VESPERS OF Claudio Monteverdi. New Year s Eve Celebration Sunday, December 31, PM

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1 Claudio Monteverdi VESPERS OF 1610 New Year s Eve Celebration Sunday, December 31, PM S. Clement s Church 2013 Appletree Street Philadelphia, PA 1

2 Choral Arts Philadelphia P.O. Box 22445, Philadelphia, PA Dear Friends, I cannot think of a better way to mark the passing of the old and the greeting of a New Year than with some favorite piece of music. Last January, I finally fulfilled a lifelong dream of visiting Venice. Nothing could have prepared me for the exotic splendor of the architecture and the gentle light that inspired some of the world s greatest artists, from Titian to Bellini. In my inner ear, I could hear the music of Gabrieli, Monteverdi and Vivaldi, my soundtrack as I got lost wandering through the narrow streets of Venice and emerging onto the Piazza in front of San Marco. Follow us on social media: #ChoralArtsPhila #BachCantatasPhila #BachAtSeven #BachFestPhila Photography: Sharon Torello Graphic Design: GDLOFT On the cover: Venice, Italy. View of Canal Grande from Ponte dell Accademia by Luca Grandinetti While at the stunning church I Frari, I was able to visit the grave of the great Monteverdi himself and I realized that it was time to re-visit the Vespers. This performance marks Choral Arts third venture with his ambitious work, the Matt Glandorf in front of I Frari Church where Monteverdi is buried. Venice, Italy. January 2017 last concert given in December of To my mind, it is the first real large scale masterpiece. Its design and architecture, based on the various pieces of Vespers and augmented by the smaller scale Sacred Concert, make this collection truly unique. It is both grand public music and intimate personal statements juxtaposed side by side. I never tire of the Vespers of 1610, and find new surprises with every listening. So here s wishing our Claudio Monteverdi a Happy 450th Birthday, and to all of you, a very Happy New Year! This project is supported by a matching grant from an anonymous donor. Matt Glandorf Artistic Director of Choral Arts Philadelphia and The Bach Festival of Philadelphia S. Clement s Church 2 3

3 Claudio Monteverdi ( ) Vespro della Beata Vergine, 1610 Program Order Vespro della Beata Vergine, 1610 PERFORMERS Opening Responsory: Deus, in adjutorium meum intende (Psalm 70) Matthew Glandorf, Artistic Director & Conductor First Psalm: Dixit Dominus (Psalm 110) Soloists Soprano: Alto: Tenor: Bass: Jessica Beebe, Rebecca Myers Maren Montalbano, Jenifer L. Smith Michael Jones, James Reese, Nikolas Karageorgiou Jean Bernard Cerin, Cody Müller Sacred Motet: Nigra sum (Song of Solomon 1 & 2) Second Psalm: Laudate pueri Dominum (Psalm 113) Philadelphia Bach Collegium Violin: Rebecca Harris, Mandy Wolman Viola: Daniela Pierson Cello: Eve Miller Violone: Heather Miller Lardin Theorbo: Richard Stone Continuo: Leon Schelhase Dark Horse Consort Cornetto: Kiri Tollaksen, Alex Opsahl Sackbut: Greg Ingles, Erik Schmalz Bass Sackbut: Mack Ramsey Choral Arts Philadelphia Soprano: Patti Cheek, Karen Fung Dante, Lauren Darkes, Susannah Edmonds, Patricia Fisher, Veronica Jurkiewicz, Charlotte Oliva, Meredith Quirin Waldron, Carol Richmond, Ulrike Shapiro Alto: Tenor: Bass: Sharene Azimi, Laura Baratta, Lucy Harlow, Amey Hutchins, Kelley Langhans, Victoria McManus, Katharine Moore, Jodi Nieman Eli Anders, David Carpenter, Frank DiTraglia, Glenn C. Ferguson, Nathan Gibney, Donald Grasberger, Bryan Park, Judd A. Serotta, Dylan J. Steinberg Thomas Alton, Theodore Cheek, William Dowling, Max Krall, Michael Meloy, Dave Mosteller, Steven Ralston, Ryan Scheaffer, Tim Schellenberg, Ryan Tibbetts Sacred Motet: Pulchra es (Song of Solomon 6) Third Psalm: Laetatus sum (Psalm 122) Sacred Motet: Duo Seraphim (Isaiah 6; I John 5) Fourth Psalm: Nisi Dominus (Psalm 127) Sacred Motet: Audi, coelum (Anonymous) Fifth Psalm: Lauda, Jerusalem (Psalm 147) INTERMISSION (15 min) Sonata on Sancta Maria Hymn: Ave maris stella (Traditional) Magnificat (Luke 1) 4 5

