Haydn`s The Creation

Saturday 10 January 2009 at 7.30pm
Freiburg Baroque Orchestra
René Jacobs conductor
Haydn The Creation
Freiburg Baroque Orchestra
RIAS Chamber Choir
René Jacobs conductor
Julia Kleiter soprano Gabriel, Eve
Maximilian Schmitt tenor Uriel
Thomas Quasthoff bass-baritone Raphael, Adam
There will be one interval of 20 minutes between Parts 2 and 3.
Barbican Hall
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Thomas Quasthoff
Die Stimme
Celebrating the remarkable voice of
German baritone Thomas Quasthoff
Wed 11 Mar 7.30pm
Thomas Quasthoff performs Bach Cantatas
and arias by Handel accompanied by the
Berliner Barocksolisten.
Sun 5 Apr 6pm
Bach’s St Matthew Passion with the Gewandhaus
Orchestra Leipzig conducted by Riccardo Chailly.
Thu 29 Oct 7.30pm
Dorothea Röschmann, Angelika Kirchschlager,
Ian Bostridge and Thomas Quasthoff present an
evening of music by Schumann.
For more information and to book tickets
visit www.barbican.org.uk/diestimme
or call the Box Office on 0845 120 7557
The Barbican Centre is
provided by the City of London
Corporation as part of its
contribution to the cultural life
of London and the nation
Thomas Quasthoff © Kasskara / DG
Tue 22 Sep 7pm
The London Symphony Orchestra and Chorus
performs Berlioz’s La Damnation de Faust with soloists
including Thomas Quasthoff and Bernarda Fink.
Conducted by Valery Gergiev.
Notes
Franz Joseph Haydn (1732–1809)
The Creation (Die Schöpfung), HobXXI/2 (1796–8)
It was Haydn’s first visit to London that set in motion the
train of events that would lead to his most famous and
enduring masterpiece. At the 1791 Handel Festival in
Westminster Abbey he was overwhelmed by Messiah
and Israel in Egypt, in monster performances involving a
cast of hundreds. He reportedly wept during the
‘Hallelujah’ Chorus, proclaiming that ‘Handel is master
of us all’ (sentiments later echoed by Beethoven).
According to one of his early biographers, Giuseppe
Carpani, Haydn ‘confessed that … he was struck as if he
had been put back to the beginning of his studies and
had known nothing up to that moment. He meditated on
every note and drew from those most learned scores the
essence of true musical grandeur.’
But while Linley may well have passed the libretto on to
Salomon, he was no poet, and would in any case hardly
have been old enough to have had dealings with
Handel.
Haydn immediately saw the libretto’s potential for
musical setting. After returning to Vienna in August 1795
he showed it to the Imperial Court Librarian and Handel
enthusiast Baron Gottfried van Swieten who, in his own
words, ‘resolved to clothe the English poem in German
garb’. Although he endeavoured to follow the English
syllable for syllable where possible, Swieten ‘often
judged it necessary that much should be abridged or
even omitted, on the one hand, and on the other, that
much should be given greater emphasis, and much
placed in the shade’. After completing his German text,
he produced a parallel English version that, for all its
intermittent absurdities (the Baron’s English was less
perfect than he liked to think), retains a fair amount of
Milton and the St James Bible. The libretto was ready
towards the end of 1796, by which time Haydn had
already begun to sketch the ‘Representation of Chaos’.
Never one to hold back, Swieten annotated the
manuscript he prepared for Haydn with suggestions for
musical setting, some of which were adopted, others
rejected. He was, though, adamant that the words ‘Let
there be Light / And there was Light’ should be sung only
once, thereby claiming a small share in one of music’s
most elementally thrilling moments.
In London Haydn was fired with the idea of composing
an oratorio of his own on a similarly exalted biblical
theme. For the time being, though, his main energies
were channelled into the great series of symphonies for
the impresario Johann Peter Salomon. But during his
second London visit of 1794–5, Salomon handed him an
English libretto on the creation of the universe, based on
the accounts in Genesis and Milton’s Paradise Lost.
Perhaps Salomon hoped that the oratorio would be the
bait with which to secure Haydn for a third English visit.
The (lost) libretto’s origins have prompted much
speculation. One contemporary commentator claimed it
was intended for Handel, while Haydn later told his
friend and biographer Georg Griesinger that the author
was ‘an Englishman by the name of Lidley’. No plausible
With its evocation of a benevolent, rationally ordered
candidate of that name has ever been identified; and it
universe and its essentially optimistic view of humanity,
was long assumed that the author was in fact the
The Creation was perfectly in accord with the temper of
composer/impresario Thomas Linley the Elder (1733–95).
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Notes
the Enlightenment (the Fall is referred to only en passant
in the tenor recitative before the final chorus and, more
obliquely, in the shrouded bass solo at the centre of the
trio ‘On thee each living soul awaits’). Its theological
content, minimising conflict, guilt and retribution, also
chimed in with Haydn’s own reverent Catholic faith – ‘not
of the gloomy, always suffering sort, but rather cheerful
and reconciled’, as Griesinger put it.
Haydn spent most of 1797 working on The Creation,
completing the score by the end of the year. The first
performance, before an invited, predominantly
aristocratic, audience, took place at the Schwarzenberg
Palace in Vienna on 30 April 1798. The reception was
ecstatic. One guest reported that ‘in the moment when
Light broke forth for the first time, one would have said
that light-rays darted from the composer’s blazing eyes.
The enchantment of the electrified Viennese was so
profound that the performance could not continue for
several minutes.’
After further, semi-private, performances at the Palais
Schwarzenberg in May 1798, the official public
premiere, on a grand scale (reports suggest some 120
instrumentalists and an all-male choir of around 60), was
given in the Imperial Burgtheater on 19 March 1799.
Receipts broke all records for Viennese theatres. One
eyewitness, Johan Berwald (cousin of the Swedish
composer Franz), reported that ‘the whole performance
went off wonderfully. Between the sections of the work,
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tumultuous applause; during each section, however, it
was as still as the grave. When it was over there were
calls, “Father Haydn to the front!”. Finally the old man
came forward and was greeted with a tumultuous
applaudissement and with cries, “Long live Father
Haydn, long live music!”’
Charity performances of The Creation quickly became a
regular feature of the Viennese musical scene. Writing of
a performance in aid of wounded soldiers, Griesinger
remarked that ‘this music seems to have been made to
help collect money for good works.’ The London
premiere took place at Covent Garden on 28 March
1800. Haydn himself sanctioned translations into French
and Italian. And within a few years his joyous celebration
of the universe, an idyllic vision that contrasted
poignantly with the horrors of the Napoleonic wars, was
being acclaimed throughout Europe.
