Vows and Visions

Bruce Fithian, Music Director Vows and Visions Tuesday, March 24, 2015, 7:30 PM First Parish Church 9 Cleaveland Street, Brunswick, Maine Friday, March 27,2015,7:30 PM
Cathedral Church of Saint Luke
143 State Street, Portland, Maine
Sunday, March 29, 2015, 4:00'lj M
Episcopal Church of Saint Mary 43 Foreside Road, Falmouth, Maine ~-----~~-----~ Vows and Visions
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(c.1514~ 1572)
Psalm 89
Claude Goudinlel
Lamentatio Sanctae Matris Ecclesiae Constantinopolitanae
Guillaume Dufay (c.1397~1474) As sub hu bada min tal'ati hii
Bruce Fithian, soloist
Hazrat H_assan Ibn Thabit (RadiAllahu Anhu) (d.674)
Giacomo Carissimi (c.1605~1674)
Abra Mueller, Rachel Keller, Nicholas MacDonald, Historicus
Erin Chenard, Rachel Keller, Christine Letcher, soprano duets
Martin Lescault, lephthah
Molly Harmon, Filia
John D. Adams, bass solo
Kathryn Sytsma, viol da gamba; Timothy Burris, archlute; Bruce Fithian, positif organ
Jephte
Intermission
II
From Oratorio Jephtha: Recitative: Deeper and deeper still and Aria: Waft her, angels through the
skies, HWV 70
George Frederick Handel (1685~1759)
Martin Lescault, tenor; Mary Jo Carlsen, violin I; Madeline Kapp, violin II; Evan Cuddy, viola;
Kathryn Sytsma, viol da gamba; Timothy Burris, archlute; Bruce Fithian, positif organ
BWV 159: Sehet, wir geh'n hinauf nach Jerusalem
Johann Sebastian Bach
I. Arioso and Recitative: John Adams, bass; Andrea Graichen, mezzo~soprano
II. Aria and Chorale: Andrea Graichen, mezzo~soprano and Schola women
III. Recitative: Paul McGovern, tenor
IV. Aria: John D. Adams, bass; Billie Jo Brito, oboe
V. Chorale
(1685~ 1750)
God spake sometime in visions
John Blow (c.1649~1708)
Soloists: v.20 Rachel Keller, Abra Mueller, Martin Lescault, Paul McGovern, Nicholas
MacDonald, Bruce Canterbury
v.23 James M. Brown, Paul McGovern, Asa Bradford
v.25 Christine Letcher, Andrea Graichen, Abra }Vfdeller, Martin Lescault, Paul McGovern,
Nicholas MacDonald, Bruce Canterbury
v.28 Erin Chenard, Abra Mueller, James Brown, Martin Lescault, Paul McGovern, Bruce
Canterbury, John D. Adams
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Sf
mar'1 Schola
Music Director: Bruce Fithian
Sopranos: Erin Chenard, Molly Harmon, Madeline Kapp, Rachel Keller, Christine Letcher Mezzo"soprano: Andrea Graichen, Abra Mueller Countertenor: James M. Brown Tenors: Bruce Fithian, Martin A. Lescault, Paul McGovern Baritone, Basses: John D. Adams, Asa Bradford, Bruce Canterbury, Nicholas MacDonald Violins: Mary Jo Carlsen, Madeline Kapp Viola: Evan Cuddy Viol da gamba: Kathryn Sytsma Cello: Shannon Allen Archlute: Timothy Burris Positif organ: Bruce Fithian Special Guest: Billie Jo Brito, oboe
Board of Directors Jennifer Gregg - President Bruce Fithian - Music Director Thomas Smith - Treasurer Kue John Lor - Secretary The Reverend David Illingworth James Stoddard Nadine Timberlake Dr. Robert Timberlake St Mary Schola would like to express its gratitude to the communities of Saint Mary in Falmouth, Saint Luke in Portland and First Parish in Brunswick for their continued support and friendship. 3
We wish to thank the following generous benefactors to St Mary Schola:
Seraphim
Anonymous
Cherubim
Jennifer A. Gregg Mrs. Verner Reed Robert and Nadine Timberlake Hosts
Anonymous Tom and Sheila Donaldson Carson and Chris Lutes Virtues
William R. Britton, Jr. Bruce and Lorraine Canterbury Eileen Farrar Margaret Fast Kue John Lor Nancy L. Meiners E. Bainbridge McDonald Patricia C. Mordecai Peter Murray Doug and Becky Pride Tom and Connie Smith James and Elizabeth Stoddard Richard and Louise Sullivan Doug Watkins and Michael Pickel Archangel
Nancy Dimmick
Special thanks:
Douglas Watkins .. Website Administrator
These concerts would not be possible without your support. Relyir~g upon tax-deductible donations,
St Mary Schola is a 501 (c) (3) non-profit organization devoted to fostering appreciation of early music.