4 Program Notes In many ways, Claudio Monteverdi is considered the father of the baroque movement. He trained as a chorister and learned polyphonic choral writing in his hometown of Cremona under Marc Antonio Ingegneri. Later, he took up the post of court musician for the Gonzaga Family in Mantua. It was here that Monteverdi experimented with the then Avant-garde form of the madrigal, with its emphasis on colorful text painting and creating contrasting moods. It was also in Mantua where he composed what is today considered the first opera, based on the legend of Orpheus, with its exciting new combination of arias, choruses, instrumental ritornelli and most of all, recitative, a new type of singing invented to imitate the contours of speech. The Vespers of 1610 is in many ways a sister work to L Orpheo. In fact, the opera s opening Toccata is virtually the same music as the opening antiphon of the Vespers, Deus, in adjutorium. Both L Orpheo and the Vespers demonstrate a wide variety of styles in theretofore-unknown combinations. What then is the history of the Vespers? We know that Monteverdi was deeply unhappy in his position in Mantua. Thus in the year 1610, he published two large works of church music in Venice. The first is a setting of the Mass In IlloTempore for six voices. This is an ultra-reactionary piece, possibly slanted towards the conservative tastes then fashionable in Rome. The Vespers, on the other hand, is a dazzling, ultra-modern work conceived in a more madrigalian style with independent instrumental parts. Since the Basilica of San Marco in Venice was technically the private chapel of the Doge, and with Venice s independence as the Serene Republic, the traditions in church music-making were decidedly different and much more flamboyant than those in Rome. This all leads to the final question: did Monteverdi ever actually perform the Vespers, either in Mantua or in Venice, in its entirety, and did he even conceive the work to be performed in such a manner? It was certainly never common practice to use all five Vesper Psalms, Office Hymn and large scale Magnificat for one service, even on a high feast day. Usually, polyphony was sung in alternatim with plainchant. Overall, performing the Vespers from start to finish in its published order takes about 90 minutes a lengthy service even by cathedral standards of the day. Also, there is no documented evidence of a commission or a first performance, suggesting again that the Vespers were part of a flamboyant tour-de-force, demonstrating the surpassing skill of the composer. In this interpretation, the Vespers of 1610 can well be compared with J.S. Bach s great Mass in B Minor as a kind of collected portfolio, great and fortunately wellpreserved examples of both composers respective compositional capabilities collected over a larger period of time. Whatever the case, Monteverdi created a perfectly symmetrical work in which the brilliant contrasts of mood, style and key structure work together to form a great masterpiece, one that has inspired composers, performers and listeners for over four centuries. Instrumental Doublings in the Monteverdi Vespers of 1610 Matthew Glandorf With these two widely divergent styles, it has reasonably been suggested that the If one has the fortune to see a live performance of the Vespers of 1610, it is 1610 publication was actually a job application, an artist s portfolio demonstrating immediately apparent that the instruments double the vocal parts in 80% of the work. his vast and unique skills as a composer of different genres. And indeed, he It may come as a surprise that these doublings are not notated in any of the various ultimately won the coveted job of Maestro di Capella at San Marco in partbooks, but follow the renaissance practice of colla parte (with the part). The most unusual aspect of the Vespers is the inclusion of what the composer titles Sacred Motets. The position of the motets Nigra sum, Pulchra es, Duo Seraphim Aside from the opening of Dixit Dominus, the Sonata, and a few instrumental obligato and Audi coelum within the Vespers is disputed. The title page of the first print of lines in the Magnificat, the lion s share of the instrumental part is doubling the voices. the score suggests that they are not part of the Vespers, but intended as separate Sacred Concertos. However, their placement between the psalms strongly indicates Rather than viewing the original partbooks as a seeming blank canvas for orchestration, that they were intended to be part of the Vespers, though they could also be it may be more correct to conceive of them as a fresh coloring book: with all of the performed separately on other occasions, such as in the chamber of princes as outlines there but with the decisions of color and shading left blank for interpretation. the title page suggests. It is also possible that Monteverdi intended these motets as Does the music director want a traditional performance? One that is wildly inventive? alternatives to the normal antiphons, since the peculiar liturgical style practiced in Exceedingly artistic? All are possible, and most have been tried at least once. Venice may well have made allowances for substitutions for the proper antiphons. It is worth noting that the music of these motets is very modern and very secular in style, and the texts are all derived from Song of Solomon, forming quite a sensuous 6 tribute to the Blessed Virgin! 7