A key factor in the libretto’s appeal for Haydn was surely
the simplicity and strength of its structure. In the first two
parts the six days of creation are announced in secco
(‘dry’) recitative by one of the three archangels, Raphael
(baritone/bass), Uriel (tenor) and Gabriel (soprano);
after each act of creation the archangels expatiate on
its wonders in accompanied recitative and aria; and
each day after the first (which ends with the delightful,
faux-naïf chorus heralding the ‘new created world’)
culminates in a hymn of praise by the heavenly hosts.
Notes
Part 3, depicting the first morning in Eden, Adam and
Eve’s praise of all creation and their mutual love, falls
into two sections, each likewise reaching a climax in a
jubilant chorus.
The arias and accompanied recitatives gave Haydn
glorious opportunities to indulge in his love of
instrumental tone-painting, using techniques honed in his
operas, and fired by the example of Handel’s Israel in
Egypt. In the superb D minor bass aria, ‘Rolling in
foaming billows’, tone-painting permeates the whole
texture, beginning with the powerful evocation of the
turbulent ocean. The jagged ‘second subject’ (as usual in
The Creation, the aria adapts elements of sonata form to
the requirements of the text) portrays the rocks and
mountains; and a modulating ‘development’, with
beautiful contrapuntal writing for oboes and bassoon
against pictorial violin flourishes, introduces the ‘serpent
error’ of the rivers. The final section functions as a
recapitulation. Here Haydn tenderly depicts the ‘limpid
brook’ with a turn to D major and a new lyrical melody
that turns out to be a variation of the D minor opening.
Another inspired bass moment is Raphael’s description
of the ‘great whales’ in Part 2 (‘And God created great
whales’). Haydn originally set this as dry recitative, before
recasting God’s words as an arioso with a mysterious,
shadowy accompaniment for divided violas and cellos.
In the new Romantic aesthetic that abhorred naïve
imitation, the more obvious pictorialisms in The Creation
came under fire even during Haydn’s lifetime. To us they
are among the oratorio’s most endearing features. In
Gabriel’s delectable avian aria in Part 2 (‘On mighty
pens uplifted’), soprano and woodwind (including the
clarinet, that beautiful latecomer to Haydn’s orchestral
palette) evoke each of the birds in turn: eagle, lark, dove
(with trilling coloratura) and, finally, the nightingale’s
‘sweet notes’. Even more graphic is the famous zoological
extravaganza in Part 2 (‘Straight opening her fertile
womb’), where Haydn has a field day illustrating the lion
(with a gleeful, dissonant roar for trombones and
contrabassoon), the ‘flexible tiger’, the noble steed, then,
with a poetic shift from D flat to a remote A major, the
cattle and sheep. After the buzzing insects he describes
the worm’s ‘sinuous trace’ in a comically solemn Adagio.
Grandeur and Haydn’s trademark humour also rub
shoulders in the following bass aria, ‘Now heav’n in
fullest glory shone’, where the ‘heavy beasts’ arrive
courtesy of rude belches on the contrabassoon.
Wholly serious in tone is Uriel’s C major aria ‘In native
worth’, well described by the musicologist Donald Tovey
as ‘not only the quintessence of Haydn but the perfection
of bel canto’. The majestic, ‘masculine’ opening section,
portraying the first man, reaches a climax with an
emphatic cadence in the dominant, G major; then, just as
Haydn appears to be repeating the same procedure, he
deflects magically to the distant key of A flat major – one
of the most poetic tonal surprises in all Haydn.
Corresponding to biblical (and 18th-century) notions of
5
Notes
femininity, the second section fashions softer contours
a summary of the whole oratorio where, in a kind of
from Adam’s proud theme, with limpid woodwind writing celestial Cook’s Tour, Adam and Eve enjoin each element
and a gorgeous lyrical obbligato for solo cello.
of creation in turn to praise God.
The most celebrated single number in The Creation is the
introductory ‘Representation of Chaos’, a harmonically
audacious – and miraculously scored – evocation of the
primal void. Here vague thematic fragments grope and
twist through tonal nebulae, constantly evading the
resolutions the ear expects. Towards the end Haydn even
anticipates Wagner’s famously shocking ‘Tristan’ chord.
The whole movement is the epitome of what the 18thcentury Irish political philosopher and aesthetician
Edmund Burke termed ‘the sublime’ in music, calculated
to evoke, wonder, awe, even terror. Hardly less sublime
are the first sunrise (‘In splendour bright is rising now’), as
elementally moving as the choral explosion on ‘Light’,
and the wonderfully veiled, mysterious moonrise.
In the celebratory choruses – above all ‘Awake the harp’
and the monumental closing chorus of Part 2, ‘Achieved
is the glorious work’ – Haydn deploys his contrapuntal
mastery with a freedom and brilliance of effect that
reflect Handel’s example. In several numbers, though, he
integrates soloists and chorus, a technique rarely
encountered in Handel: in, say, the famous chorus that
ends Part 1, ‘The heavens are telling’, with its sensational
chromatic climax, all the more overwhelming because of
the preceding emphasis on C major; in the trio and
chorus No. 19 (‘The Lord is great’), where soprano and
tenor spin coloratura cascades around the choral lines;
or in the magnificent Hymn in Part 3 (‘By thee with bliss’),
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Until quite recently critics tended to frown on Adam and
Eve’s love duet, ‘Graceful consort!’, as too demotic for
such exalted surroundings. But as the great Haydn
scholar-populariser H. C. Robbins Landon has argued, its
contredanse rhythms, tootling woodwind and Viennese
Singspiel associations – shades here of a slightly more
musically sophisticated Papageno and Papagena –
accord perfectly with the subject matter: whereas in the
Hymn Adam and Eve aligned themselves with the angels,
here they appear as everyman and everywoman, in all
their joyous, innocent sensuality.
Replying to a letter expressing admiration for The
Creation, Haydn wrote that ‘Often, when I was struggling
with all kinds of obstacles … a secret voice whispered to
me: “There are so few happy and contented people in
this world; sorrow and grief follow them everywhere;
perhaps your labour will become a source from which
the careworn … will for a while derive peace and
refreshment”.’ These words are typical of a devout,
humble yet by no means naïve man, one acutely
conscious of his own worth. Haydn’s hopes were
richly fulfilled in his lifetime. In our own sceptical and
precarious age we can still delight, perhaps with a
touch of nostalgia, in Haydn’s unsullied optimism,
expressed in some of the most lovable and life-affirming
music ever composed.
Programme note © Richard Wigmore
Text and translation
Die Schöpfung
The Creation
Part 1
Overture: The representation of Chaos
THE FIRST DAY
Recitative Raphael
Im Anfange schuf Gott Himmel und Erde;
und die Erde war ohne Form und leer.
