Gloria! ~ A Baroque ChristmasCharpentier • Corelli • Handel • Vivaldi

December 15, 2012 at 8:00 p.m.St. Stephen’s Church, Belvedere

JEFFREY THOMASmusic director

Our Twenty-Fourth Season

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Handel’s APOLLO & DAFNEBACH, HANDEL, & VIVALDI

Bach’s ST. JOHN PASSIONHandel’s MESSIAH

DECEMBER 20–22 2012Mary Wilson soprano

Ian Howell countertenor

Wesley Rogers tenor

Jesse Blumberg baritone

American Bach Choir

Presented in the breathtaking setting of San Francisco’s landmark Grace Cathedral, ABS’s performances of Handel’s enduring masterwork are celebrated as one of Northern California’s most treasured holiday traditions. Always a sell-out, year after year! A superb quartet of vocal soloists and the American Bach Choir, which “sets the standard in choral singing.” (SAN FRANCISCO CLASSICAL VOICE)

JANUARY 25–28 2013Aaron Sheehan tenor (Evangelista)William Sharp baritone (Christus)Clara Rottsolk soprano

Brennan Hall countertenor (debut)

Derek Chester tenor

Joshua Copeland baritone

American Bach Choir

The great Passions of J. S. Bach remain unparalleled in their dramatic impact and universally experienced emotional effects. Maestro Thomas, one of the Baroque music world’s most celebrated Evangelists, brings his unique and insightful perspectives to the podium in definitive performances that are profoundly beautiful and moving.

MARCH 1–4, 2013Elizabeth Blumenstock viola d’amore

Debra Nagy oboe d’amore

Kathryn Mueller soprano

Danielle Reutter-Harrah mezzo-soprano

Eric Jurenas countertenor (debut)

Robert Stafford baritone

American Bach Choir

Handel: Dixit DominusVivaldi: Beatus virBach: Concerto for Oboe d’amoreVivaldi: Concerto for Viola d’amore

ABS presents a pair of glorious works that represent the epitome of 18th-century Roman and Venetian traditions. Concertos for oboe d’amore and viola d’amore complete this evening of captivating music!

MAY 3–6 2013Mischa Bouvier baritone

Mary Wilson soprano

Bach: Arias for Bass Handel: Apollo & DafneHandel: Silete venti

Handel’s beautiful cantata Apollo & Dafne, written in Venice when the composer was just 24 years old, is paired with his bravura motet Silete venti, which expresses the soul’s desire for bliss, performed by coloratura soprano Mary Wilson. Baritone Mischa Bouvier—praised for his “immensely sympathetic, soulful voice”—will complete the program with a set of glorious arias by J. S. Bach.

2012/13 Season

americanbach.org

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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 * Judith Flynn Jan Goldberg Greg Madsen Blake Reinhardt

* on Sabbatical

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

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 & Music Director

Don Scott Carpenter Executive Director

Steven Lehning Music Administrator

Christopher D. Lewis Development & Communications Director

Jeff McMillan Executive Administrator

Katherine McKee Academy Administrator

Philip Daley Production Manager

Lisa May Patron Services Manager

E. J. Chavez Stage Crew

Heli Roiha Bookkeeper

Few will likely forget such transporting experiences of the past season as the St. Matthew Passion (performed in a rarely heard early version), the exquisite instrumental concertos, the celebratory cantatas, and the bountiful offerings of July’s American Bach Soloists Festival & Academy. The past season was one of exhilarating highlights that left audiences and critics in agreement: ABS is in a league of its own and a great treasure for music lovers.

Tonight we welcome you to the start of our exciting 24th season. Maestro Jeffrey Thomas, his handpicked virtuoso American Bach Soloists, and the standard-setting American Bach Choir are ready to reveal more of the best of ABS!

The 2012-13 season opens with two essential, hot-ticket events: tonight’s holiday collaboration with the five-time Grammy Award-winning San Francisco Girls Chorus here in the beautiful setting of St. Stephen’s Church, and our annual performances of Handel’s Messiah at San Francisco’s magnificent Grace Cathedral, a beloved holiday tradition that always sells out. The season continues in January with Bach’s powerful and moving St. John Passion; instrumental virtuosity and the masterful singing of the American Bach Choir in a March program of works by Bach, Handel, and Vivaldi; and two charismatic vocal soloists headline the May program which includes Handel’s Apollo & Dafne. This season also boasts the debuts of two excellent young soloists, both former ABS Academy participants.

As we enter our 24th consecutive season, we are pleased to continue the tradition of presenting the highest caliber of performances. The sold out concerts during our 2011-12 season and our historically generous donors, as well as our new ones, who are giving more than ever before, show that our patrons and supporters are excited about what we are presenting. We can’t do any of this without you and we can’t stop here! Thank you for being with us this evening and we look forward to seeing you throughout the coming year.

Don Scott Carpenter, Executive Director

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AMERICAN BACH SOLOISTS44 Page Street, Suite 403

San Francisco CA 94102-5975

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

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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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GLORIA! ~ A BAROQUE CHRISTMAS

San Francisco Girls ChorusAmerican Bach ChoirMary Wilson, soprano

Jeffrey Thomas, conductor

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ANTONIO VIVALDI (1678-1741)Gloria RV 589

San Francisco Girls ChorusBrett Ruona & Cheryl Cain, sopranos

William Sauerland, countertenor

ARCANGELO CORELLI (1653-1713)Concerto in G Minor “Fatto per la notte di natale” Opus 6, No. 8

Vivace–Grave • AllegroAdagio–Allegro–Adagio • Vivace

Allegro • Largo (Pastorale ad libitum)

Concertino:Elizabeth Blumenstock & Tekla Cunningham, violins

William Skeen, violoncello • Corey Jamason, harpsichord

INTERMISSION

MARC-ANTOINE CHARPENTIER (1643-1704)In Nativitatem Domini Nostri Jesu Christi Canticum H 414

Brett Ruona, Cheryl Cain, Rita Lilly, sopranosDaniel Harper, tenor

Four Noëls H 534 A la venue de noël • Joseph est bien marié

Or nous dites, Marie • Où s’en vont ces gais bergers?

GEORGE FRIDERIC HANDEL (1685-1759)Laudate, pueri, Dominum HWV 237

Mary Wilson, soprano ITonia D’Amelio, soprano II

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JEFFREY THOMAS • MUSIC DIRECTOR

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Notes by Victor Gavenda, Alan Lewis, Jeffrey Thomas, and Michael Zweibach.

