helen Muirhead

Bach Family Circle ($5,000-$9,999)Jose & Carol AlonsoRichard & Sharon BoyerJudith FlynnChristopher J. Damon HaigAngela Hilt & Blake ReinhardtMarie Hogan & Douglas LutgenKim & Judith MaxwellJames Meehan

Patron ($2,500-$4,999)John & Lois CroweMilton & Carol HollenbergJim & Jennifer Steelquist

Capellmeister ($1,500-$2,499)David Cates & Cheryl SumsionCynthia CooperTom Flesher & Adam VerretKevin & Peggy HarringtonLamar LelandMartin & Elizabeth SeckerPeter & Asiye Sonnen

Cantor ($1,000-$1,499)Anonymous (2)Peter BrodiganPeter & Claudia BrownJohn & Jane BuffingtonLisa CapaldiniEunice ChildsDavid & Judy Covin

Silvia DavidsonRichard G. FabianThomas & Phyllis FarverAlfred & Irene M. GlassgoldConnie Harden & Chuck O’NeillJohn F. HeilJoan IntratorRobert & Kathleen KaiserJames & Joan KellyNorman T. LarsonSteve LehningJeanette & Olaf LeifsonBlair MartinPaul & Sandra OgdenDavid & Mary RaubRobert Ripps & Steven SpectorJeffrey ThomasEdward TowneGeerat & Edith VermeijRichard & Shipley Walters

SOLOISTS CIRCLE

Bay Area News GroupKDFC

The New FillmoreSan Francisco Classical Voice

San Francisco ChronicleSan Francisco Examiner

MEDIA SUPPORT

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Contributors & Acknowledgments

Chorister ($500-$999)AnonymousEdward Betts & Elena SnegovaGretchen BrosiusDonna ChazenUni CordobaJoseph & Judy CraigAyame FlintRichard FordePhilip & Ruth HicksKathryn HobartKen HoffmanSusan & Stafford KeeginKrista Muirhead & Barry GrossmanPaul NettelmanMichael & Elfrieda O’NeillFrank PajerskiCharles Quesenberry, Jr.Colby & Katherine RobertsGary Schilling & Stefan HastrupDelia Voitoff-Bauman & Steve BaumanThomas & Ann WatrousMichael WestonCharles & Elizabeth Wilts

Stadtpfeifer ($250-$499)AnonymousPeter & Margaret ArmstrongCheryl Arnold & John FrykmanLynne CarmichaelGarniss CurtisIan & Natalie Davis-TremayneJacqueline DesoerMag DimondLester DropkinBob & Margaret EldredBarbara Thomas FexaMary KimballNorman & Rae LeaperWilliam LokkeMalcolm & Natalie MackenziePierre MartinJo Maxon & Karl RuppenthalNoreen MazelisJohn McKnightDebra NagySteven Peterson & Peter JaretSam PriceNancy Quinn & Tom DriscollHarvey & Nancy RogersBenjamin C SanchezJudd & Sherry SmithScott SocharMichael & Karen TraynorRobert Walker & Ernie Feeney

Steward ($100 - $249)Anonymous (3)Mr. Robert AllgeyerJudith Barker & Linda MittenessJohanna & Tom BaruchPhil BeffreyMerry & Mark BenardRobert Berman