5 When deciding where to add instrumental doublings, one should not choose passages arbitrarily. It takes careful consideration to make the added instrumental colors an effective addition, whether with a choir of 10 or 100. One can see that it makes far more sense to double the polyphonic settings such as Dixit Dominus and Laudate pueri rather than the soloistic settings of Nigra sum and Pulchra es amica mea. The soloistic motets are examples of the highest form of artistry and expression and as such, are full of scalar runs, diminutions and other ornamentation. Monteverdi was one of the earliest composers to wrestle the use of ornamentation away from the performer, keeping control of the final product in the hands of the composer. It would be far too difficult to double a vocalist during elaborate passagi, and thus these movements are best left to the singers alone. In my mind, Text and Texture are the two most important elements when determining when and where instrumental doubling of vocal parts is appropriate. The most obvious case for including doubling is its use to accentuate the meaning of the text. Half way through the Audi coelum, the texture changes from a solo baritone voice to that of the entire polyphonic choir, all singing the word Omnes. This word, meaning everyone, is an ideal place to have the instruments join the singers. Having literally everyone come in at that point in the piece greatly adds to the contrasting full texture. Many of the Vespers sections similar to this one, with soloists merging into full choir, are ideal places to add the instruments. When doubling a voice with an instrument, it is exceedingly important to make sure that the articulations and phrasing match the voice exactly, supporting the vocal texture without obliterating the actual words. As an example, consider the text: Ave maris stella Dei Mater alma Hail, O Star of the ocean, God s own mother blest The subject of the first phrase is Star, or stella. When playing this phrase the instrumentalist starts softer and gradually grows to the word stella. For an added level of sophistication, one considers the word stress of stel-la, accenting the first syllable. Thus, as one grows to the word stella in the first phrase, one immediately decays once the first syllable is uttered, decrescendoing on the second syllable of that word. In the second phrase, the important word is Mater. Therefore, one would start the phrase softly on Dei, peak at the Ma of Mater, and fall away on the word alma. Word by word, phrase by phrase, every bit of text and punctuation is considered until one can hardly distinguish between the voice and the instrument, both in perfect balance. Greg Ingles Music Director Dark Horse Consort Choral Arts Philadelphia during performance of Monteverdi Vespers, 8 December 2010 at First Baptist Church, Philadelphia 9 PA Photo by Milton Brugada

6 Deus, in adjutorium meum intende: Domine, ad adjuvandum me festina. et in sæcula sæculorum. Amen. Alleluja. Dixit Dominus Domino meo: Sede a dextris meis: donec ponam inimicos tuos scabellum pedum tuorum. Virgam virtutis tuæ emittet Dominus ex Sion: dominare in medio inimicorum tuorum. Tecum principium in die virtutis tuæ in splendoribus sanctorum: ex utero ante luciferum genui te. Juravit Dominus, et non poenitebit eum: tu es sacerdos in aeternum secundum ordinem Melchisedech. Dominus a dextris tuis confregit in die iræ suæ reges. Judicabit in nationibus, implebit ruinas: conquassabit capita in terra multorum. De torrente in via bibet: propterea exaltabit caput. et in sæcula sæculorum. Amen. Nigra sum sed formosa filia Jerusalem. ldeo dilexit me rex et introduxit in cubiculum suum et dixit mihi: Surge, amica mea, et veni. Jam hiems transiit, imber abiit, et recessit. Flores apparuerunt in terra nostra, tempus putationis advenit. Laudate, pueri, Dominum: laudate nomen Domini. Sit nomen Domini benedictum, ex hoc nunc, et usque in sæculum. A solis ortu usque ad occasum, laudabile nomen Domini. Excelsus super omnes gentes Dominus, et super cœlos gloria ejus. Quis sicut Dominus Deus noster, qui in altis 1. Deus, in adjutorium (Psalm 70) God, come to my help: Lord, hurry to help me. Allelujah. 