Please visit the Schola'swebsite: stmaryschola.org/donate.html for online donations; or checks made
payable to St Mary Schola, can be mailed to 43 ForesideRoad, Falrnouth, Maine 04105.
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Program Notes
Our Lenten concert this year explores the thorny subject of war. The conflicts that have troubled
humanity in the past still threaten earth's prosperity today. It is uncanny how stories from three
thousand years ago remind us of recent events. Historical conflicts have many times been based upon
vows and visions. Portions of Psalm 89 describe these visions and our concert begins and ends with
settings by Claude Goudimel and John Blow.
A very beautiful motet commemorating the fall of Constantinople in 1453 by Guillaume Dufay offers
the Western European view of this event. There is a movi1].g text in French describing Constantinople
as a weeping mother and underneath a Gregorian chant is sung fron1 the Lamentations ofJeremiah.
This music is full of exquisite purity and mystery.
It is only fair to offer the Muslim world's viewpoint as well with a song based on the poem by Hazrat
Hassan Ibn Thabit to commemorate the fall of the Moorish kingdom of Granada in 1492. Hazrat
Hassan Ibn Thabit was an Arabian poet and companion and court poet of the prophet Mohammed.
Giacomo Carissimi is often credited as the inventor of the oratorio, which is an unstaged music drama
based on Biblical texts. His masterpiece is 'J ephte,' which recounts a battle from the Book ofJudges.
J ephthah was called upon to lead his people against the Ammonites. In his haste, not clearly thinking
of consequences, he made a vow that if victorious, whomever he first met after the battle, he would
offer in burnt sacrifice. It is a horrifying story and unthinkable how anyone could make such a bargain.
That his only daughter meets him after the victory compounds the foolishness of his actions.
Carissimi provides very powerful music for this drama. The battle scenes are illustrated by energetic
choruses full of rhythmic intensity. It is ironic that composers have glorified war through magnificent
music, but in Carissimi's defense, he had to do that in order to make the in1pending tragedy so heart
breaking. The scenes with J ephthah and his daughter contain music as moving as anything
Monteverdi ever wrote. Whereas the 'war choruses' are written in a fairly simple style, the
father/ daughter dialogues are filled with wrenching chromatic writing.
We are also moved by the daughter's spiritual journey. When she first learns of her fate, she
understandably laments her own mortality. But then, after this weeping, she also realizes that this
drama is a public tragedy~ and she calls upon the daughters of Israel to weep with her. The final choral
lament is justifiably famous and filled with poignant dissonances.
George F. Handel was also drawn to the story ofJephthah and composed a huge oratorio in 1752.
Martin Lescault will sing a poignant aria in which J ephthah prays that the angels will "waft his
daughter through the skies." The Georgians perhaps could not stomach the ending, so in his oratorio,
an angel saves the daughter with the wise words: "No vow can disannul the law of God; nor such was
its intent, when rightly scanned."
As we are in Lent, we offer one ofJohann Sebastian Bach's most touching church cantatas, 'Sehet, sir
geh'n hinauf nach JerusaIem' [Behold, we go up to Jerusalem]. As often the case with Bach's cantatas,
there is a journey from struggle to ultimate joy. The first movement includes a marching bass
describing the journey to passion week, and mirrors Jesus' marching on the way to Golgotha. The
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bass singer represents both Christ and all of us, and the alto, in very chromatic recitatives, explains
how she appreciates this sacrifice.
In the second movement, the alto sings a beautiful aria describing her intent to follow her savior. The
famous passion chorale 'Oh sacred head, sore wounded' floats above her vocal line, creating a
magnificent chorale prelude. The viol da gamba also has a musical motif that resembles a circling
wheel. In the third movement, the tenor sums up the journey with comments on how Christ's
suffering will ultimately bring joy to others.