Al BernsteinErnst & Hannah BibersteinBorden & Betty BloomJesse Blumberg & Rita DonahueMatthew BobinskiWendy BuchenRobert & Lynn CampbellBarbara Casey & Richard SigginsGary ChockRichard & Evelyn ClairRoy & Margaret ClarkeJulie CoffinMendel Cohen & Julia VestalRobert Cook & Blanca HaendlerRobert CooteBim Coyle & Pat Cannell CoyleRichard CroninChauncey & Emily DiLauraNancy DuboisSteven EdwardsThomas & Mary FooteCynthia FosterLowell & Nancy FrokerMargaret FuerstJim & Laura GregoryDarrow & Gwen HaagensenAllen HackettMargaret HardingDonna HeinleIngeborg HendersonDaniel HershDavid G. King, M.D.Andrew KivesThomas KosterRonald & Sharon KraussNorman La ForceWilliam & Emily LeiderJohn & Kathleen LeonesManjari & Michael LewisDeana Logan & Joseph C. NajpaverBennett Markel & Karen StellaChris McCrum & Liz VelardeLee & Hannelore McCrumbRay & Mary McDevittSharon MenkeMarian MetsonSue MillironCarol MowbrayTom NordJoan NortonMary Belle O’Brien & Georgia HeidKay PepitoneMark & Katherine PerlPatrizian PollastriniPenelope Rink & Frederick TothMr. & Mrs. Ned RoweWalter & Ellen SanfordCynthia SawtellJanine SchiessWilliam Senecal & Karen RoselandEllen ShermanEdith SimonsonAline SoulesBob & Betsy Stafford

David Stein & William StewartMariana SteinbergGerald & Sandra SwaffordKenneth TaylorKarl & Marianne ThonRob & Susan VannemanKurt Von MeierMr. Curtis VoseDebra & Donald WanamakerEffie WesterveltRichard WhiteMuriel F. WilsonBernard WishyJerri WittFoster & Betty WrightCarolyn Yee & Bill L. LeeRick Yoshimoto & Tamara Trussell

Friend ($25-$99)Anonymous (4)Albert & Julie AldenMary AndersonWayne AndersonAdrienne Austin-ShapiroRoger BarlowCharles BeadleJohn BergRobert BlumenRenee BoecheAnne Marie BorchMary BostFelix BraendelIrving & Karen BroidoMs. Deborah BrownLeslie BrownLori Ellen BrownCenter For Learning In RetirementAnn ChengWilliam CraigMary CutchinHubert & Genevieve DreyfusJudith Ets HokinMarcella FassoJulia FaucettElliott & Laurel FeigenbaumTom & Cherielyn FergusonCassandra ForthShellie GarrettJudge & Mrs. Ronald M. GeorgeRobyn GreeneDavid HammerCarol HandelmanWilliam HartrickDavid HeppnerJohn Karl HirtenElizaabeth HoelterNed HopkinsCharles M. & Nellie HungerfordPeter HusonLaurence JacobsCary & Elaine JamesJulie JeffryAnn JensenHerbert Jeong

INDIVIDUAL SUPPORT

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Elaine JohnsonMargaret JohnsonKarl & Carol KeenerCarolyn KennedyIsik KizilyalliJoseph & Jeanne KlemsGeorge KnudsonWilliam LangleyGretchen LeavittDavid LecountRobert LevinLirong LiJay LindermanMalcom Litwiller & Teri DowlingGeorge LundbergGeorge MarchandBonnie & Gene MartzHugh & Katherine McLeanSusan MeisterKurt & Suzanne MelchiorMinako MiyazakiHildegard M. MohrBarbara MolloyMichael & Jennifer MoranChristopher MotleyDiane & John MusgraveJune NadlerAlan B. Newman, M.DEleanor NorrisCrystal OlsonClaire PerryJ. William PezickLinda & Nelson PolsbyLawrence & Erica PosnerJanet ReiderCarolyn RevelleMaria Reyes & Thomas PlumbMeredith RiekseGail Riley & Moira LittleRebecca RishellWendy RobertsonLewis RobinsonDavid RobinsonJay RussellJulius Otto SchindlerNorman SchlossbergMarcelle SchollLawrence SeverinoDouglas ShakerNina ShoebatterSteve SiegelmanHarold Skilbred & Rochelle MatonichAlan SmithRichard SoehrenRobert & Ellen SpaethlingLisa SpencerJudith StanleyMason & Sandra StoberLorelei TanjiChristine TelleenMs. April TillesRobert VisserMary WildavskyNorman WilliamsRon & Marlene WizelmanKurt Wootton & Ken Fulk

