translations - Emmanuel Music

Transcription

emmanuel music
Ryan Turner
John Harbison
Craig Smith
Patricia Krol
Michael Beattie
Jude Epsztein Bedel
Joan Ellersick
Don Firth
Dayla Santurri
Joanna Springer
Jayne West
BOARD OF DIRECTORS
Kate Kush President
Dale Flecker Vice President
David Vargo Treasurer
Eric Reustle Clerk
Elizabeth S. Boveroux
Marion Bullitt
H. Franklin Bunn
Coventry Edwards-Pitt
David Kravitz
Patrice Moskow
Vincent Stanton, Jr.
Dana Whiteside
The Rev. Pamela L. Werntz,
ex-officio
ARTISTIC DIRECTOR
PRINCIPAL GUEST CONDUCTOR
FOUNDER (1947 - 2007)
EXECUTIVE DIRECTOR
ARTISTIC ADMINISTRATOR
DEVELOPMENT DIRECTOR
ORCHESTRA PERSONNEL MANAGER
CONTROLLER
PR/MARKETING ASSOCIATE
COMMUNICATIONS MANAGER
COMMUNITY CONNECTIONS COORDINATOR
ADVISORY BOARD
Belden Hull Daniels
Richard Dyer
Anthony Fogg
John Harbison
Rose Mary Harbison
Ellen Harris
David Hoose
Richard Knisely
Sara Lawrence-Lightfoot
Robert Levin
Errol Morris
Mark Morris
Joan Nordell
James Olesen
Richard Ortner
Ellis L. Phillips, III
Peter Sellars
Russell Sherman
Sanford Sylvan
Christoph Wolff
Benjamin Zander
15 Newbury Street | Boston, MA 02116 | 617.536.3356 | emmanuelmusic.org
emmanuel music
Ryan Turner, Artistic Director
John Harbison, principal Guest Conductor
MENDELSSOHN/WOLF CHAMBER SERIES
YEAR I
Sunday, November 2, 2014 – 4:00 pm
Hugo Wolf
Mörike Lieder
esang Weylas
G
Der Genesene an die Hoffnung
Schlafendes Jesukind
Seufzer
Auf eine Christblume II
(1860-1903)
Pamela Dellal, mezzo-soprano
Ryan Turner, tenor
Brett Hodgdon, piano
Variations Concertantes in D Major for Cello and Piano, Op. 17
Felix Mendelssohn
(1809-1847)
Rafael Popper-Keizer, cello
Ya-Fei Chuang, piano
Hugo Wolf
Mörike Lieder
Begegnung
Lebe wohl
Nimmersatte Liebe
Agnes
An die Geliebte
An eine Äolsharfe
Ryan Turner, tenor
*
*
*
INTERMISSION
*
*
Piano Quartet in C minor, Op. 1
*
Felix Mendelssohn
I. Allegro viace
II. Adagio
III. Scherzo: Presto
IV. Allegro moderato
Ya-Fei Chuang, piano
Danielle Maddon, violin
Mark Berger, viola
Rafael Popper-Keizer, cello
Hugo Wolf
Mörike Lieder
Ein Stündlein wohl vor Tag
Jägerlied
Der Tambour
Elfenlied
Storchenbotschaft
Ryan Turner, tenor
This afternoon’s performance is made possible through the generosity of John Pratt
in loving memory of Joy Pratt.
Steinway piano provided by M. Steinert &Sons.
Emmanuel Music programs are supported in part by the Massachusetts Cultural Council.
Program Notes
Hugo Wolf
Hugo Wolf was born in 1860 in Styria, now Slovenia, then a part of the Austrian
Empire. His father was a music-loving leather tradesman who taught him the
rudiments of piano and violin. Without having finished high school, he went in 1875 to the
Conservatory in Vienna where he was a poor student, subsequently being dismissed in 1877.
From the age of seventeen Wolf depended mostly upon himself both for his musical training
and for his living expenses. He supported himself by giving piano lessons and performing
small-scale engagements, and in 1884 he became music critic for the Salonblatt, a Viennese
society paper, where his uncompromising, stinging and sarcastic style won him a notoriety
which was not helpful to his future prospects.
Wolf composed in periods of feverish creative activity, which alternated with barren periods
of deepest depression during which he was tormented with the anxiety that his creative well
had dried up forever. By the end of 1891 he had composed the bulk of his works on which his
fame chiefly rests: 53 Mörike Lieder, 20 Eichendorff Lieder, 51 Goethe Lieder, and the near 90
songs of the Spanisches and Italienisches Liederbuch.
Mörike Lieder
Eduard Mörike (1804–1875) was a pastor, a painter and the author of some of the most exquisite, ardent, and lyrical German poetry. Scholar Richard Wigmore explains: “His range was
extraordinarily wide, encompassing ideal, unhappy and erotic love, joy in the natural world,
religious mysticism, the supernatural, whimsy and broad or ironic humor—all themes richly
represented in Wolf’s Mörike collection.” Wolf wrote all 53 Mörike Lieder between February
and November 1888. Over the course of the 2014-2015 season, Emmanuel Music will present
the Mörike Lieder in its entirety.
Felix Mendelssohn
Jakob Ludwig Felix Mendelssohn Bartholdy, grandson of Moses Mendelssohn, the great
Jewish thinker of the Enlightenment, was born in Hamburg in 1809, the son of a prosperous
banker. Much of Mendelssohn’s childhood was passed in Berlin, where his parents moved
when he was three, to escape Napoleonic invasion. When he was a boy, his father regularly
invited professional musicians to his home to join the family in informal music-making. Many
distinguished non-musicians were also invited, including the poet Goethe, with whom young
Felix became great friends.
Composer, pianist, organist, conductor, and visual artist, Felix Mendelssohn possessed prodi-
Program Notes
gious talents that not only rivaled but surpassed those of Mozart. By the age of sixteen, Mendelssohn produced his first masterwork, the Octet for Strings, Op. 20, and the following year
saw the completion of the luminous A Midsummer Night’s Dream concert overture. Rigorously
schooled in Bach counterpoint, Mendelssohn, at the age of twenty, gained international fame
and sparked revived interest in the music of J. S. Bach by conducting the first performance
of the St. Matthew Passion since Bach’s death. During his tenures as conductor in Düsseldorf
(1833-1835) and Leipzig (1835-1845), Mendelssohn rekindled interest in the music of Handel,
and premiered other works, including Schubert’s newly discovered Symphony No. 9.
One of the unique characteristics of Mendelssohn’s development as a composer is that,
starting from a high Classical point of view, he moved almost simultaneously in two opposite
historical directions. In his teens, he was wooed both by the music of the late Classical and
early Romantic periods, and by the craft of Bach and Handel, for whom he developed intense
admiration, even reverence.
Variations Concertantes in D Major for Cello and Piano, Op. 17
The Variations Concertantes were written in 1829 for Mendelssohn’s younger brother, Paul, a
good amateur cellist. The word concertante signals a virtuosic piece showcasing solo instruments. There is an original theme followed by eight variations, played without repeats and
flowing seamlessly into one another
Piano Quartet No. 1 in C minor, Op. 1
Perhaps the most important and enduring influence on Felix Mendelssohn’s musical education was Carl Friedrich Zelter, a prolific composer who set the poems of Goethe to music.
Zelter encouraged his study of Handel, J. S. Bach, Haydn and Mozart, and by the time Felix
was ten his creative output reflected a synthesis of these styles. Starting at the age of eleven,
Mendelssohn wrote over 100 compositions, including a violin sonata, three piano sonatas and
even two operas!
The Piano Quartet No. 1 in C minor, his first published work, was composed in 1822 during a family holiday in Switzerland when Mendelssohn was thirteen years old, and reveals
his breadth of style, range of emotion and scope of invention. The first movement is cast in
classic sonata allegro form, the second spins a lyrical theme that looks forward to his Song
Without Words, the scherzo trips along blithely, while the final movement reprises themes and
the form of the first movement, closing with bravura flourish.
Program Notes
Violin Sonata in F minor, Op. 4
Composed in 1825, when Mendelssohn was sixteen, the Violin Sonata in F minor elegantly blends
the formality and balance of the 18th century with more than a hint of Beethoven-like turbulence.
The sonata begins with a slow, unaccompanied recitative-like passage for the violin. When the piano ambiguously joins, via a half cadence, the tempo immediately shifts to an allegro. The middle
movement, a plush and dreamy poco adagio, gives way to the dancing 6/8 of the finale. The sonata
ends as it began, with a quasi-cadenza for the violin that leads to an elusive close.
- Ryan Turner
String Quartet in A minor, Op. 13
Mendelssohn began the score of the quartet in July 1827 and completed it on 27 October 1827.
The piece was published as Mendelssohn’s Op. 13 in 1830. On 14 February 1832 the work was
premiered in Paris by violinists Pierre Baillot and Eugène Sauzay, violist Chrétien Uhran, and cellist
Louis Norblin.
“Ist Es Wahr?” (Is it true?) The adolescent Mendelssohn poses this question in a song composed
in 1827, a setting of his friend Johann Gustav Droyson’s poem “Frage.” Mendelssohn was desperately in love, possibly with Betty Pistor, a singer in the choir he accompanied on Friday nights in
Berlin. Material from the song would serve as the thematic backbone of the A minor string quartet
that Mendelssohn would start composing later that year.
The Mendelssohn family made sure to keep up with the latest musical trends, and in the 1820s this
meant being familiar with the works of Beethoven, who by this time was well into his late period.
Mendelssohn’s father, Abraham, was not terribly fond of Beethoven’s music but he made sure to
purchase all of his works directly after they were published for his children’s study. This would
prove to be crucial to Mendelssohn’s development as a composer (along with his grandmother’s
gift of the score to Bach’s St. Matthew Passion in 1824). The young Mendelssohn’s fascination with
the late quartets of Beethoven is evident in a letter he wrote to his friend, the Swedish composer
Adolf Frederick Linbad:
“Have you seen his new quartet in Bb major [Op. 130]? And that in C# minor [Op. 131]? Get to
know them, please. The piece in Bb contains a cavatina in Eb where the first violin sings the whole
time, and the world sings along… The piece in C# has another one of these transitions, the introduction is a fugue!!”
Beethoven’s death in early 1827 may have pushed Mendelssohn past the anxiety of influence that
most composers after Haydn suffered when it came to writing string quartets. Up until this point
Program Notes
Mendelssohn’s chamber music output included the three piano quartets Opp. 1-3, Octet Op. 20
and Viola Quintet Op. 18—all masterworks in their own right but also genres that did not have as
much precedence.
References abound to Beethoven’s quartets in Op. 13 (which is Mendelssohn’s first, written slightly before the String Quartet in Eb Major, Op. 12). The work begins very similarly to Beethoven’s
Op. 132 (also in A minor), featuring a slow lyrical introduction followed by a swirl of sixteenth
notes and then a declamation of the main theme. The viola’s arpeggiated passage at the end of
the first movement makes reference to Beethoven’s Op. 74. The second movement mixture of
lyrical song and fugato is a direct reference to Beethoven’s Op. 95.
Mendelssohn uses Beethoven’s method of providing unity throughout a composition by linking
all four movements through motivic references to the “Ist Es Wahr” theme taken from the “Frage”
setting. He wrote that “[y]ou will hear its notes resound in the first and last movements, and
sense its feeling in all four.” His extensive use of counterpoint in the quartet reveals an indebtedness not only to Beethoven but also to Bach.
The introduction of “poetic meaning” into Op. 13 also pays homage to Beethoven’s use of recitative in Op. 132 and the Ninth Symphony as well as the “Muß es sein?” (Must it be?) question
posed in Op. 135. Mendelssohn’s use of his “Frage” setting propels us fully into the Romantic era.
Direct quotations occur in the introduction of the first movement as well as in the closing coda
of the last movement, an extended restatement of the first-movement introduction. Only the
question is asked in the first movement: “Is it true that you’ll always be waiting for me beneath
the arbor?” This propels us into a dramatic narrative spanning all four movements of the quartet,
where the transformation of the “Ist Es War?” theme conveys a wide range of emotions brought
about by posing that question. Finally, at the close of the fourth movement the answer from the
“Frage” setting is quoted: “What I am feeling is only understood by her who feels with me and who
always remains true to me.”
Mendelssohn wrote to his sister about a “very dubious compliment” that he received from one
Abbé Bernardin at the 1832 premiere of the work in Paris. The Abbé was sitting next to Mendelssohn at the performance and whispered to him after the recitative section starting the fourth
movement, “He has that in one of his symphonies.” The confused Mendelssohn proceeded to ask
who the Abbé was referring to and he responded, “Why, Beethoven, the composer of this
quartet.”
-Daniel Doña
Texts and Translations
Gesang Weylas
Weyla’s song
Du bist Orplid, mein Land!
Das ferne leuchtet;
Vom Meere dampfet dein besonnter Strand
Den Nebel, so der Götter Wange
feuchtet.
You are Orplid, my land!
That shines afar;
Your sunlit shore sends up seaMists, that moisten the cheeks of the
gods.
Uralte Wasser steigen
Verjüngt um deine Hüften, Kind!
Vor deiner Gottheit beugen
Sich Könige, die deine Wärter sind.
Ancient waters climb,
Rejuvenated, child, about your waist!