2. Dixit Dominus (Psalm 110) The Lord said to my Lord: sit at my right hand, until I put your enemies as a footstool at your feet. The Lord will send the rod of your strength from Zion to rule in the midst of your enemies. With you the beginning in the day of your strength in the splendour of the holy places: I begot you from the womb before the first light. The Lord swore, and will not regret it: you are a priest for evermore according to the order of Melchisedech. The Lord at your right hand destroyed kings in the day of his anger. He will judge the nations, will fill them with ruins, will shatter heads in many lands. He will drink from the torrent in the way: thereby will he hold up his head 3. Nigra sum (Song of Solomon 1 & 2) I am a black but beautiful daughter of Jerusalem. Therefore the king loved me and led me to his chamber and said to me: Rise, my love, and come. The winter has now passed, the rain is over and gone; Flowers have appeared in our land, the time of pruning has come. 4. Laudate pueri Dominum (Psalm 113) Praise the Lord, servants: praise the name of the Lord. May the name of the Lord be blessed, from now and for ever. From the rising of the sun to its setting, the name of the Lord is to be praised. The Lord is high above all people, and his glory above the heavens. Who is like the Lord our God, who lives on high, habitat, et humilia respicit in cœlo et in terra? Suscitans a terra inopem, et de stercore erigens pauperem: Ut collocet eum cum principibus, cum principibus populi sui. Qui habitare facit sterilem in domo, matrem filiorum lætantem. et in sæcula sæculorum. Amen. Pulchra es, amica mea, suavis et decora filia Jerusalem. Pulchra es, amica mea, suavis et decora sicut Jerusalem, terribilis ut castrorum acies ordinata. Averte oculos tuos a me, quia ipsi me avolare fecerunt. Lætatus sum in his, quæ dicta sunt mihi: in domum Domini ibimus. Stantes erant pedes nostri, in atriis tuis, Jerusalem. Jerusalem, quæ ædificatur ut civitas: cujus participatio ejus in idipsum. Illuc enim ascenderunt tribus, tribus Domini testimonium Isræl ad confitendum nomini Domini. Quia illic sederunt sedes in judicio, sedes super domum David. Rogate quæ ad pacem sunt Jerusalem: et abundantia diligentibus te. Fiat pax in virtute tua: et abundantia in turribus tuis. Propter fratres meos, et proximos meos, loquebar pacem de te: Propter domum Domini Dei nostri, quæsivi bona tibi. et in sæcula sæculorum. Amen. 5. Pulchra es (Song of Solomon 6) 6. Laetatus sum (Psalm 122) and shows regard for the humble in heaven and earth? Raising the destitute from the dust, and lifting the poor from the dung. To place him with princes, with the princes of his people. Who makes the barren woman to keep house, a happy mother of children. You are beautiful, my love, a charming and graceful daughter of Jerusalem. You are beautiful, my love, charming and graceful like Jerusalem, terrible like an army arrayed for battle. Turn your eyes from me, for they make me flee. I was glad when they said to me: we will go to the house of the Lord Our feet were standing in your halls, Jerusalem. Jerusalem, that was built as a city that is at one with itself. For there the tribes went up, the tribes of the Lord, witnesses of Israel to thank the name of the Lord For there were the seats of judgement, the seats of the house of David Pray for peace in Jerusalem and wealth for those who love you. May there be peace in your walls and wealth in your palaces. On behalf of my brothers, and my neighbours, I sought peace from you. On behalf of the house of the Lord our God, I sought goods for you

7 Duo Seraphim clamabant alter ad alterum: Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Plena est omnis terra gloria ejus. Tres sunt, qui testimonium dant in coelo: Pater, Verbum et Spiritus Sanctus: et hi tres unum sunt. Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Plena est omnis terra gloria ejus. Nisi Dominus ædificaverit domum, in vanum laboraverunt qui ædificant eum. Nisi Dominus custodierit civitatem, frustra vigilat qui custodit eam. Vanum est vobis ante lucem surgere: surgite postquam sederitis, qui manducatis panem doloris. Cum dederit dilectis suis somnum: ecce, hæreditas Domini filii: merces, fructus ventris. Sicut sagittæ in manu potentis: ita filii excussorum. Beatus vir qui implevit desiderium suum ex ipsis: non confundetur cum loquetur inimicis suis in porta. et in sæcula sæculorum. Amen. Audi, coelum, audi verba mea plena desiderio et perfusa gaudio. Dic, quaeso, mihi: Quæ est ista quæ consurgens ut aurora rutilat, ut benedicam? Dic nam ista pulchra ut luna, electa ut sol, replet lætitia 7. Duo Seraphim (Isaiah 6; I John 5) Audio Dicam Two Seraphim cried to each other: Holy, holy, holy, is the Lord God of Sabaoth. The whole earth is full of his glory. There are three who bear witness in heaven: the Father, the Word, and the Holy Spirit: and these three are one. Holy, holy, holy, is the Lord God of Sabaoth. The whole earth is full of his glory. 