ANTONIO VIVALDI (1678-1741) Gloria RV 589

The course of Antonio Vivaldi’s professional career is well charted and rather uncomplicated. At the age of 25, he was ordained (leading to his subsequent nickname as the “Red Priest,” owing to his red hair) and began his appointment at the Pio Ospedale della Pietà, a home for abandoned children in Venice. He remained in the employ of that organization until the year before his death, despite occasional absences in order to follow his career as a successful composer of opera that took him to Mantua, Vienna, and Prague. In his final year—his music having gone out of fashion—he moved to Vienna, primarily to take on a position as composer at the imperial court of Charles VI, Holy Roman Emperor. But shortly after his arrival, the emperor died, leaving Vivaldi without any solid source of steady income. Vivaldi died a pauper less than a year later.

His nearly four decades of service to the Ospedale brought fame to Vivaldi and to the orchestra and chorus that were under his direction. Boys at the orphanage were taught a trade and were forced to leave at the age of fifteen, but the girls received musical education, and the most talented ones became members of the ensembles that performed for the public, and which quickly gained in reputation and esteem throughout Europe. Hundreds of compositions were written for the girls, whose abilities were astoundingly impressive. In the chorus, the soprano, alto, and even tenor parts were sung by the young, budding virtuosi, and bass parts were probably sung by older women, including one known as Anna dal basso. Another notion is that some of the tenor and bass choral parts would have been sung an octave higher by additional sopranos and altos.

Vivaldi showcases his charges in the solo movements of the Gloria, all set for soprano or alto. Several of the movements present nice details of text-expression. After the exuberant opening movement in D major, Vivaldi shifts to the more somber key of B minor for “Et in terra pax”; descending arpeggios in the strings over a throbbing bassline suggest a literal descent of peace from above, and moments of adventuresome chromatic harmony in the choral writing suggest that the attainment of peace may not be altogether easy. Later, in the “Domine fili,” the bassline repeats a stepwise descent through an octave, in the manner of a ground bass, suggesting the “descent” of Christ to human form alluded to in the text. More rich chromatic writing appears in “Qui tollis peccata,” evocative of the pain of sin. The opening material of “Gloria in excelsis” makes a brief return as the text reverts to praise and jubilation at “Quoniam tu solus.” This gives way to a double fugue on “cum sancto spiritu” for the final section; Vivaldi cribbed this fugue

from a lesser-known compatriot, Ruggieri, adapting it not only in this Gloria, but in his other setting, RV 588, as well. Even if he was shy of creating his own contrapuntal structures, he shows a sure hand in adapting his colleague’s material; the fugue brings the Gloria as a whole to a fitting end.

— J.T. & A.L.

ARCANGELO CORELLI (1653-1713)

Concerto in G minor Opus 6, No. 8 “Fatto per la notte di natale” (Composed for the evening of the Nativity)

Arcangelo Corelli’s career flourished during one of Rome’s most artistically fertile periods. He was born in 1653 near Ravenna to a family of well-to-do landowners and was sent to study the violin in Bologna, home of a number of famous string players who handed on the tradition to their young prodigies. By 1675, he had moved to Rome where he quickly established himself as one of the city’s greatest virtuosos and most celebrated musicians, known equally as a performer and composer. He earned further fame as an orchestral director who imposed exceptional discipline on his players. He led performances in the homes of Queen Christina of Sweden, Cardinal Benedetto Pamphili, and Cardinal Pietro Ottoboni; and directed public concerts at civil ceremonies, religious services, or private banquets. Throughout the 1680s and 1690s his works appeared in print at regular intervals, culminating in the celebrated Opus 5 sonatas.

The decades surrounding 1700 saw a rapid increase in the number of music publishers and music publications in Europe. Corelli was among the composers who most benefited from the expanded audience and wider dissemination of instrumental music. He was the first popular composer whose reputation derived from his publications, and because of them, his works became the earliest instrumental classics. The Opus 5 violin sonatas, for example, went through forty-two editions and countless arrangements and parodies in the century from its publication to 1800. From about 1710, Corelli retired

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Typical Venetian Ospedale during Vivaldi’s time.

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from public appearances and concentrated on selecting and revising pieces for the set of concertos that he would publish as Opus 6. The set was published in 1712 in Amsterdam, where they were beautifully engraved rather than printed from moveable type. While Corelli certainly composed a vast quantity of chamber music, only his twelve concertos for two violins and violoncello—along with an Introduction and Sinfonia to Giovanni Lorenzo Lulier’s oratorio Santa Beatrice d’Este—are all that remain of his orchestral music.

Corelli’s collection of concerti grossi represents a lifetime of public performance, during which he may have composed well more than a hundred concertos. These twelve are in fact a set of individual movements, assembled by Corelli to form models of his concerto grosso style. Corelli repeatedly made improvements to his works, hardly being able to leave well enough alone. And all the Opus 6 concertos have more movements than a typical concerto, providing yet another reason to believe that they were assembled from various manuscripts. It is likely that any one of them derives material from as many previous sources as there are movements.

They are usually divided into two groups. The first eight are in the sonata da chiesa (church sonata) style, though only one—the so-called “Christmas concerto” with its final pastoral movement—has a tie to religious imagery or celebrations. The last four follow the format of the sonata da camera, indicated by the presence of dance movements. But such a division hardly does justice to either the heterogeneity or the kaleidoscopic variety of Opus 6. The style of the music reflects Corelli’s playing style: “learned, elegant, pathetic,” in

the words of one contemporary. All the concertos are models of subtlety and nuance, and they share a singing, cantabile expressiveness that spurred a thousand imitations.

In 1708, he wrote “[I am] fully aware of my own weaknesses, so that only recently, in spite of numerous, long drawn-out corrections, I scarcely had the confidence to put before the public eye those few works I entrusted to the printer.” Despite his humbleness, these concertos are brilliant examples of the oft-changing and contrasting elements that are so integral to Corelli’s compositional style. It is interesting to note the full title of the collection: Concerti Grossi con duoi Violini e Violoncello di Concertino obligati e duoi altri Violini, Viola e Basso de Concerto Grosso ad arbitrio, che si potranno radoppiare (Concerti grossi for two violins and violoncello in the obligatory solo group and two other violins, viola and bass in the orchestra [ripieno], which is optional and whose numbers may be increased). In other words, the elasticity of their scoring enables performances by as few as three or four players, or as many as are available.