The fourth movement reminds us of Mahler, who composed his symphonies in a summer cabin
surrounded by only the works of Bach. This bass aria represents the completion of all suffering. The
words lies ist vollbracht" (it is finished) have a prominent place in both of Bach's Passions, and in this
cantata he drew upon his most profound creative gifts to create an aria of astounding beauty. Both the
oboe and bass singer share the Mahlerian melody, only slightly interrupted by contrasting sections
describing the need for hastening to offer thanks. The final chorale completes the journey,
transforming the savior's wounds, thorns and shame to roses and heavenly bliss.
Visions have also played an important role in religion and history. Sometimes these visions resulted in
kind and virtuous leaders, but there is always the danger tl1at tl1e visions can be misinterpreted. John
Blow, a contemporary of Henry Purcell, wrote an elaborate verse anthem for the 1685 coronation of
J ames II called 'God Spake Sometime in Visions.' Based on verses from psalm 89, the text glorifies a
leader who will protect the people and 'smite down his foes before his face.' But th~re are also gentler
verses speaking of God's covenant and his constant mercy. Alas, James II turned out to be not such
an estimable leader: following the upheaval of the religious Civil War, his insistence to move the
country towards Catholicism led to the 1688 Revolution and his removal from the throne.
Blow's music continues to impress anyone who hears it. The verse anthem begins with a French
overture that includes unexpected harmonic twists. The anthem then continues, alternating between
grand 'tutti' sections, where everyone sings and plays, and softer contrasting sections, sung by solo
slngers.
This music requires unusual forces: three bass parts, three tenor parts and two soprano parts. Like
Purcell, Blow must have been influenced by the French style, and his solo sections remind of
Charpentier, especially the use of bass, tenor, and counter tenor trios.
The music from our concert has been very rewarding to learn and perform and we are so happy to
share these great wonders from the past with you our loyal and appreciative audience.
Bruce Fithian
About the Schola
St Mary Schola was founded in 2008 by The Reverend J ames Dalton-Thompson and Bruce Fithian
with the goal to_provide the finest in early music literature to New England audiences. Based at the
Episcopal Church of Saint Mary in Falmouth, the ensemble presents three concert programs a year.
The Schola features some of Maine's finest singers and instrumentalists who explore the great
masterworks of the medieval, Renaissance and baroque eras, especially the music of Monteverdi,
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Schutz and Bach. Would you like to sponsor a St Mary Schola concert? Concert sponsorship helps
pay rental fees and gives the artists remuneration beyond the ticket sales. Please see any Schola board
member or email [email protected] for more information.
Translations Psalm 89, Claude Goudimel Je chanterai, Seigneur, sans cesse ta bonte; Je parlerai sans fin de ta fidelite; Je dirai ta bonte, dont la terre est remplie, Et ta fidelite dans les cieux etablie. De tous ces vastes corps la course invariable
Prouve que ta parole est toujours immuable
Lord, I will always sing of your goodness
I will speak of your fidelity without end
I will tell of your goodness, which fills the earth
and your constancy established in the heavens.
Of the vast stars, their invariable course
proves that your word is unshakable.
I t is you who in past times, with your mercy
C'est toi qui as jadis parle, par ta merci,
a tes bons serviteurs, et leur as dit ainsi:
spoke to your good servants, and told them:
"En saintes visions, j'ai mon aide assignee,
"In holy visions I have given my aid
Sur Ie puissant, auquel j'ai ma grace donnee, to the strong one to whom I have given grace,
L'elisant, d'entre ceux que mon peuple j'appelle,
I have exalted one chosen from the people
C'est assavoir David mon serviteur fidele.
and established David, my faithful servant."
o peuple bienheureux qui te sait honorer!
Car tel ne peut faillir atoujours prosperer,
En suivant la clarte de ton oeil debonnaire,
Et s'egaie en ton nom d'une joie ordinaire,
Se voyant de nouveau par ta ferme justice
Tous les jours honore de quelque benefice.