Kings, who attend you,
Bow down before your divinity.
Der Genesene an die
Hoffnung
He who has recovered addresses
Hope
Tödlich graute mir der Morgen:
Doch schon lag mein Haupt, wie süss!
Hoffnung, dir im Schoss verborgen,
Bis der Sieg gewonnen hiess.
Opfer bracht ich allen Göttern,
Doch vergessen warest du;
Seitwärts von den ewgen Rettern
Sahest du dem Feste zu.
Day dawned deathly grey:
Yet my head lay, how sweetly!
O Hope, hidden in your lap,
Till victory was reckoned won.
I had made sacrifices to all the gods,
But you I had forgotten;
Aside from the eternal saviours
You gazed on at the feast.
O vergib, du Vielgetreue!
Tritt aus deinem Dämmerlicht,
Dass ich dir ins ewig neue,
Mondenhelle Angesicht
Einmal schaue, recht von Herzen,
Wie ein Kind und sonder Harm;
Ach, nur einmal ohne Schmerzen
Schliesse mich in deinen Arm!
Oh forgive, most true one!
Step forth from your twilight
That I, just once, might gaze
From my very heart
At your eternally new and moonbright face,
Like a child and without sorrow;
Ah, just once, without pain,
Enfold me in your arms!
Schlafendes Jesuskind
The sleeping Christ-child
Sohn der Jungfrau, Himmelskind!
am Boden,
Auf dem Holz der Schmerzen eingeschlafen,
Das der fromme Meister, sinnvoll spielend,
Deinen leichten Träumen unterlegte;
Blume du, noch in der Knospe dämmernd
Eingehüllt die Herrlichkeit des Vaters!
O wer sehen könnte, welche Bilder
Hinter dieser Stirne, diesen schwarzen
Wimpern sich in sanftem Wechsel
malen!
Son of the Virgin, Heavenly Child!
Asleep on the ground,
on the wood of suffering,
Which the pious painter, in meaningful play,
Has laid beneath Thy gentle dreams;
O flower, still the Glory of God the Father!
Though still hidden in the dark bud!
Ah, if one could see what pictures,
Behind this brow and these dark
Lashes, are reflected in gentle
succession!
Seufzer
Sighs
Dein Liebesfeuer,
Ach Herr!
Wie theuer Wollt ich es hegen,
Wollt ich es pflegen!
Habs nicht geheget
Und nicht gepfleget,
Bin tot im Herzen –
O Höllenschmerzen!
The fire of your love,
O Lord!
How I longed to tend it,
How I longed to cherish it,
Have failed to tend it
Have failed to cherish it,
Am dead at heart –
O hellish pain!
Auf eine Christblume II
On a Christmas Rose II
Im Winterboden schläft,
ein Blumenkeim,
Der Schmetterling, der einst um Busch
und Hügel
In Frühlingsnächten wiegt den samtnen
Flügel;
Nie soll er kosten deinen Honigseim.
There sleeps within the wintry ground,
itself a flower-seed,
The butterfly that one day over hill
and dale
Will flutter its velvet wings in spring
nights.
Never shall it taste your liquid honey.
Wer aber weiss, ob nicht sein zarter
Geist,
Wenn jede Zier des Sommers
hingesunken,
Dereinst, von deinem leisen Dufte
trunken,
Mir unsichtbar, dich blühende umkreist?
But who knows if perhaps its gentle
ghost,
When summer’s loveliness has
faded,
Might some day, dizzy with your faint
fragrance,
Unseen by me, circle you as you flower?
Texts and translations
Begegnung
Encounter
Was doch heut nacht ein Sturm gewesen,
Bis erst der Morgen sich geregt!
Wie hat der ungebetne Besen
Kamin und Gassen ausgefegt!
What a storm there was last night,
It raged until this morning dawned!
How that uninvited broom
Swept the streets and chimneys clean!
Da kommt ein Mädchen schon die Strassen,
Das halb verschüchtert um sich sieht;
Wie Rosen, die der Wind zerblasen,
So unstet ihr Gesichtchen glüht.
Here comes a girl along the street,
Glancing half bashfully about her;
Like roses the wind has scattered,
Her pretty face keeps changing colour.
Ein schöner Bursch tritt ihr entgegen,
Er will ihr voll Entzücken nahn:
Wie sehn sich freudig und verlegen
Die ungewohnten Schelme an!
A handsome lad steps up to meet her,
Approaches her full of bliss,
How joyfully and awkwardly
Those novice rascals exchange looks!
Er scheint zu fragen, ob das Liebchen
Die Zöpfe schon zurecht gemacht,
Die heute nacht im offnen Stübchen
Ein Sturm in Unordnung gebracht.
He seems to ask if his sweetheart
Has tidied up her plaited locks,
That last night a storm dishevelled
In her gaping wide room.
Der Bursche träumt noch von den Küssen,
Die ihm das süsse Kind getauscht,
Er steht, von Anmut hingerissen,
Derweil sie um die Ecke rauscht.
The lad’s still dreaming of the kisses
The sweet child exchanged with him,
He stands enraptured by her charm,
As she whisks round the corner.
Lebe wohl
Farewell
„Lebe wohl!“ – Du fühlest nicht,
Was es heisst, dies Wort der
Schmerzen;
Mit getrostem Angesicht
Sagtest du’s und leichtem Herzen.
“Farewell!” – You do not feel
What it means, this word of
pain;
With hopeful countenance
You said it, and a light heart.
Lebe wohl! – Ach, tausendmal
Hab ich mir es vorgesprochen,
Und in nimmersatter Qual
Mir das Herz damit gebrochen.
Farewell! – Ah, a thousand times
I have uttered it aloud,
And with never-ending anguish
Have broken my heart in doing so.
Nimmersatte Liebe
Insatiable love
So ist die Lieb! So ist die Lieb!
Mit Küssen nicht zu stillen:
Wer ist der Tor und will ein Sieb
Mit eitel Wasser füllen?
Und schöpfst du an die
tausend Jahr,
Und küssest ewig, ewig gar,
Du tust ihr nie zu Willen.
Such is love! Such is love!
Not to be quieted with kisses:
What fool would wish to fill a sieve
With nothing else but water?
And were you to draw water for some
thousand years,
And were you to kiss for ever and ever,
You’d never satisfy love.
Die Lieb, die Lieb hat alle Stund
Neu wunderlich Gelüsten;
Wir bissen uns die Lippen wund,
Da wir uns heute küssten.
Das Mädchen hielt in guter Ruh,
Wie’s Lämmlein unterm Messer;
Ihr Auge bat: „Nur immer zu!
Je weher, desto besser!“
Love, love, has every hour
New and strange desires;
We bit until our lips were sore,
When we kissed today.
The girl kept nicely quiet and still,
Like a lamb beneath the knife;
Her eyes pleaded: “Go on, go on!
The more it hurts the better!”
So ist die Lieb! und war auch so,
Wie lang es Liebe gibt,
Und anders war Herr Salomo,
Der Weise, nicht verliebt.
Such is love, and has been so
As long as love’s existed,
And wise old Solomon himself
Was no differently in love.
Agnes
Agnes
Rosenzeit! Wie schnell vorbei,
Schnell vorbei
Bist du doch gegangen!
Wär mein Lieb nur blieben treu,
Blieben treu,
Sollte mir nicht bangen.
Time of roses! How swiftly by,
Swiftly by
You have sped!
Had my love but stayed true,
Stayed true,
I should feel no fear.
Um die Ernte wohlgemut,
Wohlgemut,
Schnitterinnen singen.
Aber ach! mir kranken Blut,
Mir kranken Blut
Will nichts mehr gelingen.
Joyously at harvest-time,
Joyously,
Reaping women sing.
But ah! I’m sick,
Sick at heart
I fail at everything.
Schleiche so durchs Wiesental,
So durchs Tal,
Als im Traum verloren,
Nach dem Berg, da tausendmal,
Tausendmal
Er mir Treu geschworen.
So I steal through the meadow vale,
Meadow vale,
As if lost in dreams,
Up to the hill where a thousand times,
Thousand times,
He promised to be true.
Oben auf des Hügels Rand,
Abgewandt,
Wein ich bei der Linde;
An dem Hut mein Rosenband,
Von seiner Hand,
Spielet in dem Winde.
Up there on the hillside,
Turning away,
I weep by the lime-tree;
On my hat the rosy ribbon,
A gift from him,
Flutters in the wind.
An die Geliebte
To the beloved
Wenn ich, von deinem Anschaun tief gestillt,
Mich stumm an deinem heilgen Wert
vergnüge,
Dann hör ich recht die leisen Atemzüge
Des Engels, welcher sich in dir verhüllt,
When I, deeply calmed at beholding you,
Take silent delight in your sacred
worth,
Then I truly hear the gentle breathing
Of that angel concealed within you.
Und ein erstaunt, ein fragend Lächeln quillt
Auf meinem Mund,
ob mich kein Traum betrüge,
Dass nun in dir, zu ewiger Genüge,
Mein kühnster Wunsch,
mein ein’zger, sich erfüllt?
And an amazed, a questioning smile
Rises to my lips:
does not a dream deceive me,
Now that in you, to my eternal joy,
My boldest,
my only wish is being fulfilled?
Von Tiefe dann zu Tiefen stürzt mein Sinn,
Ich höre aus der Gottheit nächtger Ferne
Die Quellen des Geschicks melodisch
rauschen.
My soul then plunges from depth to depth,
From the dark distances of Godhead I hear
The springs of fate ripple in
melody.
Betäubt kehr ich den Blick nach oben hin,
Zum Himmel auf –
da lächeln alle Sterne;
Ich kniee, ihrem Lichtgesang zu lauschen.
Dazed I raise my eyes
To heaven –
where all the stars are smiling;
I kneel to listen to their song of light.
An eine Äolsharfe
To an Aeolean harp
Angelehnt an die Efeuwand
Dieser alten Terrasse,
Du, einer luftgebornen Muse
Geheimnisvolles Saitenspiel,
Fang an,
Fange wieder an
Deine melodische Klage!
Leaning against the ivy-clad wall
Of this old terrace,
O mysterious lyre
Of a zephyr-born Muse,
Begin,
Begin again
Your melodious lament!
Ihr kommet, Winde, fern herüber,
Ach! von des Knaben,
Der mir so lieb war,
Frisch grünendem Hügel.
Und Frühlingsblüten unterweges
streifend,
Übersättigt mit Wohlgerüchen,
Wie süss bedrängt ihr dies Herz!
Und säuselt her in die Saiten,
Angezogen von wohllautender Wehmut,
Wachsend im Zug meiner Sehnsucht,
Und hinsterbend wieder.
Winds, you come from afar,
Ah! From the fresh green mound
Of the boy
Who was so dear to me,
And brushing spring flowers along the
way,
Saturated with fragrance,
How sweetly you afflict this heart!
And you murmur into these strings,
Drawn by their sweet-sounding sorrow,
Waxing with my heart’s desire,
Then dying away once more.
Aber auf einmal,
Wie der Wind heftiger herstösst,
Ein holder Schrei der Harfe
Wiederholt, mir zu süssem Erschrecken
Meiner Seele plötzliche Regung,
Und hier –
die volle Rose streut, geschüttelt,
All ihre Blätter vor meine Füsse!
But all at once,
As the wind gusts more strongly,
The harp’s gentle cry
Echoes, to my sweet alarm,
The sudden commotion of my soul;
And here –
the full-blown rose, shaken,
Strews all its petals at my feet!
Ein Stündlein wohl vor Tag
An hour before day
Derweil ich schlafend lag,
Ein Stündlein wohl vor Tag,
Sang vor dem Fenster auf dem
Baum
Ein Schwälblein mir, ich hört es kaum,
Ein Stündlein wohl vor Tag:
As I lay sleeping,
An hour before day,
A swallow sang to me – I could hardly
hear it –
From a tree by my window,
An hour before day:
„Hör an, was ich dir sag,
Dein Schätzlein ich verklag:
Derweil ich dieses singen tu,
Herzt er ein Lieb in guter Ruh,
Ein Stündlein wohl vor Tag.“
“Listen well to what I say,
It’s your lover I accuse:
While I’m singing this,
He’s cuddling a girl in sweet repose,
An hour before day.”
O weh! nicht weiter sag!
O still! nichts hören mag!
Flieg ab! flieg ab von meinem Baum!
– Ach, Lieb und Treu ist wie ein Traum
Ein Stündlein wohl vor Tag.
Oh! don’t say another word!
Oh quiet! I don’t wish to hear!
Fly away! fly away from off my tree!
– Ah, love and loyalty are like a dream
An hour before day.
Jägerlied
Huntsman’s song
Zierlich ist des Vogels Tritt im Schnee,
Wenn er wandelt auf des Berges Höh:
Zierlicher schreibt Liebchens liebe Hand,
Schreibt ein Brieflein mir in ferne Land’.
A bird steps daintily in the snow
On the mountain heights:
Daintier still is my sweetheart’s hand,
When she writes to me in far-off lands.
In die Lüfte hoch ein Reiher steigt,
Dahin weder Pfeil noch Kugel fleugt:
Tausendmal so hoch und so geschwind
Die Gedanken treuer Liebe sind.
A heron soars high into the air,
Beyond the reach of shot or shaft:
The thoughts of faithful love
Are a thousand times as swift and high.