— J.T. & M.Z.

MARC-ANTOINE CHARPENTIER (1643-1704) In Nativitatem Domini Nostri Jesu Christi Canticum (Song of the Birth of our Lord Jesus Christ ) H 414

The exact date of Marc-Antoine Charpentier’s birth in Paris is lost to us, but it probably was around 1640, give or take a decade. While still a youth he spent several years in Rome, studying with Carissimi, a composer best remembered today as the inventor of the oratorio. Charpentier brought back from Italy not only a fine sense of dramatic church music, but also a keen appreciation for the ability of music to depict intense emotions, particularly through the introduction of chromaticism. These characteristics, when blended with Charpentier’s native French taste for suave melody, dense, dissonant harmonies, and a lively instrumental palette, produced a remarkable and distinctive musical language. The richness of his style did not go unnoticed by his contemporaries, whether for good (“Ninths and tritones glittered under his hands”) or for ill (“Such mournful chords grate on our ears”), but was a clear expression of his philosophy: “Diversity is the soul of music.”

After his return from Italy, Charpentier seems to have plunged headlong into Parisian musical life, in which he was enormously successful, even without ever holding an official post at court. Around 1670 he began a fruitful collaboration with Molière, composing for the theatrical troupe which became (in 1680) the Comédie Française. He was employed during the 1680s by the Duchess of Guise, one of the most benevolent patrons of music in France. All the while, he steadily built his reputation as composer of church music, receiving commissions from a wide range of ecclesiastical establishments. For unknown reasons, Charpentier gravitated towards the Jesuits, composing occasional works for a number of their colleges and finally being named to the post of maître de musique for the principal Jesuit church in Paris, St. Louis. The church is still there (now called

Arcangelo Corelli

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Saint-Paul-Saint-Louis), next to the Saint-Paul Métro stop in the Marais. The pinnacle of Charpentier’s career came in 1698, when he was appointed maître de musique of the Sainte-Chapelle. It is difficult to imagine now, when that exquisite building is embedded within a warren of offices which contain the bureaucracy of the French judicial system, but in those days the Sainte-Chapelle was the chapel of the royal palace on the Île de la Cité; only the director of music at the royal chapel at Versailles ranked higher. Here he remained until his death in 1704.

In Nativitatem Domini Nostri Jesu Christi Canticum is a motet or cantata based on a text from Luke 2:8-16. It is a typical pastorale, featuring a prelude depicting the calm of the night before the shepherds are told of the birth of Jesus. In a scene that reminds us of other settings by Bach and Handel, we are told by the Evangelist (sung as a soprano duet) about the visitation upon the shepherds by an angel. The angel (solo soprano) sings an especially lovely aria, accompanied by two violins and continuo. The shepherds then sing a rousing 6-part chorus as they prepare to make their journey to the crib. The joy and exhilaration is reiterated in the following “march.” But the work’s most touching moment is the final movement. Despite the warnings of the Evangelist (this time sung by a tenor) that we are about to hear an “artless” but heartfelt song of adoration, it is hardly artless. Rather we hear three verses of one of the most beautiful, lilting, and peaceful melodies to have come from Charpentier’s pen.

— J.T. & V. G.

Noëls H 534

A la venue de noël (At the coming of Christmas)Joseph est bien marié (Joseph is well betrothed)Or nous dites, Marie (Now tell us, Mary)Où s’en vont ces gais bergers? (Where are those happy

shepherds going?)

Especially during the seventeenth and eighteenth centuries, French composers routinely prepared settings of Noëls, or Christmas carols. Charpentier’s slightly senior colleagues—among them Jean-Nicolas Geoffroy (1633-1694), Nicolas Gigault (1627-1707), and Nicolas Lebèque (1631-1702)—wrote arrangements for organ, a practice that was again taken up a generation or two later by Louis-Claude d’Acquin (1694-1772). Charpentier’s slightly younger colleague, Michel-Richard Delalande (1657-1726), composed a famous set of orchestral Symphonies des Noëls for the Chapelle Royale, the ensemble of singers, organists, and instrumentalists who provided music for the royal chapel of the French kings. While it is uncertain whose orchestral settings came first, Charpentier’s simple harmonizations are a joy to hear. He captured both the lightness of their dance-like structures, while maintaining a quiet sobriety appropriate to the liturgy of the Christmas midnight mass.

— J.T.

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Part of the spectacular ceiling of the Holy Chapel (Saint-Chapelle) in Paris.

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GEORGE FRIDERIC HANDEL (1685-1759) Laudate, pueri, Dominum HWV 237 (Praise the Lord, ye servants)

At the age of twenty-one, George Frideric Handel embarked on an expedition that would prove enjoyable, enlightening, profitable, and integral to his career. The Florentine prince, Gian Gastone de’ Medici, had invited Handel to visit Italy. He packed up his things in Hamburg—where he had been employed at the Hamburg Opera for two years and premiered his first two operas (with German librettos)—and in August of 1706 began his journey to Florence, Rome, Naples, and Venice. Italy was the center of European music, and one of the most valuable traits of Italian music was the expressive style in which its composers wrote for the voice. Italian vocal writing was characterized by its qualities of suppleness, expansiveness, flexibility, and lyricism. Handel would quickly master the art, and Italian opera would become the bedrock of his career. But in Rome, where he spent most of his time between 1706 and 1710, papal decrees had closed the public theaters since 1698, the ban not lifted until 1709. Nevertheless, the musical styles of opera, barely disguised, were manifested in concert performances and in particular through the Italian cantata.

Opera had already become Handel’s passion. His experiences at the Hamburg Opera and the intellectual and musical stimulation he enjoyed there with his friend and fellow composer, Johann Mattheson, had made permanent impressions. But now he was in Rome where opera was—at least for the time being—an unprofitable medium. The genre that would provide Handel with the most opportunity to grow and to succeed as a composer was the Italian cantata. In fact, Handel would compose more than a hundred such cantatas during the few years of his Italian journey. It was a popular genre, due in part to the constraints of the papal ban, and further supported by the patronage of foreign visitors and local aristocrats—ironically including church officials—who were eager to hear the considerable talent of Venetian singers put to good use, even if opera was out of the question. Performances of cantatas, which in some cases were actually operas in all ways except by name, were often presented in the “academies” held in the private theaters of discerning (and wealthy) patrons of the arts. These academies were the outgrowth of the scuole grandi (charitable fraternities) popular in Venice during the previous century.