Bach Kids Sharon & Richard Boyer, in honor of: Jake D. Sutter Keira N. Sutter Alexander J. Sutter Leah G. Sutter Jan Goldberg, in honor of: Cameron Gremmels Michael Goldberg Alexander Goldberg Dorli & David Hanchette, in honor of: Kevin Wottrich Meaghan Wottrich Sandy Ogden in honor of: Sarah Sterling Ogden Katherine Lanier Ogden Matthew Currier Ogden Ashley Katrine Ogden Tributes Phyllis & Thomas Baer, in honor of Katherine McKee RobertsSharon & Richard Boyer, in memory of Mamie F. Vercelli in memory of Edward T. Smithburn in memory of Rosemary PollastriniJoan Intrator in memory of Pat WolfJanice Masterton, in honor of Jim & Jennifer Steelquist in memory of Larry Masterton Sandy Ogden in memory of Michael Barcun in memory of Patricia Wolf in honor of Mr. & Mrs. Charles C. Ogden in honor of Dr. & Mrs. David L. OgdenTia Pollastrini in appreciation of Mom SherLibby & Gene Renkin, in honor of Harriet & Bill LovittRobert Ripps & Steven Spector, in honor of Don Scott CarpenterColby & Katherine Roberts, in memory of Patricia WolfKaren & Michael Traynor in honor of Dr. Garniss H. Curtiss

IN-KIND SUPPORTBusinesses and OrganizationsAmerican Conservatory TheaterAnchor Brewing CompanyBallanico Restaurant & Wine BarBanana Blossom ThaiBerkeley Repertory Theatre Bistro Ginolina Chabot Space & Science CenterClaremont Hotel & Spade Luna JewelryDelicious! CateringGrgich Hills EstateHeart O’ The Mountain WineryKermit Lynch Wine Merchant

Lark TheaterLeft Bank BrasserieMarin SymphonyMarin TheatreMarzano on ParkMeeker VineyardMerola Opera ProgramMusica PacificaMusical OfferingOakland A’srestaurant paul kPezzi King VineyardsRock Wall WinesSam’s Anchor CafeSan Francisco GiantsSan Francisco Opera Smith-Rafael Film CenterStone Tree CellarsTrumer Brauerei

Community IndividualsCarol AlonsoSharon BoyerChristine BrandesJonathan DimmockCynthia FosterMarilyn GreenblatBenjamin & Lynette HartKen HoffmanElfrieda LangemannJudith LinsenbergRaymond MartinezAndrew MorganPaul MorinDavid MorrisHelen Drake MuirheadKaneez MunjeeKatherine Roberts PerlDiana PrayNancy Quinn & Tom DriscollColby RobertsHarvey RogersDavid Taylor & Hanneke van ProosdijMillicent TomkinsTanya TomkinsMichele ÜHeidi WatermanDavid WilsonRick Yoshimoto

ACKNOWLEDGMENTSSt. Stephen’s Episcopal Church Vestry, Staff,

and Parishioners:The Rev. Robert Gieselmann, Rector; John

Karl Hirten, Organist

Instrument LoansUC Davis Department of MusicKevin FryerDaniel Lockert

Housing and HospitalityRichard & Jeannine FoutsDavid MorrisPaul & Sandra Ogden

Contributors & Acknowledgments

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Where it all begins

Historical Performance ProgramMaster Classes

Lawrence Zazzo countertenorWednesday, April 4, 7:30 p.m.

Tanya Tomkins baroque cello American Bach Soloists Master Class Series

Monday, April 9, 7:30 p.m.

Conservatory Baroque EnsembleCorey Jamason and Elisabeth Reed, co-directors

Monday, April 16, 8 p.m.Baroque chamber music for strings and winds

Sunday, April 22, 2 p.m.*Featuring winners of the Baroque Ensemble

Concerto Competition

Baroque Cello Class Concert Tuesday, May 1, 12 p.m.

120313_ABS_DoublesProg_2.indd 1 3/9/12 12:14 PM

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Introducing...

KDFC’s Baroque by the Baya new program with Jeffrey Thomas

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