Der Tambour
The drummer-boy
Wenn meine Mutter hexen könnt,
Da müsst sie mit dem Regiment,
Nach Frankreich, überall mit hin,
Und wär die Marketenderin.
Im Lager, wohl um Mitternacht
Wenn niemand auf ist als die Wacht,
Und alles schnarchet, Ross und Mann,
Vor meiner Trommel säss ich dann:
Die Trommel müsst eine Schüssel sein,
Ein warmes Sauerkraut darein,
Die Schlegel Messer und Gabel,
Eine lange Wurst mein Sabel;
Mein Tschako wär ein Humpen gut,
Den füll ich mit Burgunderblut.
Und weil es mir an Lichte fehlt,
Da scheint der Mond in mein Gezelt;
Scheint er auch auf franzö’sch herein,
Mir fällt doch meine Liebste ein:
Ach weh! Jetzt hat der Spass ein End!
– Wenn nur meine Mutter hexen könnt!
If my mother could work magic
She’d have to go with the regiment
To France and everywhere,
And be the vivandière.
In camp, at midnight,
When no one’s up save the guard,
And everybody – man and horse - is snoring,
Then I’d sit by my drum:
My drum would be a bowl,
With warm sauerkraut in it,
The sticks would be a knife and fork,
My sabre – a long sausage;
My shako would be a tankard
Filled with red Burgundy.
And because I lack light,
The moon shines into my tent;
And though it shines in French,
It still reminds me of my beloved:
Oh dear! There’s an end to my fun!
– If only my mother could work magic!
Elfenlied
Elf-song
Bei Nacht im Dorf der Wächter rief:
„Elfe!“
Ein ganz kleines Elfchen im Walde schlief –
Wohl um die Elfe –
Und meint, es rief ihm aus dem Tal
Bei seinem Namen die Nachtigall,
Oder Silpelit hätt ihm gerufen.
Reibt sich der Elf die Augen aus,
Begibt sich vor sein Schneckenhaus,
Und ist als wie ein trunken Mann,
Sein Schläflein war nicht voll getan,
Und humpelt also tippe tapp
Durchs Haselholz ins Tal hinab,
Schlupft an der Mauer hin so dicht,
Da sitzt der Glühwurm, Licht an
Licht.
„Was sind das helle Fensterlein?
Da drin wird eine Hochzeit sein:
Die Kleinen sitzen beim Mahle,
Und treibens in dem Saale;
Da guck ich wohl ein wenig ’nein!“
– Pfui, stösst den Kopf an harten Stein!
Elfe, gelt, du hast
genug?
Gukuk! Gukuk!
The village watch cried out at night:
“Eleven!”
An elfin elf was asleep in the wood –
Just at eleven –
And thinks the nightingale was calling
Him by name from the valley,
Or Silpelit had sent for him.
The elf rubs his eyes,
Steps from his snail-shell home,
Looking like a drunken man,
Not having slept his fill,
And hobbles down, tippety tap,
Through the hazels to the valley,
Slips right up against the wall,
Where the glow-worm sits, shining
bright.
“What bright windows are these?
There must be a wedding inside:
The little folk are sitting at the feast
And skipping round the ballroom;
I’ll take a little peek inside!”
Shame! he hits his head on hard stone!
Elf, don’t you think you’ve had
enough?
Cuckoo! Cuckoo!
Storchenbotschaft
Stork-tidings
Des Schäfers sein Haus und das steht auf
zwei Rad,
Steht hoch auf der Heiden, so frühe wie
spat;
Und wenn nur ein mancher so’n Nachtquartier hätt!
Ein Schäfer tauscht nicht mit dem König
sein Bett.
The shepherd’s house stands on
two wheels,
High on the moor, morning and
night,
A lodging most would be
glad of!
No shepherd would change his bed with a
king.
Und käm ihm zu Nacht auch was
Seltsames vor,
Er betet sein Sprüchel und legt sich aufs
Ohr;
Ein Geistlein, ein Hexlein, so lustige Wicht,
Sie klopfen ihm wohl, doch er antwortet
nicht.
And should by night any strange
thing occur,
He prays a brief prayer and lies down to
sleep;
A ghost, a witch, some airy creature –
They might come knocking, but he’ll not
answer.
Einmal doch, da ward es ihm wirklich zu
bunt:
Es knopert am Laden, es winselt der
Hund;
Nun ziehet mein Schäfer den Riegel – ei
schau!
Da stehen zwei Störche, der Mann und die
Frau.
But one night it really became too
much:
A tap on the shutters, a whine from the
dog;
So my shepherd unbolts – lo
and behold!
Two storks stand there, a husband and
wife.
Das Pärchen, es machet ein schön
Kompliment,
Es möchte gern reden, ach, wenn es nur könnt!
Was will mir das Ziefer! –
ist so was erhört?
Doch ist mir wohl fröhliche Botschaft beschert.
The couple, they make a beautiful
bow,
They’d like to speak, if only they could!
What can these feathered friends want of me!
Whoever heard the like?
They must have joyful tidings for me.
Ihr seid wohl dahinten zu Hause am Rhein?
Ihr habt wohl mein Mädel gebissen ins Bein?
Nun weinet das Kind und die Mutter noch
mehr,
Sie wünschet den Herzallerliebsten sich her?
Und wünschet daneben die Taufe bestellt:
Ein Lämmlein, ein Würstlein,
ein Beutelein Geld?
So sagt nur, ich käm in zwei Tag’ oder drei,
Und grüsst mir mein Bübel und rührt ihm den
Brei!
You live over there, down by the Rhine?
I guess you’ve paid my girl a visit?
The child’s now crying, the mother even
louder,
She wants her sweetheart by her side?
And wants the christening feast arranged:
A lambkin, a sausage,
a purse of money?
Well, tell her I’m coming in two days or three.
Say hello to my boy, give his pap a
stir!
Doch halt! warum stellt ihr zu zweien euch ein?
Es werden doch, hoff ich, nicht Zwillinge sein?
Da klappern die Störche im lustigsten Ton,
Sie nicken und knixen und fliegen davon.
But wait! Why have two of you come?
It can’t, I hope, be a case of twins?
At that the storks clatter most merrily,
They nod and curtsey and fly away.
English Translations © 2005 Richard Stokes, from The Book of Lieder, published by Faber and Faber.
emmanuel music
Ryan Turner, Artistic Director
John Harbison, principal Guest Conductor
MENDELSSOHN/WOLF CHAMBER SERIES
YEAR I
Sunday, November 16, 2014 – 4:00 pM
Mörike Lieder
Hugo Wolf
er Knabe und das Immlein
D
Der Gärtner
Frage und Antwort
Der Jäger
Lied vom Winde
Das verlassene Mägdlein
Peregrina II
(1860-1903)
Roberta Anderson, soprano
David Kravitz, baritone
Esther Ning Yau, piano
Violin Sonata in F minor, op. 4
I. Adagio II. Poco Adagio
III. Allegro agitato
Heather Braun, violin
Felix Mendelssohn
(1809-1847)
Hugo Wolf
Mörike Lieder
Wo find ich Trost?
In der Frühe
Zum neuen Jahr
Zitronenfalter im April
Er ists
*
*
*
INTERMISSION
*
*
*
Mörike Lieder
Hugo Wolf
Der Feuerreiter
Nixe Binsefuss
Zur Warnung
String Quartet in A minor, op. 13
I. Adagio – Allegro vivace
II. Adagio non lento
III. Intermezzo: Allegretto con moto – Allegro di molto
IV. Presto – Adagio non lento
Felix Mendelssohn
Arneis Quartet:
Heather Braun, Rose Drucker, violin
Daniel Doña, viola
Agnes Kim, cello
This afternoon’s performance is made possible
through the generosity of Kate and Tom Kush.
Steinway piano provided by M. Steinert &Sons.
Emmanuel Music programs are supported in part by the Massachusetts Cultural Council.
Der Knabe und das Immlein
The boy and the bee
Im Weinberg auf der Höhe
Ein Häuslein steht so windebang,
Hat weder Tür noch Fenster,
Die Weile wird ihm lang.
On the hill-top vineyard
There stands a hut so timidly,
It has neither door nor window
And feels time dragging by.
Und ist der Tag so schwüle,
Sind all verstummt die Vögelein,
Summt an der Sonnenblume
Ein Immlein ganz allein.
And when the day’s so sultry
And every little bird is silent,
A solitary bee
Buzzes round the sunflower.
Mein Lieb hat einen Garten,
Da steht ein hübsches Immenhaus:
Kommst du daher geflogen?
Schickt sie dich nach mir aus?
My sweetheart has a garden
With a pretty beehive in it:
Is that where you’ve flown from?
Did she send you to me?
„O nein, du feiner Knabe,
Es hiess mich niemand Boten gehn;
Dies Kind weiss nichts von Lieben,
Hat dich noch kaum gesehn.
“Oh no, you handsome boy,
No one bade me bear messages;
This child knows nothing of love,
Has scarcely even noticed you.
Was wüssten auch die Mädchen,
Wenn sie kaum aus der Schule sind!
Dein herzallerliebstes Schätzchen
Ist noch ein Mutterkind.
What can girls know
When hardly out of school!
Your beloved sweetheart
Is still her mother’s child.
Ich bring ihm Wachs und Honig;
Ade! – ich hab ein ganzes Pfund;
Wie wird das Schätzchen lachen,
Ihm wässert schon der Mund.“
I bring her wax and honey;
Farewell! – I’ve gathered a whole pound;
How your beloved will laugh!
Her mouth’s already watering.”
Ach, wolltest du ihr sagen,
Ich wüsste, was viel süsser ist:
Nichts Lieblichers auf Erden
Als wenn man herzt und küsst!
Ah, if only you would tell her,
I know of something much sweeter:
There’s nothing lovelier on earth
Than when one hugs and kisses!
Der Gärtner
The gardener
Auf ihrem Leibrösslein,
So weiss wie der Schnee,
Die schönste Prinzessin
Reit’t durch die Allee.
On her favourite mount,
As white as snow,
The loveliest princess
Rides down the avenue.
Der Weg, den das Rösslein
Hintanzet so hold,
Der Sand, den ich streute,
Er blinket wie Gold.
On the path her horse
Prances so sweetly along,
The sand I scattered
Glitters like gold.
Du rosenfarbs Hütlein,
Wohl auf und wohl ab,
O wirf eine Feder
Verstohlen herab!
You rose-coloured bonnet,
Bobbing up and down,
O throw me a feather
Discreetly down!
Und willst du dagegen
Eine Blüte von mir,
Nimm tausend für eine,
Nimm alle dafür!
And if you in exchange
Want a flower from me,
Take a thousand for one,
Take all in return!
Frage und Antwort
Question and answer
Fragst du mich, woher die bange
Liebe mir zum Herzen kam,
Und warum ich ihr nicht lange
Schon den bittern Stachel nahm?
You ask me where it came from,
This timid love that entered my heart,
And why I did not long ago
Draw its bitter sting?
Sprich, warum mit Geisterschnelle
Wohl der Wind die Flügel rührt,
Und woher die süsse Quelle
Die verborgnen Wasser führt?
Tell me, why with ghostly speed
The wind whirrs its wings,
And from where the sweet spring
Draws its hidden waters?
Banne du auf seiner Fährte
Mir den Wind in vollem Lauf!
Halte mit der Zaubergerte
Du die süssen Quellen auf!
You might as well try to halt
The wind in full career!
Or conjure with a magic wand
The sweet springs to be still!
Der Jäger
The huntsman
Drei Tage Regen fort und fort,
Kein Sonnenschein zur Stunde;
Drei Tage lang kein gutes Wort
Aus meiner Liebsten Munde!
Three days of endless rain,
No sunshine even now;
Not one kind word for three whole days
From my beloved’s lips.
Sie trutzt mit mir und ich mit ihr,
So hat sie’s haben wollen;
Mir aber nagts am Herzen hier,
Das Schmollen und das Grollen.
She sulks and so do I,
That’s how she wanted it;
But it gnaws at my heart,
This sulkiness and sullenness.
Willkommen denn, des Jägers Lust,
Gewittersturm und Regen!
Fest zugeknöpft die heisse Brust
Und jauchzend euch entgegen!
Welcome, then, to the hunter’s joy,
To thunderstorm and rain!
I’ll button tight the ardent breast,
And fly to you rejoicing!
Nun sitzt sie wohl daheim und
lacht
Und scherzt mit den Geschwistern;
Ich höre in des Waldes Nacht
Die alten Blätter flüstern.
She’ll be sitting at home and laughing
now,
And joking with her siblings;
I can hear the old leaves whispering
In the forest night.
Nun sitzt sie wohl und weinet laut
Im Kämmerlein, in Sorgen;
Mir ist es wie dem Wilde traut,
In Finsternis geborgen.
Now she’ll be sitting and weeping aloud
For sorrow in her little room;
I feel as cosy as any deer,
Hidden in the darkness.
Kein Hirsch und Rehlein überall!
Ein Schuss zum Zeitvertreibe!
Gesunder Knall und Widerhall
Erfrischt das Mark im Leibe. –
No stag or roe anywhere!
A shot will pass the time!