Und Finsternis war auf der Flüche der Tiefe.
Chorus
Und der Geist Gottes schwebte auf der Fläche der
Wasser.
Und Gott sprach:
‘Es werde Licht!’
Und es ward Licht.
Recitative Uriel
Und Gott sah das Licht, dass es gut war;
und Gott schied das Licht von der Finsternis.
In the beginning God created the heaven and the earth;
and the earth was without form and void.
And darkness was upon the face of the deep.
And the Spirit of God moved upon the face of the waters.
And God said:
Let there be Light,
and there was Light.
And God saw the Light, that it was good;
and God divided the Light from the darkness.
(Genesis I: 1–4)
Aria Uriel
Nun schwanden vor dem heiligen Strahle
des schwarzen Dunkels gräuliche Schatten;
der erste Tag entstand.
Verwirrung weicht und Ordnung keimt empor.
Erstarrt entflieht
der Höllengeister Schar
in des Abgrunds Tiefen hinab,
zur ewigen Nacht.
Now vanish before the holy beams
the gloomy dismal shades of dark;
the first of days appears.
Disorder yields to order fair the place.
Affrighted fled hells spirits,
black in throngs;
down they sink in the deep of abyss,
to endless night.
Chorus
Verzweiflung, Wut und Schrecken
begleiten ihren Sturz.
Und eine neue Welt
entspringt auf Gottes Wort.
Despairing cursing rage
attends their rapid fall.
A new created world
springs up at God’s command.
Please turn page quietly
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Text and translation
THE SECOND DAY
Recitative Raphael
Und Gott machte das Firmament
und teilte die Wasser,
die unter dem Firmament waren,
von den Wassern,
die über dem Firmament waren,
und es ward so.
And God made the firmament,
and divided the waters,
which were under the firmament,
from the waters,
which were above the firmament,
and it was so.
Da tobten brausend
heftige Stürme.
Wie Spreu vor dem Winde,
so flogen die Wolken.
Die Luft durchschnitten feurige Blitze,
und schrecklich rollten die Donner umher.
Der Flut entstieg auf sein Geheiss
der allerquickende Regen,
der allverheerende Schauer,
der leichte, flockige Schnee.
Outrageous storms
now dreadful arose;
as chaff by the winds
are impelled the clouds.
By heaven’s fire the sky is enflamed
and awful rolled the thunders on high.
Now from the floods in steams ascend
reviving showers of rain,
the dreary wasteful hail,
the light and flaky snow.
Solo Gabriel
Mit Staunen sieht das Wunderwerk
der Himmelsbürger frohe Schar,
und laut ertönt aus ihren Kehlen
der Schöpfers Lob,
das Lob des zweiten Tags.
The marv’llous work beholds amaz’d
the glorious hierarchy of heav’n
and to th’ ethereal vaults resound
the praise of God,
and of the second day.
Chorus
Und laut ertönt aus ihren Kehlen, etc.
THE THIRD DAY
Recitative Raphael
Und Gott sprach:
‘Es sammle sich das Wasser unter dem Himmel
zusammen an einem Platz,
und es erscheine das trockne Land.’
Und es ward so.
Und Gott nannte das trockne Land Erde,
und die Sammlung der Wasser nannte er Meer;
und Gott sah, dass es gut war.
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And to th’ ethereal vaults resound, etc.
(Genesis I: 7)
And God said:
Let the waters under the heaven
be gathered together unto one place,
and let the dry land appear;
and it was so.
And God called the dry land earth,
and the gathering of waters called he seas;
and God saw that it was good.
(Genesis I: 9–10)
Text and translation
Aria Raphael
Rollend in schäumenden Wellen
bewegt sich ungestüm das Meer.
Hügel und Felsen erscheinen;
der Berge Gipfel steigt empor.
Die Fläche, weit gedehnt, durchläuft
der breite Strom in mancher Krümme.
Leise rauschend gleitet fort
im stillen Tal der helle Bach.
Recitative Gabriel
Und Gott sprach:
‘Es bringe die Erde Gras hervor, Kräuter, die
Samen geben,
und Obstbäume, die Früchte bringen ihrer Art gemäss,
die ihren Samen in sich selbst haben auf der Erde!’
Und es ward so.
Rolling in foaming billows
uplifted roars the boist’rous sea.
Mountains and rocks now emerge
their tops into the clouds ascend.
Through th’ open plains outstretching wide
in serpent error rivers flow.
Softly purling glides on
through silent vales the limpid brook
And God said:
Let the earth bring forth grass, the herb yielding seed
and the fruit tree yielding fruit after his kind,
whose seed is in itself upon the earth;
and it was so.
(Genesis I: 11)
Aria Gabriel
Nun beut die Flur
das frische Frün
dem Auge zur Ergötzung dar;
den anmutsvollen Blick
drhöht der Blumen sanfter Schmuck.
Hier duften Kräuter Balsam aus,
hier sprosst den Wunden Heil.
Die Zweige krümmt der goldnen Früchte Last;
hier wölbt der Hain zum kühlen Schirme sich;
den steilen Berg bekrönt ein dichter Wald.
With verdure clad
the fields appear
delightful to the ravish’d sense;
by flowers sweet and gay
enhanced is the charming sight.
Here vent their fumes the fragrant herbs;
here shoots the healing plant.
By load of fruits th’ expanded boughs are press’d;
to shady vaults are bent the tufty groves;
the mountain’s brow is crown’d with closed wood.
Recitative Uriel
Und die himmlischen Heerscharen
verkündigten den dritten Tag,
Gott preisend und sprechend:
And the heavenly host
proclaimed the third day,
praising God and saying:
Chorus
Stimmt an die Saiten, ergreift die Leier!
Lasst euren Lobgesang erschallen!
Frohlocket dem Herrn, dem mächtigen Gott!
Denn er hat Himmel und Erde
bekleidet in herrlicher Pracht.
Awake the harp, the lyre awake!
In shout and joy your voices raise!
In triumph sing the mighty Lord!
For he the heavens and earth
has clothed in stately dress.
Please turn page quietly
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Text and translation
THE FOURTH DAY
Recitative Uriel
Und Gott sprach:
‘Es sei’n Lichter an der Feste des Himmels,
um den Tag von der Nacht zu scheiden,
und Licht auf der Erde zu geben;
und es sei’n diese für Zeichen und für Zeiten
und für Tage und für Jahre!’
Er machte die Sterne gleichfalls.
And God said:
Let there be lights in the firmament of heaven
to divide the day from the night,
and to give light upon the earth;
and let them be for signs and for seasons,
and for days, and for years.
He made the stars also.
(Genesis I: 14–16)
Recitative Uriel
In vollem Glanze steigen jetzt
die Sonne strahlend auf;
ein wonnevoller Bräutigam,
ein Riese stolz und froh,
zu rennen seine Bahn.