8. Nisi Dominus (Psalm 127) Unless the Lord were to build the house, in vain would labour those who build it. Unless the Lord were to guard the city, in vain would watch the man who guards it. It is pointless for you to rise before dawn: get up after you have rested, you who eat the bread of suffering; Once he has given sleep to his chosen. Behold, children are the inheritance of the Lord: a reward, the fruit of the womb. Just as arrows in the hands of the powerful, so are the sons of outcasts. Blessed is the man who filled his desire from them: he will not be confounded when he confronts his enemies at the gate. 9. Audi, coelum Hear, 0 heaven, hear my words full of longing and suffused by joy. Tell me, I beg: who is she that shines like the rising dawn, so that I might bless her? Tell for she, beautiful as the moon, exquisite as the sun, fills with joy I hear I will tell Consequamur. Sequamur Let us follow together. Let us follow Præstet nobis Deus, Pater hoc et Filius et Mater cujus nomen invocamus dulce May God help us, the Father, and the Son, and the Mother whose name we invoke, miseris solamen. Amen a sweet solace to the wretched. Amen Benedicta es, virgo Maria, in sæculorum sæcula. You are blessed, virgin Mary, for ever and ever. 10. Lauda, Jerusalem (Psalm 147) Lauda, Jerusalem, Dominum: lauda Deum tuum, Sion. Quoniam confortavit seras portarum tuarum: benedixit filiis tuis in te. Qui posuit fines tuos pacem: et adipe frumenti satiat te. Qui emittit eloquium suum terrae: velociter currit sermo ejus. Qui dat nivem sicut lanam: nebulam sicut cinerem spargit. Mittit crystallum suam sicut bucellas: ante faciem frigoris ejus quis sustinebit? Emittet verbum suum, et liquefaciet ea: flabit spiritus ejus, et fluent aquæ. Qui annunciate verbum suum Jacob: justitias et judicia sua lsræi. Non fecit taliter omni nationi: et judicia sua non manifestavit eis. et in sæcula sæculorum. Amen. Sancta Maria, ora pro nobis. INTERMISSION (15 min) 11. Sonata Sopra Sancta Maria Praise the Lord, Jerusalem: praise your God, Zion. For he strengthened the bars of your gates: he blessed your sons inside you. He settled peace in your borders, and the best wheat fills you. He sends his commandment to the earth: his word runs swiftly. He gives snow like wool: he spreads mist like ash. He sends his ice like morsels: in the face of his cold who will stand? He will send out his word, and will melt them: his spirit will blow, and the waters will flow. He announces his word to Jacob: his laws and judgements to Israel He did not do so to all nations and his judgements were not manifest to them. Holy Mary, pray for us. 12. Ave maris stella (Traditional) terras, coelos, maria. Maria the earth, the heavens and the seas. Mary Ave maris stella, Hail, star of the sea, Maria virgo illa dulcis prædicta de Mary, that sweet virgin foretold by the Dei Mater alma bountiful mother of God propheta Ezekiel, porta orientalis? Talis prophet Ezekiel, the gate of the East? Even she Atque semper Virgo and ever Virgin, Illa sacra et felix porta per That sacred and happy portal through Felix cœli porta. happy gate of heaven. quam mors fuit expulsa which death was expelled Sumens illud Ave Taking that Ave introducta autem vita? lta but life brought in? Even so Gabrielis ore, from the mouth of Gabriel, Quæ semper tutum est medium Who is always a sure mediator Funda nos in pace, strengthen us in peace, inter homines et Deum between man and God, Mutans Evæ nomen. giving Eve a new name. pro culpis remedium? Medium the cure for our sins? The Mediator Solve vincla reis, Loose the chains of the accused, Omnes hanc ergo sequamur qua cum Let us all therefore follow her, through Profer lumen cæcis, bring light to the blind, gratia mereamur vitam æternam. whose grace we may merit eternal life. Mala nostra pelle, drive out our ills, 12 Bona cuncta posce. invoke everything good. 13