The healthy crack and echo
Refresh the marrow in my bones. –
Doch wie der Donner nun verhallt
In Tälern, durch die Runde,
Ein plötzlich Weh mich überwallt,
Mir sinkt das Herz zu Grunde.
But as the thunder dies away
In the valleys all around,
I’m assailed by sudden pain,
My heart sinks like a stone.
Sie trutzt mit mir und ich mit ihr,
So hat sie’s haben wollen;
Mir aber frissts am Herzen hier,
Das Schmollen und das Grollen.
She sulks with me and I with her,
That’s how she wanted it;
But it gnaws at my heart,
This sulkiness and sullenness.
Und auf! und nach der Liebsten Haus!
Und sie gefasst ums Mieder!
„Drück mir die nassen Locken aus,
Und küss und hab mich wieder!“
So let’s away to my love’s house!
And clasp her round the waist!
“Wring out these soaking locks of mine
And kiss and take me back again!”
Lied vom Winde
Song of the wind
Sausewind, Brausewind,
Dort und hier!
Deine Heimat sage mir!
Storming wind, roaring wind,
Now here, now there!
Tell me where your homeland is!
„Kindlein, wir fahren
Seit viel vielen Jahren
Durch die weit weite Welt,
Und möchtens erfragen,
Die Antwort erjagen
Bei den Bergen, den Meeren,
Bei des Himmels klingenden Heeren:
Die wissen es nie.
Bist du klüger als sie,
Magst du es sagen.
– Fort, wohlauf!
Halt uns nicht auf!
“Child, we’ve travelled
For many many years
Through the wide wide world,
We too want to know,
Seek out the answer
From the mountains, the seas,
The resounding hosts of heaven:
They never know.
If you’re smarter than they,
You can tell us.
– Off, away!
Don’t delay us!
Kommen andre nach, unsre Brüder,
Da frag wieder!“
Halt an! Gemach,
Eine kleine Frist!
Sagt, wo der Liebe Heimat ist,
Ihr Anfang, ihr Ende?
Others follow, our brothers,
Ask them!”
Stop! Stay
A little while!
Say where love’s home is,
Where does it begin and end?
„Wers nennen könnte!
Schelmisches Kind,
Lieb ist wie Wind,
Rasch und lebendig,
Ruhet nie,
Ewig ist sie,
Aber nicht immer beständig.
– Fort, wohlauf!
Halt uns nicht auf!
Fort über Stoppel und Wälder und Wiesen!
Wenn ich dein Schätzchen seh,
Will ich es grüssen.
Kindlein, ade!“
“Who could say!
Impish child,
Love’s like the wind,
Swift and brisk,
Never resting,
Everlasting,
But not always constant.
– Off, away!
Don’t delay us!
Away over stubble and woods and fields!
If I see your sweetheart,
I’ll blow her a kiss.
Child, farewell!”
Das verlassene Mägdlein
The forsaken servant-girl
Früh, wann die Hähne krähn,
Eh die Sternlein schwinden,
Muss ich am Herde stehn,
Muss Feuer zünden.
Early, when the cocks crow,
Before the tiny stars recede,
I must be at the hearth,
I must light the fire.
Schön ist der Flammen Schein,
Es springen die Funken;
Ich schaue so darein,
In Leid versunken.
The flames are beautiful,
The sparks fly;
I gaze at them,
Sunk in sorrow.
Plötzlich, da kommt es mir,
Treuloser Knabe,
Dass ich die Nacht von dir
Geträumet habe.
Suddenly I realise,
Faithless boy,
That in the night
I dreamt of you.
Träne auf Träne dann
Stürzet hernieder;
So kommt der Tag heran –
O ging er wieder!
Tear after tear
Then tumbles down;
So the day dawns –
O would it were gone again!
Peregrina II
Peregrina II
Warum, Geliebte, denk ich dein
Auf einmal nun mit tausend Tränen,
Und kann gar nicht zufrieden sein,
Und will die Brust in alle Weite dehnen?
Why, beloved, do I now think of you
Suddenly and with a thousand tears,
And cannot be satisfied at all,
And long to extend my heart into infinity?
Ach, gestern in den hellen Kindersaal,
Beim Flimmer zierlich aufgesteckter
Kerzen,
Ah, you came yesterday
to the bright
nursery,
Wo ich mein selbst vergass in Lärm und
Scherzen,
Tratst du, o Bildnis mitleid-schöner
Qual;
In the gleam of decorative candles,
As I forgot myself in noise and mirth,
You came, agony’s image, lovely in
compassion;
Es war dein Geist, er setzte sich ans Mahl,
Fremd sassen wir mit stumm verhaltnen
Schmerzen;
It was your ghost, it joined us at the feast,
Strangers we sat, our sorrows mutely
hidden;
Zuletzt brach ich in lautes Schluchzen aus,
Und Hand in Hand verliessen wir das Haus.
At last I broke out into loud sobs,
And hand in hand we left the house.
Wo find ich Trost?
Where shall I find comfort?
Eine Liebe kenn ich, die ist treu,
War getreu, solang ich sie gefunden,
Hat mit tiefem Seufzen immer neu,
Stets versöhnlich, sich mit mir verbunden.
I know a love that is true,
And has been since I first found it,
It has, deeply sighing, always forgivingly
renewed, Bonds between us.
Welcher einst mit himmlischem Gedulden
Bitter bittern Todestropfen trank,
Hing am Kreuz und büsste mein
Verschulden,
Bis es in ein Meer von Gnade sank.
He it was who once, with heavenly
forbearance,
Drank death’s bitter, bitter drops,
Hung on the cross and atoned for my sins,
Until they sank in a sea of mercy.
Und was ists nun, dass ich traurig bin,
Dass ich angstvoll mich am Boden winde?
Frage:
„Hüter, ist die Nacht bald hin?“
Und: „was rettet mich von Tod und
Sünde?“ Arges Herze! ja gesteh es nur,
Du hast wieder böse Lust empfangen;
Frommer Liebe, frommer Treue Spur,
Ach, das ist auf lange nun vergangen.
And why is it that I am now sad,
That I writhe in terror on the ground?
That I ask:
“Watchman, is the night soon done?”
And “What shall save me from death and
sin?” Evil heart! why not confess it,
Once more you have felt wicked desires;
All trace of pious love, of pious faith,
Has vanished, alas, for a long time.
Ja, das ists auch, dass ich traurig bin,
Dass ich angstvoll mich am Boden winde!
Hüter, Hüter,
ist die Nacht bald hin?
Und was rettet mich von Tod und Sünde?
Yes, that is why I am sad,
Why I writhe in terror on the ground!
Watchman, watchman,
is the night soon done?
What shall save me from death and sin?
In der Frühe
Early morning
Kein Schlaf noch kühlt das Auge mir,
Dort gehet schon der Tag herfür
An meinem Kammerfenster.
Es wühlet mein verstörter Sinn
Noch zwischen Zweifeln her und hin
Und schaffet Nachtgespenster.
– Ängste, quäle
Dich nicht länger, meine Seele!
Freu dich! schon sind da und dorten
Morgenglocken wach geworden.
Still no sleep cools my eyes,
The day’s already dawning there
At my bedroom window.
My troubled mind still races on,
Torn by doubts, to and fro,
Creating night phantoms.
– Frighten, torment
Yourself no more, my soul!
Rejoice! Already here and there
Morning bells have woken.
Zum neuen Jahr
A poem for the New Year
Wie heimlicher Weise
Ein Engelein leise
Mit rosigen Füssen
Die Erde betritt,
So nahte der Morgen.
Jauchzt ihm, ihr Frommen,
Ein heilig Willkommen!
Ein heilig Willkommen,
Herz, jauchze du mit!
Just as a cherub,
Secretly and softly
Alights on earth
With rosy feet,
So the morning dawned.
Rejoice, you gentle souls, with
A holy welcome!
A holy welcome,
O heart, rejoice as well!
In ihm sei’s begonnen,
Der Monde und Sonnen
An blauen Gezelten
Des Himmels bewegt.
Du, Vater, du rate!
Lenke du und wende!
Herr, dir in die Hände
Sei Anfang und Ende,
Sei alles gelegt!
May the New Year begin in Him,
Who moves
Moons and suns
In the blue firmament.
O Father, counsel us!
Lead us and guide us!
Lord, let all things,
Beginning and End,
Be entrusted into Thy keeping!
Zitronenfalter im April
Brimstone butterfly in April
Grausame Frühlingssonne,
Du weckst mich vor der Zeit,
Dem nur im Maienwonne
Die zarte Kost gedeiht!
Ist nicht ein liebes Mädchen hier,
Das auf der Rosenlippe mir
Ein Tröpfchen Honig beut,
So muss ich jämmerlich vergehn
Und wird der Mai mich nimmer sehn
In meinem gelben Kleid.
Merciless spring sun,
You wake me before my time,
For only in blissful May
Can my delicate food grow!
If there’s no dear girl here
To offer me a drop of honey
From her rosy lips,
Then I must perish miserably
And May shall never see me
In my yellow dress.
Er ists
Spring is here
Frühling lässt sein blaues Band
Wieder flattern durch die Lüfte;
Süsse, wohlbekannte Düfte
Streifen ahnungsvoll das Land.
Veilchen träumen schon,
Wollen balde kommen.
– Horch, von fern ein leiser Harfenton!
Frühling, ja du bists!
Dich hab ich vernommen!
Spring sends its blue banner
Fluttering on the breeze again;
Sweet, well-remembered scents
Drift propitiously across the land.
Violets dream already,
Will soon begin to bloom.
– Listen, the soft sound of a distant harp!
Spring, that must be you!
It’s you I’ve heard!
Der Feuerreiter
The Fire-rider
Sehet ihr am Fensterlein
Dort die rote Mütze wieder?
Nicht geheuer muss es sein,
Denn er geht schon auf und nieder.
Und auf einmal welch Gewühle
Bei der Brücke, nach dem Feld!
Horch! das Feuerglöcklein gellt:
Hinterm Berg,
Hinterm Berg
Brennt es in der Mühle!
See, at the window
There, his red cap again?
Something must be wrong,
For he’s pacing to and fro.
And all of a sudden, what a throng
At the bridge, heading for the fields!
Listen to the fire-bell shrilling:
Behind the hill,
Behind the hill
The mill’s on fire!
Schaut! da sprengt er wütend schier
Durch das Tor, der Feuerreiter,
Auf dem rippendürren Tier,
Als auf einer Feuerleiter!
Querfeldein! Durch Qualm
und Schwüle
Rennt er schon und ist am Ort!
Drüben schallt es fort und fort:
Hinterm Berg,
Hinterm Berg
Brennt es in der Mühle!
Look, there he gallops frenziedly
Through the gate, the fire-rider,
Straddling his skinny mount
Like a fireman’s ladder!
Across the fields! Through thick smoke
and heat
He rides and has reached his goal!
The distant bell peals on and on:
Behind the hill,
Behind the hill
The mill’s on fire!
Der so oft den roten Hahn
Meilenweit von fern gerochen,
Mit des heilgen Kreuzes Span
Freventlich die Glut besprochen –
Weh! dir grinst vom
Dachgestühle
Dort der Feind im Höllenschein.
Gnade Gott der Seele dein!
You who have often smelt a fire
From many miles away,
And blasphemously conjured the blaze
With a fragment of the True Cross –
Look out! there, grinning at you from the
rafters,
Is the Devil amid the flames of hell.
God have mercy on your soul!
Hinterm Berg,
Hinterm Berg
Rast er in der Mühle!
Behind the hill,
Behind the hill
He’s raging in the mill!
Keine Stunde hielt es an,
Bis die Mühle barst in Trümmer;
Doch den kecken Reitersmann
Sah man von der Stunde nimmer.
Volk und Wagen im Gewühle
Kehren heim von all dem Graus;
Auch das Glöcklein klinget aus:
Hinterm Berg,
Hinterm Berg
Brennts! –
In less than an hour
The mill collapsed in rubble;
But from that hour the bold rider
Was never seen again.
Thronging crowds and carriages
Turn back home from all the horror;
And the bell stops ringing too:
Behind the hill,
Behind the hill
A fire! –
Nach der Zeit ein Müller fand
Ein Gerippe samt der Mützen
Aufrecht an der Kellerwand
Auf der beinern Mähre sitzen:
Feuerreiter, wie so kühle
Reitest du in deinem Grab!
Husch! da fällts in Asche ab.
Ruhe wohl,
Ruhe wohl
Drunten in der Mühle!
Some time after a miller found
A skeleton, complete with cap,
Upright against the cellar wall,
Mounted on the fleshless mare:
Fire-rider, how coldly
You ride in your grave!
Hush! now it flakes into ash
Rest in peace,
Rest in peace
Down there in the mill!
Nixe Binsefuss
The water-sprite Reedfoot
Des Wassermanns sein Töchterlein
Tanzt auf dem Eis im Vollmondschein,
Sie singt und lachet sonder Scheu
Wohl an des Fischers Haus vorbei.
The water spirit’s little daughter
Dances on the ice in the full moon,
Singing and laughing without fear
Past the fisherman’s house.
„Ich bin die Jungfer Binsefuss,
Und meine Fisch wohl hüten muss;
Meine Fisch, die sind im Kasten,
Sie haben kalte Fasten;
Von Böhmerglas mein Kasten ist,
Da zähl ich sie zu jeder Frist. Gelt, FischerMatz? gelt, alter Tropf,
Dir will der Winter nicht in Kopf?