o fortunate people, who know how to honor you! For they will never fail to prosper by following your brightness
_
and in your name receiving no ordinary happiness Seeing again by your firm justice that we are honored every day with some grace. Lamentio Sanctae Matris Ecclesiae Constantinopolitanae, Guillaume Dufay
Lament for the Holy Mother Church of Constantinople
o tres piteux de tout espoir, fontaine, Most merciful source of all hope,
.Father
of the son whose weeping mother I am,
Pere du fils dont suis mere eploree, Je chanterai, Seigneur, sans cesse ta bonte; I come to complain at your sovereign court
o tres piteux de tout espoir, fontaine, Of your authority and of human nature, Pere du fils dont suis mere eploree, Which have allowed such harsh cruelty To be inflicted on my son, who has so honored me; Plaindre me viens a ta cour souveraine De ta puissance et de nature humaine Whereby I have been parted from happiness and joy, Qui ont souffert, telle dure vilaine, Without any living being who will hear my complaints. Faire a mon fils qui tant m'a honoree, To you, only God, I appeal from the sentence, Dont suis de bien et de joie separee, From the grievous torment and painful injury Sans qui vivant veuille entendre mes plaintes. That I watch the fairest of men suffer, A toi, seul dieu, du forfait me complains With no consolation from your human speech. Du gref tourment et douloureux outrage 7
Que voit souffrir plus bel des humains
Sans nul confort de tout humain lignage.
Omnes amici ejus spreverunt eam
Non est qui consoletur eam
Ex omnibus caris ejus.
All her friends have betrayed her:
Among all her lovers there is none to comfort her.
As Sub Hu Bada Min Tal'ati Hii, Hazrat Hassan Ibn Thabit (RadiAllahu Anhu)
Refrain: Allahu Allahu Allah
As sub hu bada min tal'ati hii
Wallaylu dajaa minv wafrati hee
The light of the dawn is from the radiance of Your Blessed
Face
The sparkle of the night is from the glimmer of Your Blessed
Hair
I<anz-ul-karami mowl-an-ni amii
Haad-il-umamii li shariati hii
Our Master is the treasure of grace, He is a treasure of mercy
He is the guide of the entire Nation, showing us the way of
the Sacred Law
Saat-ish-shajaruu nataq al-hajaruu
On the command of your Blessed finger the tree began to
walk, the stones began to speak through Your greatness
Upon one gesture of Your blessed finger the moon was split
in two
Shaqq al-qamaruu bi ishaaratihi
Jibrilu ata laylata asraa
W-ar-rabbu daa fi hadrati hii
The angel Gabriel came with glad tidings from Allah on the
Night of Ascension
Allah invited You to the heavens and bestowed upon You the
honor of intimacy
J ephte, Giacomo Caris simi
Narrator
Cum vocasset in proelium filios Israel rex filiorum Ammon et ve:rbis Jephte acquiescere noluisset, factus est super Jephte Spiritus Domini et progressus ad filios Ammon votum vovit Domino dicens: When the king of the children of Ammon called the children of Israel to battle, and disregarded J ephthah's words, the Spirit of the Lord came upon J ephthah, and marching on to the children of Ammon, he made a vow to the Lord, saying: Jephthah
Si tradiderit Dominus filios Ammon in manus meas, ·quicumque primus
de domo mea occurrerit mihi,
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offeram ilIum Domino in holocaustum. If the Lord will deliver the sons of Ammon into my hands, then whoever comes first to meet me from my house, I will offer him to the Lord as a burnt offering. Chorus and Duet
Transivit ergo Jephte ad filios Ammon, ut in spiritu forti et virtute Domini pugnaret contra eos. Duo: Et clangebant tubae et personabant tympana et proelium commissum est adversus Ammon. So J ephthah went over to the sons of Ammon with the spirit, strength, and valour of the Lord to fight against them.
,
Duet: And the trumpets sounded, and the drums re- sounded, and battle was joined against Ammon. Bass and Chorus
Fugite, cedite, impii, perite gentes, occumbite in gladio. Dominus exercituum in proelium surrexit et pugnat contra vos. Fugite, cedite, impii, corruite, et in furore gladii dissipamini. Flee, yield, impious ones, perish, fall before our swords, for the Lord of Hosts has raised up an army, and fights against you. Flee, yield, impious ones, fall, and with our raging swords, be scattered! Nan-ator
Et percussit Jephte viginti civitates Ammon plaga magna nimis.
And Jephthah struck twenty cities of Ammon with a very great slaughter.