Mit leisem Gang und sanftem Schimmer
schleicht der Mond
die stille Nacht hindurch.
Den ausgedehnten Himmelsraum
ziert ohne Zahl
der hellen Sterne Gold,
und die Söhnes Gottes
verkündigten den vierten Tag
mit himmlischem Gesang,
seine Macht ausrufend also:
In splendour bright is rising now
the sun and darts his rays;
an arn’rous, joyful, happy spouse,
a giant proud and glad
to run his measur’d course.
With softer beams and milder light
steps on the silver moon
thro’ silent night.
The space immense of th’ azure sky
innum’rous host
of radiant orbs adorns,
and the sons of God
announced the fourth day
in song divine,
proclaiming thus his power:
Chorus and Trio
Chorus
Die Himmel erzählen
die Ehre Gottes;
und seiner Hände Werk
zeigt an das Firmament.
The heavens are telling
the glory of God;
the wonder of his works
displays the firmament.
Gabriel, Uriel, Raphael
Dem kommenden Tage
sagt es der Tag;
die Nacht, die verschwand,
der folgenden Nacht.
To day that is coming
speaks it the day;
the night that is gone
to following night.
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Text and translation
Chorus
Die Himmel erzählen, etc.
The heavens are telling, etc.
Gabriel, Uriel, Raphael
In alle Welt
ergeht das Wort,
jedem Ohre kilngend,
keiner Zunge fremd.
In all the lands
resounds the word,
never unperceived,
ever understood.
Chorus
Die Himmel erzählen, etc.
The heavens are telling, etc.
Part 2
THE FIFTH DAY
Recitative Gabriel
Und Gott sprach:
‘Es bringe das Wasser
in der Fülle hervor webende Geschöpfe,
die Leben haben, und Vögel,
die über der Erde fligen mögen
in dem offenen Firmamente des Himmels.
Aria Gabriel
Auf straken Fittichen
schwinget sich der Adler stolz
und teilet die Luft im schnellesten Fluge
zur Sonne hin.
Den Morgen früsst
der Lerche frohes Lied,
und Liebe girrt
das zarte Taubenpaar.
Aus jedem Busch und Hain erschallt
der Nachtigallen s¨sse Kehle.
Noch drückte Gram nicht ihre Brust,
noch war zur Klage nicht gestimmt
ihr reizender Gesang.
Recitative Raphael
Und Gott schuf grosse Walfische
und ein jedes lebende Geschöpf, das sich beweget,
und Gott segnete sie, sprechend:
And God said:
Let the waters bring forth
abundantly the moving creature
that hath life, and fowl,
that may fly above the earth
in the open firmament of heaven.
(Genesis 1:20)
On mighty pens uplifted
soars the eagle aloft,
and cleaves the sky in swiftest flight
to the blazing sun.
His welcome bids to morn
the merry lark,
and cooing calls
the tender dove his mate.
From ev’ry bush and grove resound
the nightingale’s delightful notes.
No grief affected yet her breast,
nor to a mournful tale were tun’d
her soft, enchanting lays.
And God created great whales,
and ev’ry living creature that moveth,
and God blessed them, saying:
(Genesis I 21–2)
Please turn page quietly
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Text and translation
‘Seid fruchtbar alle, mehret euch!
Bewohner der Luft, vermehret euch
und singt auf jedem Aste!
Mehret euch, ihr Flutenbewohner,
und füllet jede Tiefe!
Seid fruchtbar, wachset, mehret euch!
Erfreut euch in eurem Gott!
Be fruitful all, and multiply!
Ye winged tribes, be multiplied,
and sing on ev’ry tree!
Multiply, ye finny tribes,
and fill each wat’ry deep!
Be fruitful, grow and multiply!
And in your God and Lord rejoice!
Recitative Raphael
Und die Engel rührten
ihr’ unsterblichen Harfen
und sangen die Wunder des fünften Tags.
And the angels struck
their immortal harps,
and the wonders of the fifth day sang.
Trio
Gabriel
In holder Anmut stehn,
mit jungem Grün geschmückt,
die wogichten Hügel da.
Aus ihren Adern quillt
in fliessendem Kristall
der kühlende Bach hervor.
Most beautiful appear,
with verdure young adorn’d,
the gently sloping hills.
Their narrow, sinuous veins
distil in crystal drops
the fountain fresh and bright.
Uriel
In frohen Kreisen schwebt,
sich wigend in der Luft,
der munteren Vögel Schar.
Den bunten Federglanz
erhöht im Wechselflug
das goldene Sonnenlicht.
In lofty circles plays
and hovers through the sky
the cheerful host of birds.
And in the flying whirl,
the glitt’ring plumes are dyed,
as rainbows, by the sun.
Raphael
Das helle Nass durchblitzt
Der Fisch und windet sich
in stetem Gewühl umher.
Vom tiefsten Meeresgrund
wälzt sich Leviathan
auf schäumender Well’ empor.
See flashing through the wet
in thronged swarms the fry
on thousand ways around.
Upheaved from the deep,
th’ immense Leviathan
sports on the foaming wave.
Gabriel, Uriel, Raphael
Wie viel sind deine Werk’, o Gott!
Wer fasset ihre Zahl?
How many are thy works, O God!
Who may their numbers tell?
Trio and Chorus
Der Herr ist gros in seiner Macht,
und ewig bleibt sein Ruhm.
The Lord is great, and great his might;
His glory lasts for ever and for evermore.
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Text and translation
THE SIXTH DAY
Recitative Raphael
Und Gott sprach:
‘Es bringe die Erde hervor
lebende Geschöpfe nach ihrer Art,
Vieh und kriechendes Gewürm,
und Tiere der Erde
nach ihren Gattungen!’
Recitative Raphael
Gleich öffnet sich der Erde Schoss,
und sie gebiert auf Gottes Wort
Geschöpfe jeder Art,
in vollem Wuchs und ohne Zahl.
Vor Freude brüllend
steht der Löwe da.
Hier schiesst,
der gelenkige Tiger empor.
Das zackig’ Haupt
erhebt der schnelle Hirsch.
Mit fliegender Mähne springt und wieh’re
voll Mut und Kraft das edle Ross.
Auf grünen Matten weidet
schon das Rind,
in Herden abgeteilt.
Die Triften deckt, als wie gesät,
das wollenreiche,
sanfte Schaf.
Wie Staub verbreitet sich
in Schwarm und Wirbel
das Heer der Insekten.
In langen Zügen kriecht
am Boden das Gewürm.
Aria Raphael
Nun scheint in vollem Glanze der Himmel,
nun prangt in ihrem Schmucke die Erde.