Komm mir mit deinen Netzen!
Die will ich schön zerfetzen!
Dein Mägdlein zwar ist fromm und gut,
Ihr Schatz ein braves Jägerblut.
“I am the maiden Reedfoot,
And I must look after my fish;
My fish are in this casket,
Having a cold Lent;
My casket’s made of Bohemian glass,
And I count them whenever I can.
Not so, Matt? Not so, foolish old fisherman,
You cannot understand it’s winter?
If you come near me with your nets,
I’ll tear them all to shreds!
But your little girl is good and devout,
And her sweetheart’s an honest huntsman.
Drum häng ich ihr, zum Hochzeitsstrauss,
Ein schilfen Kränzlein vor das Haus,
Und einen Hecht, von Silber schwer,
Er stammt von König Artus her,
Ein Zwergen-Goldschmieds-Meisterstück,
Wers hat, dem bringt es eitel Glück:
Er lässt sich schuppen Jahr für Jahr,
Da sinds fünfhundert Gröschlein bar.
That’s why I’ll hang a wedding bouquet,
A wreath of rushes outside her house,
And a pike of solid silver,
From King Arthur’s time,
The masterwork of a dwarf goldsmith,
Which brings its owner the best of luck:
Each year it sheds its scales,
Worth five hundred groschen in cash.
Ade, mein Kind! Ade für heut!
Der Morgenhahn im Dorfe schreit.“
Farewell, child! Farewell for today!
The cock in the village cries morning.”
Zur Warnung
By way of warning
Einmal nach einer lustigen Nacht
War ich am Morgen seltsam aufgewacht:
Durst, Wasserscheu, ungleich Geblüt;
Dabei gerührt und weichlich im Gemüt,
Beinah poetisch, ja, ich bat die Muse um ein
Lied.
Sie, mit verstelltem Pathos, spottet’ mein,
Gab mir den schnöden Bafel ein:
Once, after a convivial night,
I woke in the morning, feeling odd:
Thirst – but not for water – unsteady pulse,
Emotional and sentimental,
Almost poetic, yes, I asked my Muse for a
song.
With feigned pathos she mocked me,
Served up this vile doggerel:
„Es schlagt eine Nachtigall
Am Wasserfall;
Und ein Vogel ebenfalls,
Der schreibt sich Wendehals,
Johann Jakob Wendehals;
Der tut tanzen
Bei den Pflanzen
Obbemeld’ten Wasserfalls –“
“Nightingale doth call
By waterfall;
Another bird does the same –
Wryneck is his name,
Johann Jakob Wryneck;
Who doth dance
By the plants
Of said waterfall –”
So ging es fort; mir wurde immer bänger.
Jetzt sprang ich auf: zum Wein! Der war denn
auch mein Retter.
– Merkts euch, ihr tränenreichen Sänger,
Im Katzenjammer ruft man keine
Götter
And so it went on; I grew ever uneasier.
Now I leapt up: Wine! That was my
salvation.
– Mark well, you weepy bards,
Call not on the gods, when you’re
hung-over!
English Translations © 2005 Richard Stokes, from The Book of Lieder, published by Faber and Faber.
bach
at
emmanuel music
FALL/WINTER CANTATA SCHEDuLE 2014 | SuNDAYS AT 10:00 AM
9/21
BWV 92
Ich hab in Gottes Herz und Sinn
9/28 BWV 87
Bisher habt ihr nichts gebeten in meinem Namen
10/5
Nimm von uns, Herr, du treuer Gott BuxWV078
Buxtehude
Michael Beattie, conductor
10/12 BWV 180
Schmücke dich, o liebe Seele
10/19 BWV 52
Falsche Welt, dir trau ich nicht!
10/26 Mozart
Vesperae solennes de confessore K. 339
11/2
BWV 129
Gelobet sei der Herr, mein Gott
11/9
BWV 116
Du Friedefürst, Herr Jesu Christ
11/30 BWV 61
Nun komm, der Heiden Heiland I
12/7
BWV 30
Freue dich, erlöste Schar
12/8
BWV 62
Nun komm, der Heiden Heiland II
12/14 BWV 10
Meine Seel erhebt den Herren
John Harbison, conductor
12/21 Mendelssohn Vom Himmel hoch
12/24 BWV 151
Süßer Trost, mein Jesus kömmt
Christmas Eve, 7 PM
the Orchestra and chorus of emmanuel Music, ensemble-in-residence at
emmanuel church, presents cantatas and motets of Bach and others in a
liturgical setting, conducted by ryan turner, artistic director, and guest conductors.
About Emmanuel Music
Ryan Turner conducts Harbison: The Great Gatsby, May 12, 2013
E
mmanuel Music, a collective group of singers and instrumentalists, was founded in 1970 by Craig
Smith to perform the complete cycle of over 200 sacred cantatas of J. S. Bach in the liturgical
setting for which they were intended, an endeavor twice completed and a tradition which continues
today. Artistic Director Ryan Turner has led the ensemble since 2010.
Over the years, Emmanuel Music has garnered critical and popular acclaim through its presentations
of large-scale and operatic works by Bach, Handel, Schubert, and Mozart as well as its in-depth
exploration of the complete vocal, piano, and chamber works of Debussy, Brahms, Schubert, and
Schumann. A recent highlight was the Boston and Tanglewood premiere of John Harbison’s opera
The Great Gatsby.
A unique aspect of Emmanuel performances is its selection of vocal and instrumental soloists from a
corps of musicians who have long been associated with the group. Emmanuel Music has given rise to
renowned musicians at the local, national, and international level; its long-standing association with
Principal Guest Conductor John Harbison has also yielded a wealth of creative artistry.
Emmanuel Music has achieved international recognition from audiences and critics alike in its
innovative collaborations with leading visionaries among the other arts, including the Mark Morris
Dance Group and stage director Peter Sellars. Emmanuel Music made its European debut in 1989 in
Brussels at the Théâtre Royal de la Monnaie, and its New York City debut at Lincoln Center in 2001.
In a schedule that totals over fifty performances per year, guest conductors have included Seiji
Ozawa, Christopher Hogwood, Bach scholar Christoph Wolff, Robert Levin, Julian Kuerti, and David
Hoose.
Emmanuel Music has been the subject of numerous national radio and television specials, and has
completed ten recording projects featuring works of Heinrich Schütz, John Harbison, and J. S. Bach,
including the critically acclaimed bestseller Bach Cantatas BWV 82 and 199 featuring Lorraine Hunt
Lieberson on the Nonesuch label (hailed as one of the Top CDs of the Year by The New York Times),
Mozart Piano Concertos and Fantasies, with Russell Sherman on the Emmanuel Music label, and the
latest release on the AVIE label, Lorraine at Emmanuel.
About the Artists
“Supple, even liquid shaping of phrase, impeccable technique and truly refreshing
communication of the intimacy of ensemble playing.” “A thinking man’s
conductor.” This is how critics speak of conductor Ryan Turner, praising his
recent performance of Harbison’s The Great Gatsby as “a great triumph.” Ryan
Turner, now in his fifth year as Artistic Director of Emmanuel Music, brings both
talent and heart to his music-making as a conductor, a programmer, and a singer.
Born in 1972 and raised in El Paso, Texas, Mr. Turner went to college at Southern
Methodist University in Dallas. He arrived in Boston in 1995 to continue his studies
at the Boston Conservatory. He joined Emmanuel Music in 1997 as a tenor soloist and chorus
member, making his debut as a guest conductor in 2006. Since his appointment as Artistic Director,
Mr. Turner has programmed and conducted over eighty Bach cantatas and, the B minor Mass, and
major works by Stravinsky, Mozart, Handel, and Harbison. A champion of new music, Ryan Turner
has programmed and premiered the works of composers John Harbison, James Primosch, Brett
Johnson, and Ben Hogue.
Mr. Turner recently began teaching voice, chamber music, and conducting at the Longy School
of Music. He was the Director of Choral Activities at Phillips Exeter Academy from 2006 to 2012.
From 2006 to 2009 he served as the Acting Director of the SongFest Bach Institute in California,
founded by Craig Smith. From 2001 to 2010 Mr. Turner presided as Music Director of the Concord
Chorale and Chamber Orchestra. He has also served as Assistant Director of Choral Activities at the
University of Rhode Island, as Interim Director of Choral Activities at Plymouth State University, and
as Music Director of the Concord Chorus. Ryan Turner has appeared as soloist in oratorio, recital,
and opera. Some highlights include his appearance with the Mark Morris Dance Group in Handel’s
L’Allegro, six seasons with the Carmel Bach Festival, and the role of Ferrando in Cosi fan Tutte with
Opera Aperta. Mr. Turner made his Carnegie Hall debut as the tenor soloist in Handel’s Messiah
in 2008. He has sung solos in over forty Bach cantatas with Emmanuel Music. His discography
includes Bach BWV 67 with Emmanuel Music, Praetorius Christmas Vespers with Apollo’s Fire, and
Kapsberger Apotheosis with Ensemble Abendmusik. Ryan Turner lives north of Boston with his wife,
soprano Susan Consoli, and their son, Aidan.
Praised for their “beautiful sound” (Beijing Global Times), the Arneis Quartet is playfully named
after the Arneis grape—a varietal that is difficult to grow, but which yields an exquisite white wine.
The Quartet has received fellowships at the Aspen Center, Banff Centre, and Apple Hill Center
for Chamber Music, among others. Recent performance venues include Stanford University,
Music on Main in Vancouver, Beijing Modern Music Festival, Shanghai Conservatory, Swarthmore
College, Hawthorne Barn in Provincetown, MA, and Concord Free Public Library. Celebrating
their fifth anniversary this season, the Quartet will perform on the Alcyon, Winsor Music, and
Emmanuel Music chamber series. This season also brings interdisciplinary collaborations with
Boston University Center for the Humanities. Four unique concerts and symposiums between
December 2014 and April 2015 will explore the intersection of poetry and music in works of
John Harbison, Lee Hyla, Sofia Gubaidulina and Beethoven, among others. Collaborating with
Emmanuel Music‘s “Community Connections” program, the Quartet’s outreach in Boston
includes performance, master classes and collaborations with students. Outside of their Boston
About the Artists
home, the Quartet has brought musical outreach to communities in California, Utah, Michigan,
Ohio, and Italy. Arneis Quartet is the faculty ensemble-in-residence at the Dana Hall School of
Music. The Quartet members are on the faculties of Boston University, Brookline Public Schools,
and Chestnut Hill School, and act as coaches for the Boston Youth Symphony Orchestras. All
alumni of Boston University, the members of the Arneis Quartet have coached with members
of the Muir, St. Lawrence, Brentano, Emerson and Juilliard quartets, as well as Mary Ruth (UV)
Ray, James Dunham, Marc Johnson, Leonard Matczynski, Sylvia Rosenberg, Roger Tapping, and
Donald Weilerstein.
Soprano Roberta Anderson has been happily singing with Emmanuel Music
for over twenty years. Praised for her “sweet tone” and “exquisitely refined
musicianship” she has appeared as soloist with Boston Baroque, Handel and
Haydn Society, Boston Early Music Festival, Aston Magna, Concerto Koln, and
numerous other ensembles throughout the United States, Europe and Canada.
Mark Berger, composer/violinist/violist, is highly active as a performer
in the Boston freelance scene and has performed with many of Boston’s
finest ensembles, including the Boston Symphony Orchestra, Boston Pops
Esplanade, Emmanuel Music, Boston Modern Orchestra Project, Opera
Boston, and Boston Lyric Opera. An avid chamber musician, he is a member
of Music at Eden’s Edge and the Worcester Chamber Music Society, he has a
duo partnership “The Two Composers” with pianist/composer Ketty Nez, and
he has performed with Lydian String Quartet, Radius Ensemble, and Ludovico
Ensemble. Mr. Berger has performed at summer festivals such as Kneisel Hall and Tanglewood,
where he was a member of the New Fromm Players, new music ensemble-in-residence. He can
be heard performing the music of Ketty Nez on Albany Records. Also a gifted composer, Mr.
Berger’s works have been presented locally by the New York New Music Ensemble, Dinosaur
Annex, ALEA III, the Worcester Chamber Music Society, Xanthos Ensemble, Music at Eden’s Edge,
QX String Quartet, and the Lydian String Quartet, as well as nationally and internationally by the
Third Coast Percussion Quartet, Ensemble Permutaciones (Mexico) and the Hellenic Ensemble of
Contemporary Music (Greece). He has received awards from the League of Composers/ISCM and
ASCAP and grants from NEFA and the Brannen-Cooper Fund. Mr. Berger studied composition at
Boston University and Brandeis, where his principal teachers included Theodore Antoniou, Lukas
Foss, David Rakowski, Eric Chasalow and Martin Boykan. He is currently on the music faculty at
Clark University, UMass Lowell, and Middlesex Community College.