Nevertheless, and operatic restrictions notwithstanding, Handel was in Italy to hone what would become his mature musical style, absorbing technique at every turn, developing his traits of adaptability and malleability, and showing the Italians that he could one-up their skills and produce “Italian” music better than native composers. Perhaps recalling the intuitions he felt as a young boy, however, he was there for another reason, too. Donald Burrows, the most important

living biographer of Handel, wrote that “Handel wanted to be where the music was, and where the patrons were” – that is certainly what he found.

A notable manifestation of the flexibility of Handel’s social and musical skills is the fact that he was engaged to compose music for the Roman Catholic liturgy within only a few months of his arrival in Rome. He was, of course, a rather staunch Lutheran, and remained so all of his life, not even conceding to the implications by the British monarchs (later in his life) that he should consider a conversion to the Church of England. The Latin church music he composed in Rome is superb. His lifelong reputation could have been set on the basis of the stunning “Dixit Dominus” alone, composed in 1707. But many more equally compelling works come from those years, including the “Laudate, pueri, Dominum” of 1707. It represents (perhaps intentionally?) a veritable catalogue of Italian musical forms, all masterfully employed by Handel. Each movement has a different texture including ritornello form (first movement), trio sonata texture (“Sit nomen Domini” and “Qui habitare facit”), typical imitative polyphony (“A solis ortu usque”), concerto grosso style (“Excelsus super omnes”), homophony (“Quis sicut Dominus”), continuo aria (“Suscitans a terra”), and the hybrid style of the final movement with its predictable return to the music of the first movement at the words “Sicut erat in principio” (“as it was in the beginning”).

— J.T.

Handel in 1727, attributed to Balthasar Denner (1685-1749)

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ANTONIO VIVALDI: Gloria RV 589Soprano I, Soprano II, Alto solos; SATB chorus; Trumpet; Oboe; Violin I & II; Viola; Basso continuo

Chorus / Allegrotrumpet, oboe, strings, basso continuo

Gloria in excelsis Deo.

Glory be to God in the highest.

Chorus / Andantestrings, basso continuo

Et in terra pax hominibus bonae voluntatis.

And in earth peace to men of good will.

Soprano I & II Duet / Allegrostrings, basso continuo

Laudamus te; benedicimus te; adoramus te; glorificamus te.

We praise thee; we bless thee, we worship thee; we glorify thee.

Chorus / Adagiostrings, basso continuo

Gratias agimus tibi

We give thanks to thee

Chorus / Allegrostrings, basso continuo

propter magnam gloriam tuam.

for thy great glory.

Soprano I Ariaoboe, basso continuo

Domine Deus, Rex coelestis, Deus Pater omnipotens.

Lord God, heavenly King, God the Father almighty.

Chorus / Allegrostrings, basso continuo

Domine Fili unigenite Jesu Christe altissime:

O Lord, the only-begotten Son Jesus Christ most high:

Alto Aria & Chorus / Adagiostrings, basso continuo

Domine Deus, Agnus Dei, Filius Patris:

Lord God, Lamb of God, Son of the Father:

Chorus / Adagiostrings, basso continuo

Qui tollis peccata mundi, miserere nobis: Qui tollis peccata mundi, suscipe deprecationem nostram:

Thou that takest away the sins of the world, have mercy upon us: Thou that takest away the sins of the world, receive our prayer:

Soprano II Aria / Allegrostrings, basso continuo

Qui sedes ad dexteram Patris, miserere nobis:

Thou that sittest at the right hand of the Father, have mercy upon us:

Chorus / Allegrotrumpet, oboe, strings, basso continuo

Quoniam tu solus sanctus, Tu solus Dominus, Tu solus altissimus, Jesu Christe:

For thou only art holy, thou only art the Lord, thou only art the most high, Jesus Christ:

Chorus / Allegrotrumpet, oboe, strings, basso continuo

Cum Sancto Spiritu in gloria Dei Patris. Amen.

With the Holy Ghost in the glory of God the Father. Amen.

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MARC-ANTOINE CHARPENTIER: In Nativitatem Domini Nostri Jesu Christi Canticum H 414(Song of the Birth of our Lord Jesus Christ)Soprano I, Soprano II, Alto, Tenor, Baritone solos; SSAATB chorus; Violin I & II; Basso continuo

Preludeviolins, basso continuo

Recitative of the Evangelistsoprano I & II, basso continuo

Frigidae noctis umbra totum orbem tegebat, et immersi jacebant omnes in somno profundo. Pastores autem Judaeae vigilabant super gregem suum. Et ecce Angelus Domini stetit juxta eos, et claritas Dei circumfulsit eos. Timuerunt autem pastores timore magno; et dixit illis angelus:

The shade of the icy night covered all the earth and plunged everyone into a deep sleep. And the shepherds of Judea kept watch over their flocks. And, lo, an angel of the Lord came and stood beside them, and the glory of the Lord shone about them. Overcome were the shepherds with great fear; but then the angel said to them:

Air of the Angelsoprano, violins, basso continuo

Nolite timere, pastores; ecce enim annuntio vobis gaudium magnum quod erit omni populo: quia natus est hodie Salvator vester in civitate David; et hoc erit vobis signum: invenietis infantem pannis involutum et reclinatum in praesepio. Ite, ite, pastores, et adorate illum.

Fear not, shepherds. For, behold now, I bring good tidings of joy, which shall be to all people. For today in the city of David a Savior unto you is born. And to you shall this be the sign: Ye shall find the babe all wrapped in swaddling clothes and lying within a manger. Quickly go ye, shepherds, and there adore Him.

Chorus of the Shepherds and Marchviolins, basso continuo

Surgamus, properemus, festinemus, eamus usque Bethlehem. Ibi videbimus puerum qui natus est nobis. Ibi laudabimus et adorabimus Deum sub forma peccatoris velatum. Quid, quid moramur, quid cunctamur, o pastores in ertes?

Arise now, let us hasten to go unto Bethlehem. There shall we see the child who is born to us. There shall we offer praise and there adore him, God now in the form of a sinner lowly disguised. Why linger, why tarry? O shepherds, so drowsy?