Die Luft erfüllt das weiche Gefieder,
die Wasser schwellt der Fische Gewimmel,
den Boden drückt der Tiere Last.
Doch war noch alles nicht vollbracht.
Dem Ganzen fehlte das Geschöpf,
das Gottes Werke dankbar sehn,
des Herren Güte preisen soll.
And God said:
Let the earth bring forth
the living creature after his kind;
cattle and creeping thing,
and beasts of the earth
after their kind.
(Genesis 1:24)
Straight opening her fertile womb,
the earth obey’d the word,
and teem’d creatures numberless,
in perfect forms and fully grown.
Cheerful roaring stands
the tawny lion.
In sudden leaps
the flexible tiger appears.
The nimble stag
bears up his branching head.
With flying mane and fiery look,
impatient neighs the sprightly steed.
The cattle in herds already seek
their food on fields
and meadows green.
And o’er the ground, as plants,
are spread the fleecy,
meek and bleating flock.
Unnumber’d as the sands
in whirls arose
the host of insects.
In long dimensions creeps
with sinuous trace the worm.
Now heav’n in fullest glory shone;
earth smiles in all her rich attire.
The room of air with fowl is fill’d;
the water swell’d by shoals of fish;
by heavy beasts the ground is trod.
But all the work was not complete.
There wanted yet that wond’rous being
that grateful should God’s pow’r admire,
with heart and voice his goodness praise.
Please turn page quietly
13
Text and translation
Recitative Uriel
Und Gott schuf den Menschen nach seinem Ebenbilde,
nach dem Ebenbilde Gottes schuf er ihn.
Mann und Weib erschuf er sie.
Den Atem des Lebens hauchte er in sein Angesicht,
und der Mensch wurde zur lebendigen Seele.
And God created man in his own image.
In the image of God created he him.
Male and female created he them.
He breathed into his nostrils the breath of life,
and man became a living soul.
(Genesis 1:27; 2: 7)
Aria Uriel
Mit Würd’ und Hoheit angetan,
mit Schönheit, Stärk’ und Mut begabt,
gen Himmel aufgerichtet, steht der Mensch,
ein Mann und König der Natur.
Der breitgewölbt erhabne Stirn
verkünd’t der Weisheit tiefen Sinn,
und aus dem hellen Blicke strahlt der Geist,
des Schöpfers Hauch und Ebenbild.
An seinen Busen schmieget sich,
für ihn, aus ihm geformt,
die Gattin hold und anmutsvoll.
In froher Unschuld lächelt sie,
des Frühlings reizend Bild,
ihm Liebe, Glück und Wonne zu.
In native worth and honour clad,
with beauty, courage, strength adorn’d,
to heav’n erect and tall, he stands a man,
the Lord and King of nature all.
The large and arched front sublime
of wisdom deep declares the seat,
and in his eyes with brightness shines the soul,
the breath and image of his God.
With fondness leans upon his breast
the partner for him form’d,
a woman fair and graceful spouse.
Her softly smiling virgin looks,
of flow’ry spring the mirror,
bespeak him love, and joy, and bliss.
Recitative Raphael
Und Gott sah jedes Ding,
war er gemacht hatte,
und es war sehr gut;
und der himmlische Chor feierte das Ende
des sechsten Tages mit lautem Gesang.
And God saw ev’rything,
that he had made;
and behold, it was very good;
and the heavenly choir in song divine
thus closed the sixth day.
Chorus and Trio
Chorus
Vollendet ist das grosse Werk;
der Schöpfer siesht’s und freuet sich.
Auch unsre Freud’ erschalle laut.
Des Herren Lob sei unser Lied!
Achieved is the glorious work;
the Lord beholds it and is pleas’d.
In lofty strains let us rejoice!
Our song let be the praise of God!
Gabriel, Uriel
Zu dir, o Herr, blickt alles auf;
um Speise fleht dich alles an.
Du öffnest deine Hand;
gesättigt werden sie.
On thee each living soul awaits;
from thee, O Lord, they beg their meat.
Thou openest thy hand,
and sated all are they.
14
Text and translation
Raphael
Du wendest ab dei Angesicht;
da bebet alles und erstarrt.
Du nimmst den Odem weg;
in Staub zerfallen sie.
But as to them thy face is hid,
with sudden terror they are struck.
Thou tak’st their breath away;
they vanish into dust.
Gabriel, Uriel, Raphael
Den Odem hauchst du wieder aus,
und neues Leben sprosst hervor.
Verjüngst ist die Gestalt
der Erd’ an Reiz und Kraft.
Thou lett’st thy breath go forth again,
and life with vigour fresh returns.
Revived earth unfolds new force
and new delights.
Chorus
Vollendet ist das grosse Werk.
Des Herren Lob sei unser Lied!
Alles lobe seinen Namen,
denn er allein ist hoch erhaben.
Alleluia.
Achieved is the glorious work.
Our song let be the praise of God!
Glory to his name for ever;
he sole on high exalted reigns.
Alleluia.
INTERVAL 20 minutes
Part 3
ADAM AND EVE IN EDEN
Introduction (Morning) and Recitative Uriel
Aus Rosenwolken bricht,
geweckt durch süssen Klang,
der Morgen jung und schön.
Vomm himmlischen Gewölbe
strömt reine Harmonie
zur Erde hinab.
Seht das beglückte Paar,
wie Hand in Hand es geht!
Aus ihren Blicken strahlt
des heissen Danks Gefühl.
Bald singt in lautem Ton
ihr Mund des Schöpfers Lob.
Lasst unsre Stimme dann
sich mengen in ihr Lied!
In rosy mantle appears,
by tunes sweet awak’d,
the morning young and fair.
From the celestial vaults
pure harmony descends
on ravished earth.
Behold the blissful pair,
where hand in hand they go!
Their flaming looks express
what feels the grateful heart.
A louder praise of God
their lips shall utter soon.
Then let our voices ring,
united with their song!
Please turn page quietly
15
Text and translation
Duet Adam, Eve
Von deiner Güt’, o Herr und Gott,
ist Erd’ und Himmel voll.
Die Welt, so gross, so wunderbar,
ist deiner Hände Werk.
By thee with bliss, O bounteous Lord,
the heav’n and earth are stor’d.
This world, so great, so wonderful,
thy mighty hand has fram’d.
Chorus
Gesegnet sei des Herren Macht!
Sein Lob eerschall’ in Ewigkeit!
For ever blessed be his pow’r!
His name be ever magnify’d!
Adam
Du Sterne hellster, o wie schön
verkündest du den Tag!
Wie schmückst du ihn, o Sonne, du,
des Weltalls Seel’ und Aug’!
Of stars the fairest, O how sweet
thy smile at dawning morn!