About the Artists
Based in Boston, violinist Heather Braun performs as first violinist of the prizewinning Arneis Quartet; the Quartet has recently performed at venues including
the Beijing Modern Music Festival, the Modulus Festival in Vancouver, Stanford
University’s Lively Arts Series, Aspen Music Festival, Reggio Emilia, Boston
University, and Swarthmore College. Ms. Braun also performs as coconcertmaster and soloist with the Orchestra of Emmanuel Music, and was a
Lorraine Hunt Lieberson Fellow in 2010-2011. Other recent performing
highlights include the Frederick Collection recital series, Rockport (MA)
Chamber Music Festival, East-West Virtuosi, and the Manchester (VT) Music Festival. Ms. Braun
has performed as a soloist with various orchestras in Boston, Milwaukee, Washington DC, and
Manchester, VT.
Ms. Braun received her Bachelor of Music degree from the Eastman School of Music, studying
with Mikhail Kopelman, and completed her Master of Music and Doctor of Musical Arts degrees
at Boston University, studying with Peter Zazofsky. While studying at Boston University, she was
twice given the String Department Award and received the Zulalian Foundation Award in 2010.
She has collaborated in concert with the Ying Quartet, St. Lawrence String Quartet, Menahem
Pressler, Robert Levin, and members of the Boston University School of Music faculty. Ms. Braun
has coached chamber music and violin at the Boston University Tanglewood Institute, Manchester
Music Festival, and Apple Hill Center for Chamber Music. She was appointed to the Boston
University School of Music faculty in 2014, is a violin and viola faculty member for the Brookline
Public Schools Extension Program, and has coached for the Boston Youth Symphony Orchestras.
Ya-Fei Chuang has appeared at numerous international festivals including
Beethoven Festival (Warsaw), European Festival (Stuttgart), Bach Festival
(Leipzig),Taipei International Music Festival,and those of Ruhr,Schleswig-Holstein,
Gilmore, Ravinia, Sarasota, and Tanglewood. Ms. Chuang has collaborated with
conductors such as Christoph Eschenbach and Sir Roger Norrington. She
has performed chamber music with numerous concertmasters and principal
players of the Berlin Philharmonic, Cleveland Orchestra, LA Phil, Pittsburgh
Symphony, and as duo partner with Clive Greensmith, Kim Kashkashian, and
regularly with Steven Isserlis, Robert Levin, and James Buswell. Recent engagements have taken
place at the Berlin Philharmonic Hall with the City of Birmingham Symphony Orchestra, with the
Malaysian Philharmonic at the National Concert Hall Taipei, at the Queen Elisabeth Hall in London,
and in Tel Aviv, Salzburg, Hong Kong, South America and throughout the US. On the fortepiano she
has performed with Boston Baroque, Orchestra of the Age of Enlightenment, and Philharmonia
Baroque. Her upcoming performances include ‘Mozartwoche’ in Salzburg, at the ‘Spectrum Berlin’
in the Berlin Philharmonic Hall; and at Verbier Festival, Switzerland, at the Nevada Chamber
Music Festival; concerto performances in Boston and in Brazil; duo recitals with Steven Isserlis in
Singapore, Taiwan and in the US; solo recitals in Jordan Hall, Boston, at the Mozarteum, Salzburg,
at the Bach Festival in Eugene, Oregon, and at the International Grieg Piano Competition in Norway,
where she will be adjudicating. She has recorded solo, concerto and chamber music works for ECM,
About the Artists
Harmonia Mundi, Naxos, and New York Philomusica Records, and the Ruhr Festival has released
several of her live recordings, including a solo album as a premium of Fono Forum Magazine. Of
her live recording of the Mendelssohn Concerto No. 1, Fanfare Magazine hailed her “delicacy and
fluidity of touch…this version now sits at the top of the pile of Mendelssohn Firsts, alongside Perahia,
Serkin, and John Ogdon.” Her recording of Hindemith’s chamber music works with Spectrum Berlin
was awarded a special prize by the International Record Review. Ya-Fei Chuang gives master classes
throughout the US, Europe, and Asia, including annually at the Mozarteum, Salzburg. She is on the
faculty of the Boston Conservatory, the New England Conservatory Preparatory Division, and is the
instructor of the piano performance seminar for NEC Continuing Education.
Pamela Dellal, mezzo-soprano, acclaimed soloist and recitalist, has been praised
for her “exquisite vocal color,” “musical sensitivity,” and “eloquent phrasing.” She
sang the premiere of Harbison’s The Seven Ages in New York, San Francisco,
Boston, and London; she debuted at the Kennedy Center under Julian Wachner in
Bach’s Mass in B minor, and at Lincoln Center under William Christie in Handel’s
Messiah. She has performed under Seiji Ozawa, Christopher Hogwood, Paul
McCreesh, Bernard Labadie, and Roger Norrington. She has performed leading
roles in Handel’s Alcina, Britten’s Albert Herring and Rape of Lucretia, Purcell’s
Dido and Aeneas, Mozart’s La Clemenza di Tito and Così fan Tutte, Barber’s Vanessa, and Harbison’s
Winter’s Tale. She has performed with the Handel and Haydn Society, Aston Magna, Boston Early
Music Festival, Tokyo Oratorio Society, Opera Company of Boston, the National Chamber Orchestra,
Boston Baroque, Baltimore Choral Arts Society, and the Dallas Bach Society, and has appeared in
concert in major cities in Europe, the UK, Australia and Japan. With Sequentia, Ms. Dellal has made
numerous recordings of the music of Hildegard von Bingen, and has toured the US, Europe, and
Australia. Passionate about chamber music, early music, and contemporary music, she performs
frequently with Dinosaur Annex, Boston Musica Viva, Ensemble Chaconne, Blue Heron, and the
Musicians of the Old Post Road. She has been a regular soloist in Emmanuel’s Bach Cantata Series
since 1984, having performed almost all 200 of Bach’s sacred cantatas. Ms. Dellal has made over 25
recordings on various labels.
About the Artists
Daniel Doña, violist, has distinguished himself as an active performer and
pedagogue. Dr. Doña serves on the faculty of Boston University, where he serves
as Assistant Chair of the String Department, Coordinator of String Chamber
Music, and Lecturer of Viola, String Pedagogy and String Literature. Dr. Doña
is violist of the prizewinning Arneis Quartet.Performances with Arneis include
appearances at the Beijing Modern Music Festival, Music on Main (Vancouver)
and Stanford University’s Lively Arts series. Daniel’s performances have been
broadcast on CBC Radio 2, WGBH and WCLV. Dr. Doña also performs with the
Orchestra of Emmanuel Music and is Principal Violist of the Marsh Chapel Collegium. He is on
the faculty of the Dana Hall School of Music, the Boston Youth Symphony Orchestras and Project
STEP. He has presented guest masterclasses at the University of Connecticut, Northwestern
University Music Academy and Miami University.Dr. Doña pursues interdisciplinary projects with
a passion. He is a recipient of a Humanities Enhancement Project Award from the Boston University Center for the Humanities, enabling him to curate a series exploring connections between
poetry and music. An enthusiastic advocate of new music, he has commissioned and premiered
works by Aaron Travers and Orianna Webb.Dr. Doña received his AB in Philosophy from the University of Chicago, where he was awarded the inaugural David Fulton Award for excellence in instrumental performance. He received his MM in Viola Performance from the University of Oklahoma where he studied with Matthew Dane (viola) and Felicia Moye (violin). At Boston University
he studied with Michelle LaCourse, Steven Ansell and Ed Gazouleas. He received his PD and DMA
from BU and was a two-time recipient of the String Department Award.
Rose Drucker is a versatile violinist performing throughout the Boston area.
As a member of the Arneis Quartet she has appeared in Stanford’s Lively Arts
Series, Music on Main in Vancouver, the Beijing Modern Music Festival in China.
Arneis has also performed in Boston and New York and at summer festivals in
Aspen, the Banff Centre in Canada, Stanford University, and Deer Valley, UT
and was the Fellowship Quartet at the Apple Hill Center for Chamber Music.
The Quartet was the inaugural winner of the John Lad prize, awarded by the St.
Lawrence String Quartet at Stanford University. In addition to performing
Bach cantatas and orchestra concerts at Emmanuel since 2004, Ms. Drucker has appeared in the
chamber music and solo Bach series and was a 2005-2006 Lorraine Hunt Lieberson Fellow. She
has been coached by members of the Muir, St. Lawrence, Brentano, Emerson, and Juilliard
quartets and has studied with Peter Zazofsky and Mark Rush. She holds degrees from Boston
University and the University of Arizona.
About the Artists
Pianist Brett Hodgdon is a collaborative artist, vocal coach, and conductor
living in Boston, Massachusetts. Equally comfortable as chamber musician and
vocal collaborator, he has performed for audiences at Jordan Hall, the Kennedy
Center, Wolf Trap Opera Company, Tanglewood Music Center, and the Aspen
Music Festival, as well as in the Emmanuel Music Chamber Series. Away from
the recital stage, Mr. Hodgdon is on the music staff at the Boston Lyric Opera,
after having been an Emerging Artist at the company. Mr. Hodgdon recently
joined the faculty at the University of Connecticut as Director of the Opera
Theater. This year he will make his UConn conducting debut with Britten’s Albert Herring. He is the
rehearsal pianist for Emmanuel Music’s Bach Cantata Series. A doctoral candidate in collaborative
piano at the New England Conservatory, Mr. Hodgdon’s research centers on French art song of the
mid-twentieth century.
Cellist Agnes Kim, described as a “hair-raising performer” in The Boston Musical
Intelligencer after her performance with the award-winning Arneis Quartet, has
actively performed as a recitalist, chamber musician, and orchestral player.
She currently serves as principal cellist in Haffner Sinfonietta and Hwaum
Chamber Orchestra of Boston, and plays for Boston Philharmonic Orchestra.
She was a founding member of Trio Eca and Haffner Chamber Players. Her
performance as a member of Korea-based Trio Sol was broadcasted nationally
on MBC in Korea. Ms. Kim was winner of the Artist International Audition
and a recipient of the John Lad Prize, Aldo Pariot Scholarship, Eric Von Baeyer Scholarship, and
prizes from International Chamber Music Ensemble Competition and Ibla Grand Prize. She has
collaborated in concerts with Marc Johnson, Peter Zazofsky, Michelle LaCourse, Ursula Holliger,
and St. Lawrence String Quartet. Ms. Kim received a Doctor of Musical Arts degree from Boston
University where she was a student of Leslie Parnas. Born in Pennsylvania, USA, and raised in
Busan, Korea, she was trained at Busan High School of Arts and holds degrees from Peabody
Institute of Johns Hopkins University and New England Conservatory where she studied with
Steven Kates and Yeesun Kim. She participated in the Aspen Music Festival, Chamber Residency
and Master Classes at Banff Center, Apple Hill Center for Chamber Music, Emerging Quartet and
Composers Program at Deer Valley Festival, St. Lawrence String Quartet Seminar, Juilliard Quartet
Seminar and Encore School for Strings.
About the Artists
Baritone David Kravitz’s 2014-2015 season includes his company debuts at
Opera Saratoga as Don Magnifico in La cenerentola, at Palm Beach Opera for
the world premiere of Ben Moore’s Enemies, A Love Story, and at the American
Repertory Theater for the world premiere of Matthew Aucoin’s Crossing,
directed by Tony Award winner Diane Paulus, along with a return to Boston
Lyric Opera for La traviata. He also sings Britten’s War Requiem in Symphony
Hall with the Boston University Symphony Orchestra. Last season featured
his debuts at Ash Lawn Opera as Tevye in Fiddler on the Roof, and at Dallas
Opera for Tod Machover’s Death and the Powers. In previous seasons, he has
sung with Washington National Opera, New York City Opera, Glimmerglass Opera, Chicago Opera
Theater, Lyric Opera of Kansas City, Atlanta Opera, Chautauqua Opera, Opera Memphis, Florentine
Opera, and other companies throughout the United States. His many concert appearances
include the Boston Symphony Orchestra, the Philadelphia Orchestra, the Baltimore Symphony,
Boston Baroque, Boston Modern Orchestra Project, and Emmanuel Music, under conductors
such as James Levine, Bernard Haitink, and Charles Dutoit. An exceptionally versatile artist,
his repertoire ranges from Bach to Verdi to Stephen Sondheim to cutting-edge contemporary
composers such as Mohammed Fairouz, John Harbison, Lee Hyla, and Tod Machover. Mr. Kravitz
has recorded for the Naxos, BIS, Koch International Classics, BMOP/sound, Albany Records,
and New World labels. Before devoting himself full-time to music, his distinguished legal career
included clerkships with the Hon. Sandra Day O’Connor and the Hon. Stephen Breyer.
Violinist Danielle Maddon is well known to New England audiences for her
vibrant playing and broad experience as a soloist, concertmaster, recitalist,
chamber and orchestral musician. Performing on both modern and period
instruments, Ms. Maddon has appeared in venues including Carnegie Hall,
Vatican City, and Tokyo’s Suntory Hall, in repertoire spanning four centuries.
Critics have hailed her playing as “magnificent,” “stunning,” “masterful,” and
“heartfelt.” She performs with Boston Baroque, Emmanuel Music, Boston
Pops, Boston Musica Viva, Handel and Haydn Society, Cantata Singers, Boston
Cecelia, and other groups.
Ms. Maddon was twice awarded full fellowships to both the Tanglewood Music Center and the Los
Angeles Philharmonic Institute, winning concertmaster posts for conductors Kurt Masur, Michael
Tilson-Thomas, Leonard Slatkin, and Sir Charles Grove. For four seasons, she was concertmaster of
the Tallahassee Symphony. Ms. Maddon performed for two years as a first violinist in the Singapore
Symphony Orchestra, and tutored violin students at the National University of Singapore.