8 Monstra te esse matrem, Sumat per te preces, Qui pro nobis natus, Tulit esse tuus. Virgo singularis, Inter omnes mitis, Nos culpis solutos, Mites fac et castos. Vitam præsta puram, Iter para tutum, Ut videntes Jesum Semper collætemur. Sit laus Deo Patri, Summo Christo decus, Spiritui Sancto Trinus honor unus. Amen. Magnificat anima mea Dominum: et exultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillæ suæ: ecce enim ex hoc beatam me dicent omnes generationes. Quia fecit mihi magna qui potens est: et sanctum nomen ejus. Et misericordia ejus a progenie in progenies timentibus eum. Fecit potentiam in brachio suo: dispersit superbos mente cordis sui. Deposuit potentes de sede, et exaltavit humiles. Esurientes implevit bonis: et divites dimisit inanes. Suscepit Israel puerum suum, recordatus misericordiæ suae. Sicut locutus est ad patres nostros, Abraham et semini ejus in saecula. et in saecula sæculorum. Amen. Show that you are a mother; may he receive through you our prayers, who, born for us, came to be yours. Unique virgin, gentle among all, make us, absolved from our sins, gentle and chaste. Grant us a pure life, prepare a safe journey, so that seeing Jesus, we may always rejoice together. Praise be to God the Father, glory to Christ on high, with the Holy Spirit a single three-fold honour. Amen. 13. Magnificat (Luke 1) My soul magnifies the Lord, and my spirit has rejoiced in God my saviour. For he saw the humility of his servant: for behold from now all generations will call me blessed. For he that is powerful empowered me, and his name is sacred. And his compassion is towards those who fear him from generation to generation. He showed strength with his arm: he scattered the arrogant in the conceit of their hearts. He removed the powerful from their seats, and elevated the humble. He filled the hungry with good things, and dismissed the rich empty-handed He accepted his servant Israel, as a reminder of his compassion. As he said to our fathers, Abraham and his descendants for ever. View of the interior of San Marco Cathedral. Venice, Italy. 14 Photo: Evgeny Shmelev 15

9 Choral Arts Philadelphia Choral Arts Philadelphia is a premier chamber vocal ensemble of highly experienced professional and avocational musicians. Inspired by the works of J.S. Bach, the choir presents historically informed performances, explores new music, and engages the community in innovative ways. Making music since 1982, Choral Arts Philadelphia (formerly Choral Arts Society of Philadelphia) actively participates in the region s musical community by celebrating the talents of our local musicians. The ensemble is committed to musical excellence, historically informed performance practices, and furthering the great tradition of choral music. Under the tenure of its first artistic director, Sean Deibler, the chorus regularly partnered with the Philadelphia Orchestra in concert and on recordings. Since then, Choral Arts has built a significant reputation and artistic presence in Philadelphia as a symphonic choir, and has maintained a particularly strong commitment to exploring areas of the choral repertoire outside of the central canon. Deibler s successor, Donald Nally, added greatly to the chorus s local and national successes that culminated in receiving the Margaret Hillis Award for Choral Excellence from Chorus America and Philadelphia Magazine s Best of Philly Award during its 20th anniversary season. Under the artistic direction of Matthew Glandorf, the ensemble has been transformed into a chamber size choir to achieve greater vocal flexibility to perform both the early and modern music repertoire. Since 2013, Choral Arts Philadelphia and its project, The Bach Festival of Philadelphia, have presented Bach At Seven, a popular midweek early evening concert series. In its distinguished 35-year history, the choir has performed over 300 works by more than 100 composers. Most recently, the choir has premiered choral works by such acclaimed composers as Kile Smith, David Ludwig, Mark Rimple, Riho Maimets, Melissa Dunphy, Daniel Shapiro, Anthony Mosakowski, Andrew Lipke, and David Carpenter. The Philadelphia Bach Collegium Founded in 2008 by Matthew Glandorf, the resident chamber ensemble of the Bach Festival of Philadelphia is comprised of the region s finest musicians and scholars who specialize in 17th and 18th century music. The ensemble is devoted to using historically authentic instruments. The principal players are veterans of the historically informed performance practice movement and are graduates of the leading conservatories and universities in the United States, Great Britain, and Holland. Dark Horse Consort The early music ensemble Dark Horse Consort is dedicated to unearthing the majestic late Renaissance and early Baroque repertoire for brass instruments. Inspired by the bronze horse statues in Venice s famed St. Mark s Basilica, the ensemble attempts to