How brighten’st thou, O sun, the day,
thou eye and soul of all!
Chorus
Macht kund auf eurer weiten Bahn
des Herren Macht und seinen Ruhm!
Proclaim in your extended course
th’ almighty pow’r and praise of God!
Eve
Und du, der Nächte Zierd’ und Trost,
und all das strahlend Heer,
verbreitet überall, verbreitet sein Lob
in eurem Chorgesang!
And thou that rules the silent night,
and all ye starry host,
spread wide and ev’rywhere his praise
in choral songs about!
Adam
Ihr Elemente, deren Kraft
stets neue Formen zeugt,
ihr Dünst’ und Nebel, die der Wind
versammelt und vertreibt:
Ye strong and cumbrous elements,
who ceaseless changes make,
ye dusky mists and dewy steams,
who rise and fall through th’ air:
Eve, Adam, Chorus
Lobsinget alle Gott dem Herrn!
Gross wie sein Nam’ ist seine Macht!
Resound the praise of God our Lord!
Great his name, and great his might.
Eve
Sanft rauschend lobt, o Quellen, ihr!
Den Wipfel neigt, ihr Bäum’!
Ihr Pflanzen, düftet, Blumen, haucht
ihm euren Wohlgeruch!
Ye purling fountains tune his praise,
and wave your tops ye pines!
Ye plants exhale, ye flowers breathe
at him your balmy scent!
Adam
Ihr, deren Pfad die Höhn erklimmt,
und ihr, die niedrig kriecht,
ihr deren Flug die Luft durchschneid’t,
Ye that on mountains stately tread,
and ye, that lowly creep,
ye birds that sing at heaven’s gate,
16
Text and translation
und ihr, im tiefen Nass,
and ye, that swim the stream,
Eve, Adam, Chorus
ihr Tiere, preiset alle Gott!
Ihn lobe, was nur Odem hat!
Ye living souls extol the Lord!
Him celebrate, him magnify!
Eve, Adam
Ihr dunklen Hain’, ihr Berg’ und Tal’,
ihr Zeugen unsres Danks,
ertönen sollt ihr früh und spät
von unsrem Lobgesang.
Ye values, hills, and shady woods,
our raptur’d notes ye heard;
from morn to ev’n you shall repeat
our grateful hymns of praise.
Chorus
Heil dir, o Gott!
O Schöpfer, Heil!
Aus deinem Wort entstand die Welt.
Dich beten Erd’ und Himmel an;
wir preisen dich in Ewigkeit.
Hail, bounteous Lord!
Almighty, hail!
Thy word call’d forth this wondrous frame.
Thy pow’r adore the heav’n and earth:
we praise thee now and evermore.
Recitative Adam, Eve
Adam
Nun ist die erste Pflicht erfüllt;
dem Schöpfer haben wir gedankt.
Nun folge mir,
Gefährtin meines Lebens!
Ich leite dich, und jeder Schritt
weckt neue Freud’
in unsrer Brust,
zeigt Wunder überall.
Erkennen sollst du dann,
welch unaussprechlich Glück
der Herr uns zugedacht,
ihn preisen immerdar,
ihm weihen Herz und Sinn.
Komm, folge mir!
Ich leite dich!
Our duty we performed now,
in off’ring up to God our thanks.
Now follow me,
dear partner of my life!
Thy guide I’ll be, and ev’ry step
pours new delights
into our breast,
shows wonders ev’rywhere.
Then may’st thou feel and know
the high degree of bliss
the Lord allotted us,
and with devoted heart
his bounty celebrate.
Come follow me!
Thy guide I’ll be!
Eve
O du, für den ich ward!
Mein Schirm, mein Schild, mein All!
Dein Will’ ist mir Gesetz.
So hat’s der Herr bestimmt,
und dir gehorchen bringt mir Freude,
Glück und Ruhm.
O thou, for whom I am!
My help, my shield, my all!
Thy will is law to me.
So God, our Lord, ordains,
and from obedience grows
my pride and happiness.
Please turn page quietly
17
Text and translation
Duet Adam, Eve
Adam
Holde Gattin! Dir zur Seite
fliessen sanft die Stunden hin.
Jeder Augenblick ist Wonne,
keine Sorge trübet sie.
Graceful consort! At thy side
softly fly the golden hours.
Ev’ry moment brings new rapture,
ev’ry care is put to rest.
Eve
Teurer Gatte! Dir zur Seite
schwimmt in Freuden mir das Herz.
Dir gewidmet ist mein Leben;
deine Liebe sei mein Lohn.
Spouse adored! At thy side
purest joys o’erflow the heart.
Life and all I am is thine;
my reward thy love shall be.
Adam
Der tauende Morgen,
o wie ermuntert er!
The dew dropping morn,
O how she quickens all!
Eve
Die Kühle des Abends,
o wie erquicket sie!
The coolness of ev’n,
O how she all restores!
Adam
Wie labend ist
der runden Früchte Saft!
How grateful is
of fruit the savour sweet!
Eve
Wie reizend ist
der Blumen süsser Duft!
How pleasing is
of fragrant bloom the smell!
Adam, Eve
Doch ohne dich, was wäre mir
der Morgentau,
der Abendhauch,
der Früchte Saft,
der Blumen Duft!
Mit dir erhöht sich hede Freude,
mit dir geniess ich doppelt sie,
mit dir ist Seligkeit das Leben,
dir sei es ganz geweiht.
But without thee, what is to me
the morning dew,
the breath of ev’n,
the sav’ry fruit,
the fragrant bloom?
With thee is ev’ry joy enhanced,
with thee delight is ever new;
with thee is life incessant bliss;
thine it whole shall be.
18
Text and translation
Final Scene
Recitative Uriel
O glücklich Paar, und glücklich immerfort,
wenn falscher Wahn euch nicht verführt,
noch mehr zu wünschen, als ihr habt,
und mehr zu wissen, als ihr sollt!
O happy pair, and always happy yet,
if not misled by false conceit,
ye strive at more as granted is,
and more to know as know ye should!
Chorus and Soloists
Singt dem Herren, alle Stimmen!
Dank ihm alle seine Werke!
Lasst zu Ehren seines Namens
Lob in Wettgewang erschallen!
Des Herren Ruhm,
er bleibt in Ewigkeit.
Amen.
Sing the Lord, ye voices all!
Utter thanks, ye all his works!
Celebrate his pow’r and glory!
Let his name resound on high!
The Lord is great;
his praise shall last for aye.
Amen.
Baron Gottfried van Swieten (1733–1803)
Anonymous English text compiled from biblical sources and
from ‘Paradise Lost’ by John Milton (1608–74)
19
About the performers
René Jacobs began his career as
a choirboy in his native city of
Ghent. He continued his musical
training in Brussels and at The
Hague. He met the Kuijken
brothers, Alfred Deller and
Gustav Leonhardt, who
encouraged him to become a
countertenor, which led to recitals
all over the world.