As concertmaster and soloist for the New England Philharmonic under Richard Pittman, she
has performed twelve violin concertos by modern masters including Berg, Harbison, Dutilleux,
and Lutoslawski. On March 2, 2014, she premiered a new violin concerto by Bernard Hoffer,
commissioned by the New England Philharmonic and written for her.
About the Artists
Hailed by the New York Times as “imaginative and eloquent” and dubbed “a
local hero” by the Boston Globe, cellist Rafael Popper-Keizer maintains a
vibrant and diverse career as one of Boston’s most sought-after artists. He
is principal cellist of the Boston Modern Orchestra Project, Emmanuel Music,
and the Boston Philharmonic Orchestra, and a core member of some of New
England’s most celebrated chamber groups, including the Chameleon Arts
Ensemble, Winsor Music, the Ibis Camerata, and Monadnock Music. His 2003
performance with the Boston Philharmonic of the Saint-Saëns Concerto in
A minor was praised by the Globe for “melodic phrasing of melting tenderness” and “dazzling
dispatch of every bravura challenge.” More recent solo appearances include Strauss’ Don Quixote,
with the Boston Philharmonic and Beethoven’s Triple Concerto with Emmanuel Music. Mr. PopperKeizer has been featured on close to two dozen recordings, including the premieres of Robert
Erickson’s Fantasy for Cello and Orchestra, Thomas Oboe Lee’s tone poem Eurydice, Yehudi
Wyner’s De Novo for cello and small chamber ensemble, Malcolm Peyton’s unaccompanied
Cello Piece, and major unaccompanied works by Kodaly and Gawlick. As an alumnus of the
New England Conservatory, Mr. Popper-Keizer studied with master pedagogue and Piatigorsky
protégé Laurence Lesser; at the Tanglewood Music Center he was privileged to work with Mstislav
Rostropovich, and was Yo-Yo Ma’s understudy for Strauss’ Don Quixote under the direction of Seiji
Ozawa. His prior teachers include Stephen Harrison, at Stanford University and Karen Andrie, at
the University of California at Santa Cruz.
Pianist Esther Ning Yau, native of Hong Kong, is currently a faculty member of
the Collaborative Piano Department at Longy School of Music of Bard College,
and the Preparatory and School of the Continuing Education departments
at New England Conservatory. In the summer, Ms. Yau is also a member of
the Piano Faculty at International Music Academy in Cremona (Italy) and
previously, Regensburg (Germany).
An active soloist and chamber musician, Ms. Yau’s performances have brought
her to numerous concert venues world-wide, including Jordan Hall in Boston,
Merkin Concert Hall in New York, Museum of Arts in Puerto Rico, Giovanni Arvedi Auditorium in
Cremona, National Concert Hall in Taipei, Esplanade in Singapore and Government House in Hong
Kong. As founding member of New Piano Quartet, Innonet Trio and Duo Anime, she is featured
frequently at the Longy Septemberfest, Harvard-Epworth Church Concert Series, WCRB Live at
Copley, First Night Boston, Newport Symposium Chamber Music Concert and Bar Harbor Music
Festival.
Ms. Yau holds a double Master’s Degree in Piano Performance and Collaborative Piano from New
England Conservatory of Music, where she studied with Patricia Zander and Irma Vallecillo. She
has received fellowships from International Institute of Vocal Arts in Italy, UCLA Song Festival,
Aspen Music Festival, Music Academy of the West and Yellow Barn Music Festival. She has also
worked as a staff pianist at Boston Conservatory and Meadowmount School of Music.
Apart from her musical duties, Ms. Yau is currently serving as a member of the New England
Conservatory Alumni Council.
Community Connections
Community Connections Program
Emmanuel Music is grateful to The Rowland Foundation for its support of this program.
Community Collaborations
Emmanuel Music works in partnership with staff and faculty at a variety of Boston-area schools
and performing arts organizations to develop in-depth opportunities for young musicians. Partner
organizations include the Boston Arts Academy; the Perkins School for the Blind; the Boston
Children’s Chorus; and the Dever, Murphy, and McCormick public schools in Dorchester. Each
year instrumentalists and vocalists from Emmanuel Music’s core ensemble work with over 1000
young student musicians through collaborative performances, master classes, workshops, and
recitals. Through their intense engagement with professional musicians at the highest level, these
young students are given an extraordinary opportunity to experience inspiration, fulfillment, and
joy from music-making. Several students who have participated in Emmanuel Music’s Community
Connections programs have gone on to study music at the college level. Countless others have
pursued other careers, yet kept music as an important part of their lives.
Daniel Doña, violist with the Arneis Quartet, works with a student
at Boston’s Dever-McCormack School as part of Emmanuel
Music’s Community Connections Program.
Subsidized Tickets
Emmanuel Music, through its Community Connections Program, offers numerous Boston-area
schools and organizations working with underserved populations access to subsidized tickets for
Emmanuel Music concerts. Students, their families, and staff from the Boston Children’s Chorus,
Project STEP, the Boston Arts Academy, and other Boston public schools benefit from this exceptional
opportunity.
Lorraine Hunt Lieberson Fellows
The Lorraine Hunt Lieberson Fellowship honors young artists who have enthusiastically participated
within the Emmanuel community of musicians and demonstrated exceptional artistic talent.
The Fellowship honors Lorraine Hunt Lieberson (1954-2006) who began her musical career as a
violist in the Orchestra of Emmanuel Music under the direction of Craig Smith. By the mid-1980s,
she had become a full-time singer and moved into the ranks of the Emmanuel Chorus, honing her
craft both as an ensemble musician and soloist in the environment of intellectual rigor and collegial
support unique to Emmanuel. Her association with Emmanuel Music continued throughout
her highly acclaimed career and included legendary accounts of Bach cantata arias, the role of
Dejanira in Handel’s Hercules, and a riveting performance of Bach Cantatas BWV 82 and 199
staged by Peter Sellars and performed in major international venues. (Celebrated recordings of
these performances are available through Emmanuel Music). Lieberson’s talent was nurtured
and developed within the Emmanuel Music community of musicians, and in particular, the weekly
Bach Cantata performances. It is in this spirit that we celebrate and support the young musicians
identified each year as Lorraine Hunt Lieberson Fellows.
Introducing the 2014-2015 Lorraine Hunt Lieberson Fellows:
Critics have praised Brenna Wells for her “angelic,” “soaring,” and “captivating”
soprano voice. Her operatic roles include Galatea in Acis and Galatea, First Witch
Purcell’s Dido and Aeneas, La Musique in Charpentier’s Les Plaisirs de Versailles,
and she was Première Nymphe de l’Acheron in the Boston Early Music Festival’s
production and Grammy-nominated recording of Lully’s Psyché. Ms. Wells has sung
and recorded with such acclaimed ensembles as the BEMF Orchestra, Blue Heron,
Britten-Pears Baroque Orchestra, Boston Baroque, Opera Boston, L’Académie, Seraphic Fire, and
the Handel and Haydn Society. She has appeared in many festivals world-wide including the London
Handel Festival, Aldeburgh Festival, Amherst Early Music Festival, and BBC Proms, and in both 2008
and 2009, she was selected to perform in the Early Music Seminars, at the Fondazione Giorgio
Cini in Venice, Italy. Highlights from recent seasons include her soloist debut at Symphony Hall
under the direction of Harry Christophers as well as soloist debuts with Emmanuel Music, Boston
Baroque, Ensemble Viii, and Boston Cecilia among others. She performed in the Yale Choral Artists’
inaugural season, under the baton of William Christie, and returned as a soloist in their performance
of Mozart’s Mass in C Minor under director Jeffrey Douma. The 2013-2014 season included solo
appearances with the Handel and Haydn Society, Boston Baroque, Collage New Music, Connecticut
Early Music Festival, and with the Boston Early Music Festival’s tour of the Charpentier Opera Double
Bill: La Descente d’Orphée aux Enfers and La Couronne de Fleurs to Victoria, British Columbia and
New York. This season’s highlights include appearances with Emmanuel Music as their Lorraine
Hunt Lieberson Fellow, Seraphic Fire, Handel and Haydn Society, Boston Baroque, Ensemble Viii,
and the Yale Choral Artists.
Boston based cellist and baroque cellist praised for playing “with maturity
and panache,” Cora Swenson Lee began her studies in Chicago at the age
of four. Her most influential teachers have been Eastman School of Music
professor Alan Harris, Chicago Symphony member Richard Hirschl, and
long-time cellist of the renowned Vermeer Quartet, Marc Johnson. Ms. Lee
holds a Bachelor Degree in Cello Performance with highest distinction from
the Eastman School of Music (2010) and a Masters Degree in Cello Performance from
Boston University College of Fine Arts (2012). An avid chamber musician, Ms. Lee performs
regularly as a member of Boston Baroque and Trio Speranza. Cora has performed in venues
across the United States and internationally, including appearances at the San Francisco
Early Music Society, Trinity Church and Jordan Hall in Boston, Quigley Chapel and DePaul
University in Chicago, and Odori Park in Sapporo, Japan, with former Vienna Philharmonic
concertmaster Werner Hink and principal clarinetist Peter Schmiedl. A passionate educator,
She runs a small private studio in Boston, and along with her colleagues in the Boston
Public Quartet, is part of the new Celebrity Series of Boston initiative Artists in Community,
which brings free concerts and school presentations to several Boston communities. Ms.
Lee has participated in master classes by musicians including Steven Isserlis, Malcolm
Bilson, and Pamela Frank. She has performed under conductors including David Zinman,
Fabio Luisi, Leonard Slatkin, and Nicholas McGeegan. She has also worked with artists
such as James Dunham, Rachel Barton Pine, Larry Combs, the Vermeer Quartet, the Ying
Quartet, Pacifica Quartet and members of the Metropolitan Opera Orchestra.
EMMANUEL
MUSIC
Acknowledgements
Emmanuel Music acknowledges
generous in-kind contributions:
•
Musicians of Emmanuel Music who share their artistry with us on a weekly
basis throughout the season
•
The clergy, vestry, and staff of Emmanuel Church
•
Julian Bullitt for sharing his technical and photographic expertise
•
Jim Bradley for his ongoing operational support
•
Pamela Dellal, for her magnificent texts and translations
•
Lois Beattie for her ongoing administrative support
•
Taj Boston for offering special dinners for concertgoers
•
Patrice Moskow for her invaluable assistance in program editing
•
Ellen Mayo, for coordinating our volunteer activities
•
Volunteers for the Chamber concerts: Beth Baiter, Penny Caponigro, CatherineMary Donovan, Gaby Friedler, Ron Johns, and Walter Jonas.
•
Susan Larson, for her “way with words”
•
Members of the Boston Musician’s Association, Local 9-535 of the American
Federation of Musicians
Remembering Christopher Hogwood
The Emmanuel Music community mourns the loss of long time Advisory Board
member and guest conductor Christopher Hogwood. A pioneer in the historically informed
movement, he touched the lives of many of our musicians during his tenure as Artistic
Director of the Handel and Haydn Society. On Sunday mornings when he was in Boston, he
could often be found at Emmanuel Church, either conducting the Cantata or out listening
in the congregation. Our thoughts go out to his family and friends.
~ Ryan Turner, Artistic Director
Concert Underwriting
Emmanuel Music Concert Underwriting 2014-2015
Timely, generous support is critical for artistic planning. We are especially grateful to the
following individuals for helping us underwrite the 2014-2015 season.
Support of the Artistic Season
Eran Egozy and Yukiko Ueno-Egozy
The Klarman Family Foundation
The Position of Artistic Director
H. Franklin and Betsy Bunn
Belden and Pamela Daniels
Evening Concert Series
Alan J. and Suzanne W. Dworsky
The Mattina R. Proctor Foundation
Joan Margot Smith
Community Connections Program
The Rowland Foundation
The Bach Institute
Drs. Peter Libby and Beryl Benacerraf
Oberlin College and Conservatory
Chamber Music Series
Sarah M. Gates
Kate and Tom Kush
John Pratt
The Cantata Series
Anonymous (3)
The Barrington Foundation
Margaret Hornady-David and Donald
David
Coventry Edwards-Pitt and Matthew
Weinzierl
Sarah M. Gates
Mary Eliot Jackson
Errol Morris and Julia Sheehan
Jaylyn Olivo and Dale Flecker
Ruth Tucker and Dan Hazen
David Vargo and Sheila Collins
Estate of F. Blair Weille
We welcome the opportunity to discuss additional underwriting opportunities for the 20142015 artistic season. For more information, please contact Pat Krol, Executive Director, at
[email protected] or call 617.536.3356.
Concert Underwriting
Emmanuel Music 2013-2014 Season Cumulative Giving
September 1, 2013 to August 31, 2014
We gratefully acknowledge gifts to Emmanuel Music received between September 1, 2013 and
August 31, 2014. Contributions to Emmanuel Music provide support essential to achieving our
mission of enriching the life of the community through the transformative power of music. With
over 40 free concerts a season, our ticket sales cover less than 20% of our operating budget.