Recitative of the Evangelisttenor, basso continuo

Euntes autem pastores pervenerunt ad locum ubi puer natus erat, et intrantes domum invenerunt Mariam et Joseph et puerum involutum pannis et reclinatum in praesepio. Et procidentes adoraverunt eum, inculto sed devoto carmine dicentes:

Anon these humble shepherds did arrive at the place wherein the child had been born. And when they were come into the house, they saw Mary and Joseph, and the child wrapped in swaddling clothes and lying in a manger. And kneeling there, they sang of their adoration in artless but devoted song of praise, saying:

Air & Chorus of the Shepherdstenor, violins, basso continuo

Salve, puerule, salve, tenellule, O nate parvule, quam bonus es. Tu coelom deseris, tu mundo nasceris, nobis te’ut miseris assimiles.

Hail, little boy, hail, tender little one, O tiny baby, how good you are! You have left heaven; you are born on the earth, to make yourself the same as wretched us.

O summa bonitas, excelsa deitas, vilis humanitas, fit hodie. Aeternus nascitur, immensus capitur, et rei tegitur, sub specie.

O greatest good, highest deity has become today common humanity. The eternal is born; the immense is encompassed, and is concealed in the cloak of matter.

Virgo puer pera, beata viscera, Dei cum opera, dant filium. Gaude flos virginum, gaude spes hominum, fons lavans criminum proluvium.

Virgin child-bearer, blessed womb, through the work of God they give a son. Rejoice, flower of virgins, rejoice, hope of mankind, fountain washing the slurry of sin.

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GEORGE FRIDERIC HANDEL: Laudate, pueri, Dominum HWV 237Soprano solo; SSATB chorus; Oboe I & II; Violin I & II; Viola I & II; Basso continuo

Soprano Air & Chorusoboes, strings, basso continuo

Laudate, pueri, Dominum; laudate nomen Domini.

Praise the Lord, ye servants; O praise the name of the Lord.

Soprano Airoboe, basso continuo

Sit nomen Domini benedictum ex hoc nunc et usque in saeculum.

Blessed be the name of the Lord from this time forth for evermore.

Soprano Solo & Chorusoboes, strings, basso continuo

A solis ortu usque ad occasum laudabile nomen Domini.

The Lord’s name is praised from the rising up of the sun unto the going down of the same.

Soprano Air / Allegrooboes, strings, basso continuo

Excelsus super omnes gentes Dominus, et super caelos gloria ejus.

The Lord is high above all nations and his glory above the heavens.

Chorus / Graveoboes, strings, basso continuo

Quis sicut Dominus Deus noster, qui in altis habitat, et humilia respicit in caelo et in terra?

Who is like unto the Lord our God, that hath his dwelling so high, and yet humbleth himself to behold the things that are in heaven and earth?

Soprano Airbasso continuo; oboes, violins

Suscitans a terra inopem, et de stercore erigens pauperem: ut collocet eum cum principibus, cum principibus populi sui.

He taketh up the simple out of the dust, and lifteth the poor out of the mire; That he may set him with the princes, even with the princes of his people.

Soprano Airviolins, basso continuo

Qui habitare facit sterilem in domo, matrem filiorum laetantem.

He maketh the barren woman to keep house, and to be a joyful mother of children.

Soprano Solo & Chorus / Allegrooboes, strings, basso continuo

Gloria Patri, gloria Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

Glory to the Father, and to the Son, and to the Holy Ghost. As it was in the beginning, is now, and ever shall be; world without end. Amen.

Psalm 113 (Latin Vulgate Psalm 112)

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American Bach Soloists & Their InstrumentsTRUMPET

Andreas Stoltzfus Rainer Egger, Basel, 2009; after Johann Leonhard Ehe II, Nuremberg, 1746.

OBOE

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

Meg Owens Bernard Schermer, Basel, 1996; after Jonathan Bradbury, London, circa 1720.

RECORDER

John Abberger Levin & Silverstein, Greenpond, NJ, 1988.

Meg Owens Rob Turner, Charlottesville, VA, 1980.

VIOLIN

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

Tekla Cunningham (principal second) Sanctus Seraphin, Venice, 1746.

Daria d’Andrea Anonymous, Neapolitan school, circa 1760.

Katherine Kyme Johann Gottlob Pfretzchner, Mittenwald, 1791.

Tyler Lewis Timothy Johnson, Hewitt, TX, 2009; after Stradivari, Cremona, 18th century.

Maxine Nemerovski Timothy Johnson, Bloomington, IN, 1999; after Stradivari, Cremona, 17th century.

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

Janet Worsley Strauss Matthias Joannes Koldiz, Munich, 1733.

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

VIOLA

Katherine Kyme Anonymous, Germany, 18th century.

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

Clio Tilton Eric Lourme, Le Havre, France, 2009, after Brothers Amati, Cremona, 16th century.

Aaron Westman Francis Beaulieu, Montreal, 2012; after Brothers Amati, Cremona, circa 1620.

VIOLONCELLO

Elisabeth Reed Anonymous, circa 1685.

William Skeen (continuo) Anonymous, Italy, circa 1680.

CONTRABASS

Steven Lehning (continuo) Anonymous, Austria, circa 1830.

ORGAN

Corey Jamason (continuo) John Brombaugh & Associates, OR, 1980.

HARPSICHORD

Corey Jamason (continuo) John Phillips, Berkeley, CA; after Ruckers-Taskin, 1780.

American Bach ChoirSOPRANO

Jennifer Brody Cheryl Cain (soloist) Tonia D’Amelio Julia Earl Rita Lilly (soloist) Allison Zelles Lloyd Diana Pray Brett Ruona (soloist)

ALTO/COUNTERTENOR

Jesse Antin James Apgar Daniel Cromeenes Katherine McKee William Sauerland (soloist)

TENOR

John Davey-Hatcher Daniel Harper (soloist) Andrew Morgan Colby Roberts

BASS

John Kendall Bailey Hugh Davies Jefferson Packer Jere Torkelsen

San Francisco Girls Chorus Brandon Brack Interim Music Director

SOPRANO I

Lucie Bhisitkul Juliette Bobrow Emma Fulweiler Evelyn Goessling Phoebe Hicks Tess Luhmann Caroline Miskovsky Juliana Wilczynski

SOPRANO II

Livia Camperi Charlotte Ensley Gwen Luhmann Elise Mills Michelle Pavlova Isabelle Rim Oona Sullivan-Marcus Darya Verzhbinsky Sarah Vinnett

ALTO I

Laine Aro Teresa Dayrit Emma Gould Anna Gray Katie Jonckheer Becka Padgett Juliette Saux

ALTO II

Sarah Ancheta Charlene De Joya Maya Greenhill Alessandra Hee Evie Hidysmith Margaret Martin Michelle Pang

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The AMERICAN BACH SOLOISTS (“ABS”) and AMERICAN BACH CHOIR 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. 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.” 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.