recreate the glorious sounds of composers such as Giovanni Gabrieli, Claudio Monteverdi and Heinrich Schütz. Dark Horse often expands to include vocalists and strings, which when combined recreates the rapturous kaleidoscope that was the sound of the early 17th century instrumental ensemble. Dark Horse Consort has been featured on the San Francisco Early Music Series, the Boston Early Music Festival, the Renaissance and Baroque Society (Pittsburgh), in addition to multiple appearances throughout North America with vocal and instrumental groups such as The Toronto Consort, Blue Heron Choir (Boston), The Rose Ensemble (Minneapolis), Piffaro (Philadelphia), Tenet (NYC), Bach Collegium San Diego, Bach Vespers at Holy Trinity Lutheran (NYC), and the Clarion Music Society (NYC). Find out more at

10 SeaSon CONCERTS WELCOME THE PEOPLE: THE MUSICAL LEGACY OF THE REFORMATION w/ St. Paul, MN s award-winning chorus, The Rose Ensemble, and Kiri Tollaksen, cornetto Pre-concert lecture with Matthew Glandorf October 20 22, 2017 This concert supported in part by The Presser Foundation and the National Endowment for the Arts Tempesta s brilliant playing made the best case for the rarely played repertoire. Miami Herald Pastorale THe Holidays in italy festive, peaceful, and heraldic chamber music by Vivaldi, Gabrieli and more Dec 1 & 2 Fantaisie CHaraCTer, allegory & imagination orchestral sketches by Couperin, Telemann and Handel Jan 26 & 27 this scepter d isle 18 TH CenTury english MusiC rebecca Harris, violin with richard stone, lute Feb Bach: GoldBerG Variations 30 VariaTions on an aria for keyboard adam Pearl, harpsichord Mar Bach: art of the FuGue an iconic MasTerwork played by a virtuoso quartet of Tempesta recorders apr 13 & 14 river Music bach & TeleMann on water s edge with vocalists laura Heimes, Meg bragle, aaron sheehan and randall scarlata May 19 & 20 ES IST EIN ROS: A GERMAN RENAISSANCE CHRISTMAS w/ Jessica Beebe, soprano December 15 17, 2017 BACK BEFORE BACH w/ Kiri Tollaksen, cornetto March 9 11, 2018 THE SLAVIC CONNECTION w/ Schola Cantorum Basiliensis-based vocalists, ensemble Peregrina May 11 13, 2018 This concert supported in part by the Paul M. Angell Family Foundation EVENTS RECORDER FESTIVAL A FREE COMMUNITY EVENT Settlement Music School, Mary Louise Curtis Branch February 3, 7PM WORKSHOP: LEARN TO READ ORIGINAL NOTATION Presbyterian Church of Chestnut Hill March 10, PM Philadelphia Episcopal Cathedral Presbyterian Church of Chestnut Hill Christ Church Christiana Hundred & Immanuel Church Highlands TeMPesTadiMare.orG for more information INFO@PIFFARO.ORG

11 Choral Arts Philadelphia Honor Roll Choral Arts Philadelphia is grateful for the following individuals who made generous contributions during our fiscal year. Our donors have made an investment in furthering our mission to bring unique, engaging programming to our audiences. It is their generosity that makes concerts such as the one we present today possible. Angels ($5,000 and up) Ed DeMarco and Jodi Nieman Robert K. Urquhart* Guarantors ($1,000 - $4,999) Anthony Corvaia, Jr.* Stephen J. and Karen F. Dante William and Margaret Dowling In honor of Don and Theodore and Patty Cheek In memory of Richard Torbert Kevin R. and Patricia S. Fisher Matthew Glandorf Charles and Sue Glandorf Michael Meloy and Lise Potter Meloy Dylan Steinberg and Amey Hutchins* Benefactors ($500 - $999) Al and Martha Barron Steve Ralston Sustainers ($250 - $499) Thomas H. Alton Eli Anders Peter A. Benoliel and Willo Carey Radcliffe and Susannah Edmonds The Rev. Dr. Glenn and Raoulena Ferguson Nathan Gibney Donald and Gwynne Grasberger Victoria McManus Steven Ralston John and Kathleen Reiss Jenna Rosania Ryan Schaeffer Harry C. Schaub Meredith Waldron* Supporters (up to $249) Lynda Baloche* Grace Bregman In honor of Don and Barbara Burstin In honor of Don and Thea Burstin In honor of Don and Janice Bryson Thierry Danz David Carpenter Ronald and Carole Davis Kerry Dietz* Jonathan and Carolyn dejonge L. George Detweiler Diana Donaldson* Timothy Duffield* Peter and Pamela Freyd* Glenn R. George Delores Gibson In honor of Don and Bobby Grasberger In honor of Don and Svetlana Greenberg In honor of Don and Charles Holdeman* Linda Katz In honor of Don and Gwynne Grasberger s marriage Suzanne Low In honor of Don and Barbara McKenzie* Jerry Martin In honor of Don and Gwynne Grasberger s marriage Gregory Martinez In honor of Don and Karen Melton* Mr. and Mrs. Rhidian M. M. Morgan In honor of Amey Hutchins and Dylan Steinberg Andrew Reumann-Moore* David and Laurel Mosteller* Dennis and Ellen O