In 1977 he founded Concerto Vocale. His work as a
conductor subsequently saw him leading performances
of operas by Monteverdi, Cesti, Cavalli, Gluck and
Handel in leading venues in Europe and Japan. Most of
these have been recorded and won prestigious awards.
Since 1997 he has been artistic director of the Innsbruck
Festival, while in his capacity as principal guest conductor
and artistic adviser for Baroque repertoire at the Berlin
Staatsoper he has conducted Telemann’s Orpheus,
Graun’s Cleopatra e Cesare, Gassmann’s Opera seria,
Handel’s Semele and Rinaldo, Keiser’s Croesus,
Alessandro Scarlatti’s Griselda and Haydn’s Il mondo
della luna. He has also appeared at La Monnaie in
Brussels, conducting operas by Monteverdi, Handel and
Mozart.
Julia Kleiter soprano
Werner Kmetitsch
René Jacobs conductor
German soprano Julia Kleiter
made her operatic debut in 2004,
as Pamina (The Magic Flute) with
Opéra-Bastille in Paris. She has
since worked with leading
conductors including Claudio
Abbado, Semyon Bychkov,
Nikolaus Harnoncourt, Thomas
Hengelbrock, Marc Minkowski,
Franz Welser-Möst and Riccardo
Muti, in repertoire which includes works by J. C. Bach,
Beethoven, Gluck, Handel, Mozart, Mussorgsky and
Richard Strauss.
This season’s highlights include a duo recital with
Christoph Prégardien at the Schubertiade in
Schwarzenberg, a song recital in Salzburg, a new
production of Fidelio in Paris and Der Freischütz at the
Baden-Baden Festival and in Dortmund, a tour of
Haydn’s The Creation, concerts marking Mendelssohn’s
anniversary in Amsterdam and Sophie (Der
Rosenkavalier) and Susanna (The Marriage of Figaro) in
Dresden. Later this year she will also sing in The
Marriage of Figaro at the Salzburg Festival, conducted
by Daniel Harding, and in a new production of Haydn’s
Il mondo della luna under Nikolaus Harnoncourt at
Theater an der Wien. She makes her debuts with the
For several years René Jacobs was a professor at the
New York Philharmonic and at the Metropolitan Opera,
Schola Cantorum Basiliensis – an institution with which he New York, in 2010.
still maintains a close relationship – training many singers
who today enjoy prominent careers.
In concert she has performed in Stockholm, Munich,
Stuttgart, Los Angeles, Ferrara, Berlin, Paris, Toulouse,
René Jacobs’s many awards include best operatic
Naples and at the Salzburg Festival and on tour in Japan
production of 1998 for Monteverdi’ L’Orfeo from the
and South Korea. She has also given song recitals at the
Syndicat Professionnel de la Critique Dramatique et
Lucerne Festival and the Vienna Musikverein.
Musicale, Diapason’s Musical Personality of the Year for
Così fan tutte and Alessandro Scarlatti’s Il primo
Julia Kleiter’s recordings include Richard Strauss’s
omicidio, a Cannes Classical Award for Handel’s
Daphne, Mozart’s Requiem and The Magic Flute and
Rinaldo, Gramophone Record of the Year for The
DVDs of La finta giardiniera, Lucio Silla and Arabella.
Marriage of Figaro and Haydn’s Die Jahreszeiten (which
also won a Diapason d’Or of the year), Opernwelt’s
award of Rediscovery of the year for his production of
Cavalli’s Eliogabalo, plus a Grammy Award for Figaro.
20
About the performers
Thomas Quasthoff bass-baritone
The young German tenor
Maximilian Schmitt discovered
his love for music early on, as a
choirboy with the Regensburger
Domspatzen. He subsequently
studied at Berlin University of the
Arts and in 2005–6 was a
member of the Young Ensemble
at the Bavarian State Opera,
Munich, as well as gaining
experience via masterclasses with Ann Murray and
Robert Dean Smith.
The German bass-baritone
Thomas Quasthoff is acclaimed
as one of the most remarkable
singers of his generation. A
frequent guest of both the Berlin
and the Vienna Philharmonic
orchestras he appears regularly
with the world’s leading
ensembles under such renowned
conductors as Claudio Abbado,
Daniel Barenboim, Bernard Haitink, Mariss Jansons, Kurt
Masur, Seiji Ozawa, Sir Simon Rattle, Helmuth Rilling,
Christian Thielemann and Franz Welser-Möst.
While still in the Young Ensemble, he made his debut at
the Salzburg Landestheater as Tamino in The Magic
Flute and has also performed roles in Roberto Devereux
and Il turco in Italia in Munich. At the beginning of this
season he began a two-year contract with Mannheim
State Theatre, where he will perform in operas by Mozart
and Wagner.
In concert he has worked with conductors such as Marcus
Creed, Leopold Hager, Daniel Harding, Thomas
Hengelbrock, Andrew Manze, Trevor Pinnock and Ulf
Schirmer.
Jim Rakete
Maximilian Schmitt tenor
He made his opera debut in 2003, as Don Fernando
(Fidelio) under Sir Simon Rattle at the Salzburg Easter
Festival. This was followed by his debut at the Vienna
Staatsoper in the role of Amfortas (Parsifal) under
Donald Runnicles, a role he reprised under Rattle in
2005.
Recent highlights include appearances with the Vienna
and Berlin Philharmonic orchestras, the Berliner
Barocksolisten, Boston Symphony Orchestra, a residency
at the Wigmore Hall, recitals in Berlin, Boston and at the
Salzburg and Schubertiade (Schwarzenberg) festivals.
Recent highlights include performances of Bach’s Mass in
His discography ranges from Bach to jazz and includes
B minor and St Matthew Passion and the title-role in a
concert performance of Weber’s Oberon with the
Lieder by Brahms, Liszt, Mahler and Schubert, German
Stuttgart Philharmonic Orchestra.
opera arias and a CD for children. Among his many
accolades are Grammy and Gramophone awards and
This year he tours with Helmuth Rilling and the
ECHO prizes.
Bachakademie and, with the Leipzig Gewandhaus
Orchestra under Riccardo Chailly, performs the St
From 1996, he was a professor in the vocal department
Matthew Passion, which he will also be recording.
of the Music Academy in Detmold, before accepting a
new position at the Hanns Eisler Music University in Berlin
in 2004.
In 2005 Thomas Quasthoff received the Order of Merit
from the President of the German Republic. The
following year he was awarded the European Culture
Price for Music at the Dresden Frauenkirche.