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 facilities in the heart of the city’s arts district.

Each season culminates with the American Bach Soloists Festival, held every summer in July. 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. 

SAN FRANCISCO GIRLS CHORUS, founded in 1978, is a regional center for music education and performance for girls and young women, ages 5–18. Each year 400 singers from 45 Bay Area cities participate in this internationally recognized program, deemed “a model in the country for training girls’ voices” by the California Arts Council. The organization consists of a professional level performance, recording and touring ensemble and the Alumnae Chorus; the four-level Chorus School training program, and a Preparatory Chorus for 5-7 year olds. Annually, its dedicated young artists present season concerts, tour nationally or internationally, and appear with respected partner organizations, including San Francisco Symphony and San Francisco Opera. SFGC’s 30th Anniversary season, 2008-2009, culminated in a performance at President Barack Obama’s swearing-in ceremony, and a debut concert at Alice Tully Hall at New York’s Lincoln Center. The Girls Chorus has won many honors, including the prestigious “Margaret Hillis Award” in 2001, given annually by Chorus America to a chorus that demonstrates artistic excellence, a strong organizational structure, and a commitment to education. Other awards include three ASCAP awards for Adventurous Programming in 2001, 2004, and 2011, and five Grammy awards.

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JEFFREY THOMAS (conductor) 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. He has directed and conducted recordings of more than twenty-five cantatas, the Mass in B Minor, Brandenburg Concertos, St. Matthew Passion, harpsichord concertos, Handel’s Messiah, 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 also an avid exponent of contemporary music, and has conducted the premieres 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 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.

MARY WILSON (soprano) is acknowledged as one of today’s most exciting young artists. Cultivating a wide-ranging career singing chamber music, oratorio, and operatic repertoire, her “bright soprano seems to know no terrors, wrapping itself seductively around every phrase” (Dallas Morning News). Receiving consistent critical acclaim from coast to coast, “she proves why many in the opera world are heralding her as an emerging star. She is simply amazing, with a voice that induces goose bumps and a stage presence that is mesmerizing. She literally stole the spotlight…” (Arizona Daily Star).

In high demand on the concert stage, she has most-recently appeared with the Los Angeles Philharmonic, the orchestras of Philadelphia and Cleveland, St. Louis Symphony Orchestra, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Buffalo Philharmonic, Jacksonville Symphony, Dayton Philharmonic, VocalEssence, and at the Hollywood Bowl. She has worked with conductors including Jeffrey Thomas, Bernard Labadie, Nicholas McGegan, Martin Pearlman, Martin Haselböck, JoAnn Falletta, Michael Stern, Anton Armstrong, Philip Brunelle, and Leonard Slatkin. An exciting interpreter of Baroque repertoire, especially Handel, she has appeared with American Bach Soloists, Musica Angelica, Boston Baroque, Grand Rapids Bach Festival, Bach Society of St. Louis, Baltimore Handel Choir, Florida Bach Festival, Philharmonia Baroque, Brooklyn Academy of Music, the Casals Festival, and the Carmel Bach Festival. With the IRIS Chamber Orchestra, she sang the world premiere of the song cycle Songs Old and New written especially for her by Ned Rorem.

She was named an Emerging Artist by Symphony Magazine in 2004 in the publication’s first ever presentation of promising classical soloists on the rise. On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro, and Gilda in Rigoletto. She has created leading roles in North American and World premiere performances of Dove’s Flight, Glass’ Galileo Galilei, and Petitgirard’s Joseph Merrick dit L’Elephant Man. She has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Mississippi Opera, Southwest Opera, Brooklyn Academy of Music and the Goodman Theatre. Also an accomplished pianist, Ms. Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota, and Washington University in St. Louis, Missouri. She currently resides in Memphis, Tennessee, with her husband and son.

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Gifts of Stock and Vehicle DonationWe also welcome gifts of appreciated securities. To arrange transfers, please call (415) 621-7900. Donating your used vehicles to ABS has never been easier thanks to our partnership with the Vehicle Donation Processing Center! You receive a tax-deductible donation and ABS gets cash! Call the VDPC at 800-390-4790 or visit their website: donatecarusa.com.

Become an ABS Donor and enjoy these special benefits *

FRIEND $25-$99 Acknowledgment in ABS programs for one year

STEWARD $100-249 - the above, plus Opportunity to purchase single tickets to special concerts before they go on sale to the general public

STADTPFEIFER $250-$499 - the above, plus Invitation for two to a post-concert reception with ABS musicians

CHORISTER $500-$999 - the above, plus Invitation for two to an ABS rehearsal

We can’t do it without you…American Bach Soloists strive to retain reasonable ticket prices even though sales cover only about 40% of the cost of presenting these outstanding concerts. ABS is proud to receive significant foundation and government support, but the bulk of our contributed income comes from generous donations from individuals like you.

*Gifts to American Bach Soloists are tax-deductible to the fullest extent of the law. Certain benefits have a fair market value that must be deducted from your gift to determine the tax-deductible portion of the contribution. You may elect to decline all the benefits in your giving category, and receive a tax-deduction of the full value of your gift.

Soloists Circle CANTOR $1,000-$1,499 - all benefits on the left, plus Invitation to a unique special event concert

CAPELLMEISTER $1,500-$2,499 - the above, plus Invitation to an annual luncheon with Jeffrey Thomas

PATRON $2,500-$4,999 - the above, plus Invitation for two to a special ABS private “House Concert” performance

BACH FAMILY $5,000-$9,999 - all benefits, plus Sponsorship of an ABS Program

ROYAL PATRON $10,000-$19,999 - all benefits, plus Exclusive sponsorship of a guest artist

BENEFACTOR $20,000 and above - all benefits, plus Exclusive sponsorship of an ABS Program

Your gift in any amount is greatly appreciated…

As an ABS donor, you play a crucial role in bringing these wonderful programs to the widest possible audience. And your gift will further enable our educational programs including public Master Classes, free Choral Workshops, free tickets for K-12 educators, and the American Bach Soloists Academy.