Trio
Et ululantes filii Ammon facti sunt coram filiis Israel humiliati. And the children of Ammon wailed, and were brought low before the children of Israel. Nan-ator
Cum autem victor J ephte in domum suam reverteretur, occurrens ei unigenita filia sua cum tympanis et choris praecinebat: Now when Jephthah came victorious to his house, his only child, a daughter, coming out to meet him with timbrels and dances, sang: Daughter
Incipite in tympanis, et psallite in cymbalis. Hymnum cantemus Domino, et modulemur canticum. Laudemus regem coelitum, laudemus belli principem, qui filiorum Israel victorem duce~nl reddidit. Strike the timbrels and sound the cymbals! Let us sing a hymn and playa song unto the Lord. Let us praise the I<ing of Heaven, 9
let us praise the prince of war, who has led the children of Israel back to victory!
Duet
Hymnum cantemus Domino, et modulemur canticum, qui dedit nobis gloriam et Israel victoriam. Let us sing a hymn and playa song unto the Lord, who gave glory to us and victory to Israel! Daughter
Cantate mecum Domino, cantate omnes populi. Laudate belli principem, qui dedit nobis gloriam et Israel victoriam. Sing with me unto the Lord, sing all ye people! Praise ye the prince of war, who gave glory to us and victory to Israel! Chorus
Cantemus omnes Domino, laudemus belli principem, qui dedit nobis gloriam et Israel victoriam. Let us all sing unto the Lord, let us praise the prince 0 f war, who gave glory to us and victory to Israel! Historicus
Cum vidisset Jephte, qui votum Domino voverat, filiam suam venientem in occursum, in dolore et lachrimis scidit vestimentasua et ait:
.. When Jephthah, who had sworn his oath to the Lord, saw his daughter coming to meet him, with anguish and tears he tore his clothes and said: Jephthah Heu mihi! Filia mea, heu decepisti me, filia unigenita, et tu pariter, heu filia mea, decepta es. Woe is me! Alas, my daughter, you have undone me, my only daughter, and you, likewise, my unfortunate daughter, are undone. Daughter
Cur ergo te pater decepi, et cur ergo ego filia tua unigenita decepta sum? 10 How, then, have I undone you, father,
and how am I, your only-born daughter, undone?
Jephthah
Aperui os meum ad Dominum ut quicumque primus de domo mea occurrerit mihi, offeram ilium Domino in holocaustum. Heu mihi! Filia mea, heu decepisti me, filia unigenita, et tu pariter, heu filia mea, decepta es. I have opened my mouth to the Lord that whoever con1es first from my house to meet me, I will offer him to the Lord as a burnt offering. Woe is me! Alas, my daughter, you have undone me, my only daughter, and you, likewise, my unfortunate daughter, are undone. Daughter
Pater mi, si vovisti votum Domino, reversus victor ab hostibus, ecce ego filia tua unigenita, offer me in holocaustum victoriae tuae, hoc solum pater mi praesta filiae tuae unigenitae antequam moriar. My father, if you have made a vow to the Lord, and returned victorious from your enemies, here am I, your only daughter: offer me as a sacrifice to your victory. But, my father, fulfill one wish to your only daughter before I die. Jephthah
Quid poterit animam tuam, quid poterit te, moritura filia, consolari?
What can I do, doomed daughter, to comfort you and your soul?
Daughter
Dimitte me, ut duobus mensibus circumeam montes, ut cum sodalibus meis plangam virginitatem meam. Send me away, that for two months I may wander in the mountains, and with my companions bewail my virginity. Jephthah Vade, filia mea unigenita, et plange virginitatem tuam. Go, my only daughter, go and bewail your virginity. Chorus
Abiit ergo in montes filia Jephte, et plorabat cum sodalibus virginitatem suam, dicens: 11 Then J ephthah's daughter went away to the mountains, and bewailed her virginity with her
.
.
comparuons, sayIng:
Daughter
Plorate colles, dolete montes, et in afflictione cordis mei ululate! Echo:(Ululate!) Mourn, you hills, grieve, you mountains, and wail in the affliction of my heart! Echo: ~ail!) Ecce moriar virgo et non potero morte mea meis filiis consolari, ingemiscite silvae, fontes et £lumina, in interitu virginis lachrin1.ate! Echo: (Lachrimate!) Behold! I will die a virgin, and shall not in my death find consolation in my children. Sigh, woods, fountains, and rivers, weep for the destruction of a virgin! Echo: ~eep!) Heu me dolentem in laetitia populi, in victoria Israel et gloria patris mei, ego, sine filiis virgo, ego filia unigenita moriar et non vivam. Woe is me! I grieve amidst the rejoicing of the people, amidst the victory of Israel and the glory of my father. I, a childless virgin, I, an only daughter, must die and no longer live. Exhorrescite rupes, obstupescite colles, valles et cavernae, in sonitu horribili resonate! Echo: (Resonate!) Tremble, rocks. Be astounded, hills. Vales, and caves, resound with horrible sound! Echo: (Resound!) Plorate filii Israel, plorate virginitatem meam, et Jephte filiam unigenitam in carmine doloris lamentamini. Weep, children of Israel, bewail my virginity,
.