21
About the performers
RIAS Chamber Choir
Freiburg Baroque Orchestra
This season marks the 60th anniversary of the RIAS
Chamber Choir, which became the first professional
chamber choir to devote itself to historically informed
performance practice. As well as being renowned in the
field of early music, it also has a strong profile in music of
the 19th, 20th and 21st centuries.
Even after 20 years, Baroque music continues to hold a
special place for the FBO. While the Freiburgers have
meanwhile earned a reputation as interpreters of
Classical, Romantic and even contemporary music, the
Baroque in the orchestra’s name is still more than merely
a description of an epoch: it stands for the musicians’
practical performance perspective as well as for their
pleasure in musicianship and cultivated, virtuoso
ensemble playing.
It was founded in 1948 as a full-time professional chorus
and under its directors Herbert Ristenpart, Herbert
Froitzheim and Günther Arndt it achieved international
acclaim. It was the regular partner of Ferenc Fricsay and
Herbert von Karajan. In addition to important German
first performances it has given the world premieres of
works by Schoenberg, Orff, Blacher, Krenek, Penderecki,
Zimmermann, Henze and Reimann.
It was under the directorship of Uwe Gronostay
(1972–86) that the choir began to hone its nowcharacteristic transparency of sound. This work was
continued by Marcus Creed (1987–2001), and the choir
formed lasting partnerships with period instruments such
as Concerto Köln, the Freiburg Baroque Orchestra,
Akademie für Alte Musik and Orchestre des ChampsÉlysées, working regularly with conductors including
Frans Brüggen, Thomas Hengelbrock and Sir Roger
Norrington. The choir’s close collaboration with tonight’s
conductor, René Jacobs, began in 1992 and has yielded
award-winning recordings and acclaimed concerts and
tours. Philippe Herreweghe made his debut with the
choir in 1996 and now frequently works with it,
principally in music of the Romantic era.
In recent years the choir has toured extensively,
transforming it from a radio choir to a self-reliant
concert ensemble. Under Daniel Reuss (2003–6) it has
increasingly focused on modern classics, including
benchmark recordings of works by Stravinsky,
Martin and Poulenc. Hans-Christoph Rademann took
over leadership of the RIAS Chamber Choir at the
beginning of last season, with the aim of exploiting
the choir’s diversity, and its unconventionally large range
of repertoire.
22
It is through this combination of qualities that the
Freiburg Baroque Orchestra has triumphed in the
world’s finest concert halls. From a Baroque perspective,
the music of the 18th and 19th centuries may be relatively
modern, but what the orchestra brings to music of all
eras is a sense of immediacy, as if the ink on the
manuscript paper were not yet dry. As James R.
Oestreich wrote in the New York Times in March 2007:
‘The Freiburg Baroque Orchestra, familiar from … opera
recordings and other notable projects, may
be the liveliest ensemble now on the international early
music scene.’
The Freiburg Baroque Orchestra enjoys regular
collaborations with such distinguished artists as Andreas
Staier, Thomas Quasthoff, Cecilia Bartoli and René
Jacobs. It has also made many award-winning
recordings, and was designated ‘Orchestra of the Year
2007’ by the magazine Opernwelt.
The FBO makes around 100 appearances each year in a
variety of guises, ranging from chamber ensemble to
opera orchestra, working with both guest conductors
and under the artistic direction of its two concertmasters,
Gottfried von der Goltz and Petra Müllejans. The FBO is
a self-administrated ensemble with its own subscription
concerts in Freiburg’s Konzerthaus, Stuttgart’s
Liederhalle and Berlin’s Philharmonie, as well as regular
worldwide tours.
Choir and Orchestra lists
RIAS Chamber Choir
Soprano
Ulrike Barth
Madalena de Faria
Kristin Foss
Katharina Hohlfeld
Christina Kaiser
Susanne Moldenhauer
Sabine NürmbergerGembaczka
Stephanie Petitlaurent
Judith Schmidt
Hannelore Starke
Inés Villanueva
Alto
Andrea Effmert
Karola Hausburg
Waltraud Heinrich
Regina Jakobi
Bärbel Kaiser
Franziska Markowitsch
Hildegard Wiedemann
Marie-Luise Wilke
Tenor
Volker Arndt
Joachim Buhrmann
Wolfgang Ebling
Friedemann Hecht
Friedemann Körner
Christian Mücke
Birger Radde
Kai Roterberg
Bass
Janusz Gregorowicz
Ingolf Horenburg
Werner Matusch
Paul Mayr
Rudolf Preckwinkel
Simon Robinson
Johannes Schendel
Klaus Thiem
Bassoon
Javier Zafra
Eyal Streett
Piano
Sebastian Wienand
Contrabassoon
Eckhard Lenzing
General Manager
Hans-Georg Kaiser
Horn
Teunis van der Zwart
Bart Aerbeydt
Tour Manager
Stefan Lippert
Trumpet
Friedemann Immer
Jaroslav Roucek
Intermusica Tour
Management
Freiburg Baroque Orchestra
Violin I
Petra Müllejans
Brian Dean
Martina Graulich
Peter Barczi
Eva Borhi
Karin Dean
Julita Forck
Violin II
Annelies van der Vegt
Gerd-Uwe Klein
Regine Schröder
Christoph Hesse
Lotta Suvanto
Hongxia Cui
Viola
Annette Schmidt
Christian Goosses
Hugo Bollschweiler
Claudia Hofert
Cello
Stefan Mühleisen
Ute Petersilge
Hristo Kouzmanov
Double Bass
Andy Ackerman
Tom Devaere
Uli Wolff
Flute
Susanne Kaiser
Daniela Lieb
Anne Parisot
Oboe
Susanne Regel
Saskia Fikentscher
Clarinet
Tindaro Capuano
Nicola Boud
Trombone
Keal Couper
Falko Munkwitz
Werner Engelhard
Timpani
Peppie Wiersma
Programme produced by Harriet Smith; printed by Sharp Print Limited;
advertising by Cabbell (tel. 020 8971 8450)
Please make sure that all digital watch alarms and mobile phones are switched
off during the performance. In accordance with the requirements of the licensing
authority, sitting or standing in any gangway is not permitted. Smoking is not
permitted anywhere on the Barbican premises. No eating or drinking is allowed
in the auditorium. No cameras, tape recorders or any other recording equipment
may be taken into the hall.
Managing Director
Stephen Lumsden
Manager, Tours &
Projects
Ben Larpent
Project Coordinator,
Tours & Projects
Julia Larigo
Barbican Centre
Silk Street, London EC2Y 8DS
Administration 020 7638 4141
Box Office 020 7638 8891
Great Performers Last-Minute Concert
Information Hotline 0845 120 7505
www.barbican.org.uk
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