MailABS44 Page StreetSuite 403San Francisco CA94102-5975

Phone415-621-7900

Fax415-621-7920

Onlineamericanbach.org

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The American Bach Soloists gratefully acknowledge the generous support received from

This list represents contributions received between October 16, 2011 and October 15, 2012. We sincerely regret any errors or omissions.

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

Tax Fund

$10,000-$19,999AnonymousCharles Hosmer Morse Foundation, Inc.Thomas J. and Gerd Perkins Foundation

$5,000-$9,999The Ann and Gordon Getty FoundationThe Bernard Osher FoundationThe E. Nakamichi FoundationThe Wallis Foundation

$2,500-$4,999Citi Private Bank

Up to $2,499AXA FoundationWells Fargo Foundation

CORPORATE, GOVERNMENT, AND FOUNDATION SUPPORT

Benefactor ($20,000 and above)AnonymousThe Estate of Philip EisenbergJan GoldbergPatricia & George Locke

Royal Patrons ($10,000-$19,999)AnonymousJose & Carol AlonsoHugh Davies & Kaneez MunjeeKwei & Michele Ü

Bach Family Circle ($5,000-$9,999)Richard & Sharon BoyerJohn & Lois CroweJudith FlynnChristopher J. Damon HaigJames MeehanAngela Hilt & Blake ReinhardtMarie Hogan & Douglas Lutgen

Patron ($2,500-$4,999)Wendy BuchenMilton & Carol HollenbergFraser & Helen MuirheadPaul & Sandra OgdenMartin & Elizabeth SeckerJim & Jennifer SteelquistJeffrey Thomas

Capellmeister ($1,500-$2,499)Peter & Claudia BrownNorman T. LarsonLamar LelandPaul NettelmanRobert Ripps & Steven SpectorEdward Towne

Cantor ($1,000-$1,499)Anonymous (3)The Viola Da Gamba Society of PacificaJohn & Jane Buffington

Lisa CapaldiniDon Scott CarpenterDavid Cates & Cheryl SumsionEunice ChildsDavid Davies & Ama TorranceRichard G. FabianThomas & Phyllis FarverAlfred & Irene M. GlassgoldConnie Harden & Chuck O’NeillKevin & Peggy HarringtonJohn F. HeilJames & Joan KellyValerie & Dan KingSteven LehningJeanette & Olaf LeifsonGreg & Robin MadsenDavid & Mary RaubJohn & Dale ReedMr. & Mrs. Ned RowePeter & Asiye SonnenGeerat & Edith Vermeij

SOLOISTS CIRCLE

Bay Area News GroupKDFC

The New FillmoreSan Francisco Classical Voice

San Francisco ChronicleSan Francisco Examiner

MEDIA SUPPORT

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Nakamichi Foundation

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Chorister ($500-$999)AnonymousGretchen BrosiusDonna ChazenCynthia CooperUni CordobaJoseph & Judy CraigTom Flesher & Adam VerretAyame FlintCynthia FosterKathryn HobartDavid KashevaroffSusan & Stafford KeeginBlair MartinChris McCrum & Liz VelardeFrank PajerskiCharles Quesenberry, Jr.Nancy Quinn & Tom DriscollBill & Ray RiessThomas & Ann Watrous

Stadtpfeifer ($250-$499)Anonymous (2)Patricia BaumanEdward Betts & Elena SnegovaLynne CarmichaelRobert Cook & Blanca HaendlerJacqueline DesoerMag DimondRobert & Ann GoldbergJim & Laura GregoryDavid & Dorli HanchetteGareth & Ruth HillKen HoffmanNorman La ForceNorman & Rae LeaperJohn & Kathleen LeonesWilliam LokkeMalcolm & Natalie MackenziePierre MartinMarian MetsonGeorge S. PeytonGary Schilling & Stefan HastrupPaul SchmidtScott SocharBarbara Thomas-FexaStephen & Nancy WellerCharles & Elizabeth WiltsFoster & Betty Wright

Steward ($100 - $249)Anonymous (4)Mark & Sheila AndrusAlan M. & Helen C. ApplefordJudith Barker & Linda MittenessMs. Grace BarnerPhil BeffreyRobert BermanAl BernsteinErnst & Hannah BibersteinBorden & Betty BloomJesse Blumberg & Rita DonahueMatthew Bobinski

Gary ChockRichard & Evelyn ClairRoy & Margaret ClarkeMendel Cohen & Julia VestalEric Collier & Joseph NewellRobert CooteRichard CroninTekla Cunningham & David

SawyerGarniss CurtisChauncey & Emily DiLauraLester DropkinSteven EdwardsDean FarwoodNorma FeldmanThomas & Mary FooteDale FreemanLowell & Nancy FrokerJohn FrykmanShellie GarrettHinda GilbertMr. John GosselinAllen HackettTeresa HammondMargaret HardingDonna HeinleIngeborg HendersonDaniel HershPhilip & Ruth HicksBob Isaacson & Virginia StearnsCary & Elaine JamesPeter JensenDavid G. King, M.D.Andrew KivesThomas KosterRonald & Sharon KraussWilliam & Emily LeiderManjari & Michael LewisMalcom Litwiller & Teri DowlingDeana Logan & Joseph C.

NajpaverDavid & Kathleen MartinJo Maxon & Karl RuppenthalNoreen MazelisLee & Hannelore McCrumbRay & Mary McDevittJohn McKnightSharon MenkeSusie & Mickey MorrisCarol MowbrayAmy MullenMary Belle O’Brien & Georgia

HeidJefferson PackerVirginia PattersonSteven Peterson & Peter JaretPatrizian PollastriniSam PriceRuth RhotenPenelope Rink & Frederick TothColby & Katherine RobertsCynthia SawtellCharles & Janet Seim

Judd & Sherry SmithAline SoulesBob & Betsy StaffordDavid Stein & William StewartFrancoise StoneGerald & Sandra SwaffordKarl & Marianne ThonLynn Tilley and John GruverRick TrautnerMr. Curtis VoseRichard WallisRichard & Shipley WaltersJudith WardKenneth & Kathryn WeemanMichael WestonRichard WhiteBernard WishyJerri WittRick Yoshimoto & Tamara