and for Jephthah's only daughter, lament with songs of sorrow. Chorus
Plorate filii Israel, plorate omnes virgines, et filiam Jephte unigenitam in carmine doloris lamentamini. Weep, children of Israel, weep, all ye virgins, and for Jephthah's only daughter, lament wiL~songs of sorrow. INTERMISSION
12 From Oratorio Jephtha: Recitative: Deeper and deeper still and Aria: Waft her, angels through
the skies, HWV 70, George Frederick Handel
Recitative: Deeper and deeper still, thy goodness child pierceth a father's bleeding heart, and checks the
cruel sentence on my faltering tongue. Oh, let me whisper it to the raging winds, or howling deserts;
for the ears of men it is too shocking. Yet, have I not vowed? And can I think the great Jehovah
sleeps like Chemosh and such fabled Deities?
Ah no! Heaven heard my thoughts, and wrote them down -it must be so! 'Tis this that wracks my
brain and pours into my breath a thousand pangs that lash me into madness!
Horrid thought! horrid thought! my only daughter! so dear a child, doomed by a father! Yes, the vow
is past, and Gilead hath triumphed o'er his foes - therefore, tomorrow's dawn, tomorrow's dawn - I
can no more.
Aria: Waft her angels through the skies, far above yon azure plain. Glorious there, like you to rise,
there like you forever reign.
Cantata BWV 159: Sehet, wir geh'n hinauf nach Jerusalem, Johann Sebastian Bach
Behold, we go up to Jerusalem
1. Arioso und Recitativ
1. Arioso [Bass] and Recitative [Alto]
Behold!
Sehet!
Come, look yet, 0 my mind,
IZomm, schaue doch, mein Sinn,
Wo geht dein Jesus hin?
Where does your Jesus go?
Wir gehn hinauf
Let us go up
o harter Gang! Hinauf?
0 hard way! Go up?
o ungeheurer Berg, den meine Sunden zeigen!
0 monstrous mountain, indicated by n1y sins!
Wie sauer wirst du mussen steigen!
How bitter that You n1ust climb it!
Gen Jerusalem,
To Jerusalem,
Ach, gehe nicht!
Ah, don't go!
Dein Kreuz ist dir schon zugericht,
Your Cross is already prepared for You,
Wo du dich sollst zu Tode bluten;
where You will bleed to death;
I-Iier sucht man Geifieln vor, dort bindt man Ruten, here scourges are sought, there reeds are bound,
Die Bande warten dein;
, Your bonds await You;
Ach, gehe seIber nicht hinein!
Ah, don't go there Y ourselfl
Doch bliebest du zuriicke stehen,
Yet, were You to remain behind,
So mufit ich selbst nicht nach Jerusalem,
then I myself could not go to Jerusalem,
Ach, leider in die Holle gehen.
alas, rather to Hell must go.
2. Arie und Choral
Ich folge dir nach
Ich will hier bei dir stehen,
Durch Speichel und Schmach,
Verachte mich doch nicht!
Am IZreuz will ich dich noch umfangen,
Von dir will ich nicht gehen,
2. Aria [Alto] and Chorale [Soprano]
[Soprano] I follow after You
[Alto] I will stay here with You,
" through spitting and shame,
do not scorn me!
I will still embrace You on the Cross,
I will not leave You
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Bis dir dein Herze bricht.
Dich laB ich nicht aus meiner Brust,
Wenn dein Haupt wird erblassen
1m letzten TodesstoB,
Und wenn du endlich scheiden muBt,
Alsdenn will ich dich fassen,
Sollst du dein Grab in mir erlangen.
In meinen Arm und SchaB.
even as Your heart breaks.