Brien Gweneth Platt Karen Scott In honor of Don and Judd and Linda Serotta In honor of their children* Joseph Spedding In honor of Don and Ulrike Shapiro* In Honor of Gisela Huhs M. Elizabeth Stokes Barbara Supplee* Leslie Sullivan* Carl A. Winter Fred Wolfe In Memory of Gary S. Bronson* Mike Wronski In honor of Don and Drs. David and Vivien Yee Marc Zaharchuk In honor of Don and Corporate and Foundation Supporters Moore Brothers Wine Company Pennsylvania Council on the Arts Philadelphia Cultural Fund The Presser Foundation Gifts-In-Kind Moore Brothers Wine Company PR Perfect LLC/ Inna Lobanova-Heasley S. Clement s Church, Philadelphia * Gifts given to support this performance of the Claudio Monteverdi: Vespers of 1610 (including matched gifts) The Bach Festival of Philadelphia Honor Roll The Bach Festival of Philadelphia is grateful for the following individuals, corporations, and foundations who made generous contributions during our fiscal year. Our donors have made an investment in bringing wellresearched, historically-informed concerts of Bach and Baroque repertoire to our audiences. It is their generosity that makes our concerts possible. Oratorio Circle ($1,000 and up) Charles and Sue Glandorf Cantata Circle ($250 - $999) Al and Martha Barron Motet Circle (up to $249) Ron and Carole Davis Drs. David and Vivien Yee Corporate and Foundation Supporters Pennsylvania Council on the Arts Philadelphia Cultural Fund The PHILO Project Gifts-In-Kind PR Perfect LLC/ Inna Lobanova-Heasley S. Clement s Church, Philadelphia If you would like to make a contribution in support of Choral Arts or Bach Festival, please contact us at development@choralarts.com or (267) The contributions from our generous donors received by December 2, 2017 are listed above. We carefully reviewed the names but if your name has been accidentally misspelled or omitted please let us know

12 Board of Directors The Board of Directors of Choral Arts Philadelphia is the sole member of the Board of Directors of our sister organization, The Bach Festival of Philadelphia. Alexis Barron, Esquire Vice President (Bach Festival of Philadelphia) Fox Rothschild LLP Gwynne Gransberger Treasurer Drexel University Sharene Azimi Secretary Mission Communications Barbara Alton Hospitality Committee S. Clement s Church Lucille Amadie Garden Spaces Barnes Alumni Council Theodore G. Cheek, M.D. Penn Medicine Matthew Glandorf (ex officio) Artistic Director The Curtis Institute of Music Church of the Good Shepherd auditions@choralarts.com Inna Lobanova-Heasley (ex officio) Director of Marketing & Communications PR Perfect LLC info@choralarts.com Emeritus & Honorary Board Members Mary Louise Craig Edward DeMarco Dorothy M. Edgar Elizabeth Gemmill Louise Greenberg Peter Gulia, Esq. Mary D. Hangley Nancy Miller, Esq. J. Randall Rosensteel Dylan J. Steinberg, Esq. Meredith Quirin Waldron Moore Brothers wines taste better. Why?» It starts in the vineyard. We select our wines from artisan, natural, sustainable wine growers with whom we ve formed long-term, personal relationships. Unique in the world market, all of our growers wines are treated with the respect their work (and your palate) deserve. Picked up at the winery in refrigerated trucks. Cross the ocean in a refrigerated container. Loaded and stored into a refrigerated warehouse. Delivered to our stores in refrigerated trucks. A copy of the official tax-exempt 501(c)(3) registration and financial information for The Choral Arts Society of Philadelphia Inc. (administering Choral Arts Philadelphia) may be obtained from the Pennsylvania Department of State by calling toll free, within Pennsylvania, Registration does not imply endorsement. Dress warmly when you visit Moore Brothers Wine Company. It s always 56! 22 moorebrothers.com

13 CONCERT SEASON The Reformation: Influence and Inspiration Bach At Seven Series WHEN: Wednesdays, 7-8 PM Jan 31 Feb. 21 Mar 21 Apr 18 May 16 WHERE: S. Clement s Church, 2013 Appletree Street, Philadelphia ADMISSION: Pay What You Wish $25/person suggested donation at the door No Tickets. No Reservations Special Events Tribute to Michael Korn, Founder of The Bach Festival of Philadelphia WHEN: Friday, March 7 PM WHERE: St. Paul s Episcopal Church, 22 E Chestnut Hill Ave, Philadelphia ADMISSION: $10 Student $25 General Supporter $50+ The Delius Society Program Frederick Delius: Songs of Sunset (a Philadelphia Premiere) Works by Vaughan Williams and Parry WHEN: Sunday, April 3 PM WHERE: German Society of Philadelphia, 611 Spring Garden Street, Philadelphia ADMISSION: $20 (Delius Society Members $14)