Trussell

Friend ($25-$99)AnonymousAlbert & Julie AldenRobert AllgeyerCollin AmickMary AndersonWayne AndersonDonald AndreiniSassan AriaPeter & Margaret ArmstrongDonald & Claire AuslenAdrienne Austin-ShapiroJeff BartakMerry & Mark BenardBeverly BenedumJohn BergRenee BoecheAnne Marie BorchMary BostFelix BraendelMs. Deborah BrownLeslie BrownLori Ellen BrownSuzi Cohen & Joel WolfsonMary CutchinHubert & Genevieve DreyfusTony DrummondJudith Ets HokinMarcella FassoElliott & Laurel FeigenbaumCassandra ForthMargaret FuerstJeffery & Judy GoughRobyn GreeneHelen GundersonPatrick GunningDavid HammerCarol HandelmanJudith HanksWilliam HartrickDavid HeppnerIan Hinchliffe & Marjorie Shapiro

Elizabeth HoelterCharles M. & Nellie HungerfordPeter HusonLaurence JacobsStephen & Helene JaffeJulie JeffryAnn JensenHerbert JeongElaine JohnsonMargaret JohnsonPamela JonesWolfram JungElizabeth KaplanKarl & Carol KeenerCarolyn KennedyIsik KizilyalliJoseph & Jeanne KlemsGeorge KnudsonBarbara KoerberGretchen LeavittDavid LecountRobert LevinLirong LiJay LindermanGeorge LundbergGeorge MarchandBonnie & Gene MartzSuzanne McCormickThomas McElligottSusan MeisterKurt & Suzanne MelchiorKatherine MitchellMinako MiyazakiHildegard M. MohrJoanne MoldenhauerBarbara MolloyMichael & Jennifer MoranChristopher MotleyOwen MulhollandShah & Mariam MunjeeDiane & John MusgraveJune NadlerAlan B. Newman, M.DEleanor NorrisJoan NortonCrystal OlsonJerome OremlandPat & Larry PagendarmClaire PerryJoy PhoenixDove PierceLinda & Nelson PolsbyLawrence & Erica PosnerJean RadfordNancy RaneyJanet ReiderEugene & Libby RenkinCarolyn RevelleMaria Reyes & Thomas PlumbGail Riley & Moira LittleRebecca RishellWendy RobertsonLewis Robinson

INDIVIDUAL SUPPORT

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David RobinsonThomas RobinsonMichael RohanJay RussellWalter & Ellen SanfordWilliam Senecal & Karen

RoselandLawrence SeverinoDouglas ShakerDouglas & Carole SheftNina ShoebatterSteve SiegelmanAllegra SilbersteinHarold Skilbred & Rochelle

MatonichSam W. SmithRobert & Ellen SpaethlingLisa SpencerDan StanleyJudith StanleyMason & Sandra StoberLorelei TanjiChristine TelleenMargaret TraylorStephanie Trenck & Michael

WittyGeorge & Bay WestlakeMary WildavskyNorman WilliamsRobert Wohlsen, JrKurt Wootton & Ken FulkCarolyn Yee & Bill L. Lee

Bach Kids

Richard & Sharon 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

Tributes

Anonymous in memory of Robert Volberg

Donald & Claire Auslen in honor of Jan Goldberg

Richard & Sharon Boyer in memory of Mamie F.

Vercelli in memory of Edward T.

Smithburn in memory of Rosemary

Pollastrini

Suzi Cohen & Joel Wolfson in honor of Jan Goldberg

Jeffery & Judy Gough in honor of Don Scott

Carpenter

Stephen & Helene Jaffe in honor of Jan Goldberg

Katherine McKee & Colby Roberts

in memory of Pat Wolf

Susan Morris in honor of Jan Goldberg

Paul Nettelmann in honor of Rieko Nettelmann

Tia Pollastrini in appreciation of Mom Sher

Robert Ripps & Steven Spector in honor of Don Scott

Carpenter

Mr. & Mrs. Ned Rowe in memory of Perry Foster

Douglas & Carole Sheft in honor of Jan Goldberg

Lisa Spencer in honor of Ken Hoffman &

Jan Goldberg in honor of Gordon & Sue

Oehser

Michael & Karen Traynor in honor of Professor Garniss

Curtis

IN-KIND SUPPORT

Jose AlonsoAmerican Conservatory TheaterBellanico Restaurant & Wine BarBerkeley RepBi-Rite Creamery & BakeshopBistro GinolinaElizabeth BlumenstockRichard J. BoyerCalifornia Shakespeare TheaterRobert CommandayKatharine CookHugh Davies & Kaneez MunjeeCynthia FosterJan GoldbergKen HoffmanMarie HoganIan Howelli love blue seaJason’s RestaurantKleid Design GroupKokkariLark TheaterLeft Bank Parisian BrasserieRaymond MartinezMarin SymphonyMarin Theatre CompanyMerola Opera ProgramLissa NicholasHelen MuirheadThe Musical OfferingDebra NagyOakland A’sPapas TavernaPhilharmonia Baroque

OrchestraDiana PrayNancy Quinn & Tom DriscollRich TableRick Evans Walking ToursColby RobertsSam’s Anchor CafeSan Francisco Early Music

SocietySan Francisco GiantsSan Francisco Girls ChorusSan Francisco Opera – Andrew

MorganMarsha SilbersteinMillicent TomkinsKwei & Michele ÜVoltiRick YoshimotoYoshi’s

ACKNOWLEDGMENTS

San Francisco Girls Chorus Brandon Brack Interim Music Director Melanie Smith Executive Director

St. Stephen’s Episcopal Church Vestry, Staff, and Parishioners The Rev. Robert Gieselmann, Rector John Karl Hirten Organist

UC Davis Department of Music Instrument Loans

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americanbach.org/recordings

MASTERWORKS SERIESBach Brandenburg ConcertosBach Harpsichord Concertos

Bach Italian TranscriptionsBach Mass in B Minor

Bach St. Matthew PassionBeethoven Ninth Symphony

Corelli Concerti GrossiHandel MessiahHaydn Masses

Schütz Choral & Vocal Works

Carols for ChristmasThe Art of Ian Howell

BACH CANTATA SERIESSolo Cantatas

TrauerodeMühlhausen Cantatas

Cantatas for EasterWeimar CantatasFavorite Cantatas

Tonight’s music & Selections for the Holidays ...

Carols for Christmas

Handel’s Messiah

Corelli’s “Christmas Concerto”

Available at Intermission and after the performance.

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Johann Sebastian Bach MASS IN B MINOR

Heinrich Ignaz von Biber MISSA SALISBURGENSIS

americanbach.org • (415) 621-7900

JULY 12–22 2013

SAN FRANCISCO’S SUMMER BACH FESTIVAL