I will not release You from my breast,
When Your head grows pale
at the last stroke of death,
And if You must depart at last,
Then I will hold You fast
You shall find Your grave in me.
In my arm and bosom.
3. Rezitativ Nun will ich mich, Mein J esu, tiber dich In meinem Winkel gramen; Die Welt mag immerhin Den Gift der Wollust zu sich nehmen, Ich labe mich an meinen Tranen Und will mich eher nich t N ach einer F reude sehnen, Bis dich mein Angesicht Wird in der Herrlichkeit erblicken, Bis ich durch dich erl6set bin; Da will ich mich mit dir erquicken. 3. Recitative [Tenor] No\,v I shall, My Jesus, over you I will grieve in my corner; although the world may take the poison of lust to itself, I will feed myself on my tears and will no sooner long for any other joy, until my face beholds You in glory, until I am redeemed through You; then I will be refreshed with You. 4. Arie Es ist voilbracht, Das Leid ist aile, Wir sind von unserm Siindenfaile In Gatt gerecht gemacht. N un will ich eilen Und meinem Jesu Dank erteilen, Welt, gute Nacht! Es ist voilbracht! 4. Aria [Bass] I t is finished, the sorrow is ail, froln our state of sin we are made whole again in God. N ow I will has ten and give thanks to my Jesus, Good night, world! I t is finished! 5. Choral J esu, deine Passion 1st mir lauter Freude, Deine Wunden, Ivan und Hahn Meines Herzens Weide; Meine Seel auf Rosen geht, Wenn ich d'ran gedenke, In dem Himmel eine Statt Mir deswegen schenke. 5. Chorale J esus, Your passion is pure joy to me, Your wounds, thorns and shame my heart's pasture; my souls walks on roses when I think upon it; grant a place in heaven for me for its sake. 14 God spake sometime in visions, John Blow
Coronation AnthetTI for James II from Psalm 89:19-29, Church of England 1662 Book of Common
Prayer
19. God spake sonletime in visions and said: I have laid help upon one that is nlighty.
20. I have found David my servant, with my holy oil have I anointed him.
21. My hand shall hold him fast and my arm shall strengthen him.
22. T'he enemy shall not be able to do him violence, the son of wickedness shall not hurt him
23. I will snlite down his foes before his face and plague them that hate him.
24. But my faithfulness and my mercy shall be with him and in my name shall his horn be exalted.
25. I will set his dominion also in the sea, and his right hand in the floods.
26. He shall cry unto me: "Thou art my father, my God, and my strong salvation"
27. and I will make him my firstborn, higher than the kings of the earth.
28. My nlercy will I keep for him for ever more and my cov'nant shall stand fast with him.
29. His seed also will I make to endure for ever, and his throne as the days of heav'n. Amen, allelujah.
St Mary Schola is proud to be a part of the Music in the Cathedral series which offers Evensong Services and other performances at the Cathedral Church of Saint Luke in Portland, Maine. Please contact the Cathedral for more information. Please visit our website for more information on upcoming Schola concerts, to purchase tickets, listen to previous concert performances, read artist biographies, or to sign up for our newsletter: stmaryschola.org Like us on Facebook: facebook.com/St.Mary.Schola Watch us on YouTube: youtube.com/ScholaMaine St Mary Schola is looking for volunteers. If you would like to help out in any way, please speak
with any Schola board member or send an email to [email protected] Thank you.
15 Thank you for joining us for our 2014-2015 season. It is a pleasure to offer you the best in early music from the Medieval, Renaissance and Baroque eras. We look forward to seeing you again at another concert. Spring Concert: Combat and Carols
Enjoy a joyous spring concert featuring Monteverdi's rarely performed drama 'II
combattimento di Tancredi e Clorinda'-- The Battle of Tancredi and Clorinda,
interpreted by the Schola soloists and dancers from Portland Ballet, accompanied by
strings, harpsichord and archlute. Light-hearted madrigals and a Handel Chandos
anthem will complete the concert.
Special cocktail reception with artist presentations to follow the May 31 st
concert at Saint Mary's; $5.
Friday, May 29,2015,7:30 PM, Cathedral of Saint Luke, Portland
Sunday, May 31,2015,4:00 PM, Church of Saint Mary, Falmouth
Tuesday, June 2, 2015, 7:30 PM, First Parish Church,
Tickets are available now at stmaryschola.org
16 Brunswic~