Financial support is essential to our continuing success. For questions or comments, please
contact Pat Krol, Executive Director, at [email protected] or call 617.536.3356.
$50,000+
Anonymous
Young Music Fund, Emmanuel Church
Joan Margot Smith
$20,000+
The Barrington Foundation
Elizabeth Boveroux
Belden and Pamela Daniels
Kate and Tom Kush
The Rowland Foundation
$10,000+
Julian and Marion Bullitt
Eran Egozy and Yukiko Ueno-Egozy
Sarah M. Gates
Timothy and Jane Gillette
Cynthia Livingston and Richard Shader
The Mattina R. Proctor Foundation
David Vargo and Sheila Collins
$5,000+
Anonymous (2)
Hanna and James Bartlett
Jaylyn Olivo and Dale Flecker
Margaret Hornady-David and Donald David
Butler and Lois Lampson
Drs. Peter Libby and Beryl Benacerraf
Massachusetts Cultural Council
John Pratt
Ruth Tucker and Dan Hazen
$2,500+
Paul and Katie Buttenwieser
David Cook and Annemarie Altman
Coventry Edwards-Pitt and Matthew
Weinzierl
Emmanuel Church
Mary Eliot Jackson
David Kravitz and Majie Zeller
Patricia Krol and Stephen Chiumenti
Edward and Joan Mark
Leonard Matczynski
Errol Morris and Julia Sheehan
Vincent Stanton, Jr. and Viva Fisher
$1,000+
Anonymous
The Atlantic Philanthropies Director/
Employee Designated Gift Fund
Gail and Darryl Abbey
Cumulative Giving
Richard and Mahala Beams
Willa and Taylor Bodman
Boston Cultural Council
Thomas Burger and Andrée Robert
Pauline Ho Bynum
Fay Chandler
Diana Post and Hal Churchill
Oberlin College and Conservatory
Pamela Dellal
Scott Dunbar
Charles L. Felsenthal
John and Rose Mary Harbison
John Hull
Rachel Jacoff
Margaret and Peter Johnson
Paul E. Keane and Linda Baron Davis
Kathryn and Edward Kravitz
Lorraine Lyman
Camille and William Malamud
Ruth and Victor McElheny
Robert E. Meyers
George and Martha Mutrie
Joan and Roderick Nordell
Olive Bridge Fund
Perkins School for the Blind
William and Lia Poorvu
Eric Reustle
David Rockefeller, Jr.
David and Marie Louise Scudder
Robert N. Shapiro
David Stevens and Marjorie Albright
Jeffrey Thomson and David Janero
Magdalena Tosteson
Debra and Ian Wallace
Peter Wender
Dana Whiteside
Robert Zevin
$500+
Anonymous
Roberta Anderson and David Dysert
Lois Beattie
Olivier and Jude Bedel
Laura Beeghly
James and Margaret Bradley
Bill Chapman
Victoria Cowling Chu and Michael Chu
Warren Cutler
Phillip M. Henry
Deborah A. Hoover
Saj-Nicole Joni
Margot L. Kittredge
Robert Levin and Ya-Fei Chuang
Mark Morris
Bill Nigreen and Kathleen McDermott
Anthony Pangaro
Winifred and Leroy Parker
Peggy Pearson
Sheila D. Perry
Bernie and Sue Pucker
Joseph Quinn
Robert Schuneman
Plimpton-Shattuck Fund
Roy W. Tellini
Winsor Music Inc.
Benjamin Zander
$250+
Alchemy Foundation
Joan and Donald Allen
Beth Baiter
Michael Beattie
Charles and Birgit Blyth
Miriam and Lewis Braverman
Penelope Caponigro
Mary and Kenneth Carpenter
John and Sally Davenport
Cumulative Giving
Françoise and Michel Epsztein
Robert and Margaret Faulkner
Andrew L. Gangolf
Tom and Jody Gill
Robert and Anne Goble
Joshua Gordon and Naomi Botkin
Wendy and Clark Grew
Frank and Susan Kelley
Danielle Maddon and Geoffrey Steadman
Charles Maier
Cecily and Alan Morse
Ellen and John O’Connor
William J. Pananos
Bonnie Payne and Roger Tobin
Dianne Pettipaw
Pauline Ratta
Rosemary Reiss and Avner Ash
Dayla Arabella Santurri and Stephen E. Gobish
David Satz
William and Micho Spring
Alan Strauss
Myles and Lise Striar
William and Lisa Strouss
Ann B. Teixeira
Elizabeth and Peter Thomson
Grenny Thoron
Robert and Binney Wells
$100+
Anonymous (2)
Mike and Serafin Anderson
Tom Barber
Elaine Beilin
Linda Cabot Black
Tom and Susan Blandy
Marie-Paule Bondat and Michael Karr
Esther Breslau
Alan Brock
Dorothy Blanchard Brown
Ethel Bullitt
Mary Chamberlain
Sally Chisholm
Lynn Cohen
John and Cindy Coldren
Dr. John D. Constable
Sally R. Coughlin
Charles and Carol Cox
Bruce and Susan Creditor
Fay Dabney
Elizabeth Davidson
Mary-Catherine Deibel
Barbara DeVries
Charles and Sheila Donahue
Elsa Dorfman and Harvey Silverglate
Ursula Ehret-Dichter
Ann and Will Equitz
Susan Feder
Harriet Feinberg
GE Foundation*
David Getz
Kathleen Gladstone
Nadja Gould
Winifred P. Gray
Mary Jewett Greer
David and Harriet Griesinger
The Rev. Constance A. Hammond
Suzanne and Easley Hamner
Robert and Marcia Handin
John Heiss
Randy Hiller
Leslie M. Holmes
Marcia Jacob
Mary and Ben Jaffee
Ann G. Johnson
E. Dolores Johnson
Sutti and Ehud Koch
Dr. A.A. and LaVerne Koeller
Linda and Paul Krouner
Jane Bryden and Chris Krueger
Terry Kutolowski and Rick Muth
Cumulative Giving
Kathie C. Larsen
Susan Larson and Jim Haber
Rebecca A. Lee
Fred and Jean Leventhal
Deborah Lemont
James C. Liu and Alexandra G. Bowers
Peter T. Loizeaux
Raymond and Martha Longa
Christopher Lydon
Barbara T. Martin
Susan Maycock and Charles M. Sullivan
Suzanne McAllister and Ralph Engstrom
Donna and Alec Morgan
Peggy Morrison
Nancy Mueller
Susan Hall Mygatt
Henry Paulus
Nancy Peabody
Joseph L. Pennacchio, M.D.
John Petrowsky
Harold I. Pratt
Ceasar and Deborah Raboy
Janice Randall
Kelly Reed and Kenneth Williams
Adam Reeves and Anne Kelly
Allan Rodgers
Virginia Rogers and William Hobbie
David Roochnik and Gina Marie Crandell
Frederick and Eleanor Sabini
Frank Sander
Michael J. Scanlon
Nancy Shafman and Mark Kagan
Joseph Shandling
Andrew Sigel
Jill and David Silverstein
Jean Chapin Smith
Mr. and Mrs. Richard Southgate
C. & V. Steadman
Bob and Dorothy Stuart
Susan Swan
Erin E.M. Thomas
Allen and Karen Thompson
Tyler and Marcia Tingley
Doris Tsao
Victor and Mary Tyler
William L. Vance
Charles Warren
Ed and Amy Wertheim
Marilee Wheeler
James White
T. Walley Williams, III
Mrs. Katherine B. Winter
Heather Wittels
Anna K. Wolff
Carl Woodbury
Carol P. Woodworth
Evelyn S. Wyman
$50+
Anonymous (3)
Gerald and Miriam Berlin
Dr. Michael Bierer and Elizabeth Bierer
Timothy E. Blackburn
Christopher Buckley
Dangoule Budris
Paul H. Carr
Paula Chasan
Suzanne Colburn
Allan and Grace Dibiase
Mary Dill
Allison Donelan
Marie-Pierre and Michael Ellmann
Brenda and Monroe Engel
Jean Fuller Farrington
William Faucon
Gaby Friedler
Helen Glikman and Dan Bartley
Elizabeth and Ron Goodman
Bernard S. Greenberg
Cumulative Giving
Dave and Lynne Harding
Susan Haule
Linda Heffner
Edwin and Mary Hiller
Jeanne O. Holland
Margot Dennes Honig
Carol Hornblower and Fred Weber
Samuel Clowes Huneke
John Hancock Financial Services*
Rosemary S. Kean
Peter and Cornelia Keenan
John and Jonell Kenagy
Tom and Vera Kreilkamp
Sara and Eben Kunz
Margot Lacey
Penelope Lane
Peter A. Lans
Michael and Elisabeth Lay
Helene L. Leighton
Mary Lincoln
Robert and Gwyneth Loud
Carol Marshall
Jane Roland Martin
Joseph T. McGrath
Ralph and Sylvia Memolo
Barbara B. Merrifield
Martha Moor
Roslin P. Moore
Eileen and Lawrence Moyer
Nancy Netzer and Robert Silberman
Elizabeth Nordell and Rudy Perrault
Eugene Papa
Peter Pochi
Kathleen Powers
Julie Ramsey and David Cutwright
Nancy and Ronald Rucker
Rena and Michael Silevitch
Marilyn Ray Smith and Charles Freifeld
Diane Sokal and Randolph Meiklejohn
David Steadman
Joel Stein
Alys Terrien-Queen
Stewart and Sondra Vandermark
Sonia Wallenberg
F. Blair Weille^
Martin and Phyllis Wilner
Stephen Wolfberg
Robert Wyckoff and Maya Hasegawa
^Deceased
*Matching Gift
emmanuel
emmanuel
music
music
mozart
mozart
Ryan Turner,
Artistic Director
20 14
15
crossroads
bach
St. John
Passion
EVENING CONCERTS
www.emmanuelmusic.org
Crossroads
www.emmanuelmusic.org
MENDELSSOHN/WOLF CHAMBER
SERIES, YEAR I
October 17, 2014, 8 PM
Pickman Hall - Longy School of Music
Emmanuel Church, 4 PM
November 6 and 16, 2014
April 12, 2015
Bach: St. John Passion
March 21, 2015, 8 PM
Emmanuel Church
BACH CANTATA SERIES
Mozart: Abduction from the Seraglio
May 9, 2015, 8 PM
Emmanuel Church
THE BACH INSTITUTE
Sundays at 10 AM
September 21, 2014 - May 17, 2015
January 9 - 26, 2015
FREE THURSDAY LINDSEY
CHAPEL SERIES
Thursdays at 12 noon
February 19 - March 26, 2015
ER
2014-2015 seAson TICKeTs
BUY A sUBsCRIPTIon And sAve
www.nePhilharmonic.org
All Aboard!
DECEMbEr 14, 2014 | 3PM | Tsai PErforManCE CEnTEr
MIChAel GAndolfI Night Train to Perugia bosTon PrEMiErE
ARThUR honeGGeR Pacific 231
heIToR vIllA-loBos Little Train of Caipira & Toccata
from Bachianas Brasileiras No. 2
RoB KAPIlow Chris van Allsburg’s Polar Express,
David Kravitz, baritone,
newton Public schools all City Treble singers, Kathryn Denney, Director
Innovation & Tradition in Concert
www.nEPhilharmonic.org | 855-463-7445
Season 17
14 15
concert
2
winds of music, passing on
“all-star lineup of
chamber musicians”
– The Boston Globe
Saturday, November 8, 2014, 8 PM
First Church in Boston
Clara Schumann Drei Romanzen for violin & piano, Op. 22
Sunday, November 9, 2014, 4 PM
John Woolrich A Cabinet of Curiosities for wind quartet & piano
First Church in Boston
Franz Schubert String Trio in-B-flat Major, D. 581
www.chameleonarts.org
617-427-8200
Dan Welcher Florestan’s Falcon for flute & piano
Robert Schumann Piano Quartet in E-Flat Major, Op. 47
2014
2015
JORDAN HALL
AT NEW ENGLAND
CONSERVATORY
Pre-concert talk one hour
prior to concert
subscriptions
available
ARTISTIC DIRECTOR: GIL ROSE
October 12 Surround Sound
SUNDAY 3:00
RONALD BRUCE SMITH, ANTHONY PAUL DE RITIS, DAVID FELDER
Patrick De Ritis, bassoon | Laura Aikin, soprano | Ethan Herschenfeld, bass
December 7 Fantastic Mr. Fox
SUNDAY 3:00
TOBIAS PICKER Co-production with ODYSSEY OPERA
Featuring the Boston Children’s Chorus
January 24 Magyar Madness
SATURDAY 8:00
BÁLINT KAROSI, GYÖRGY LIGETI, BÉLA BARTÓK, KATI AGÓCS
Gabriela Diaz, violin | Lorelei Ensemble
March 5 Blizzard Voices
THURSDAY 8:00
JOHN HARBISON, PAUL MORAVEC
Winner of the BMOP-NEC Composition Competition: TBA
New England Conservatory Concert Choir
www.bmop.org
BOSTON MODERN ORCHESTRA PROJECT
781.324.0396
LONGY EVENTS 2014-2015
For more information about Longy events, visit www.longy.edu.
November 25, 7:30pm
Longy Conservatory Orchestra
Geoffrey McDonald, conductor
Sanders Theatre, Harvard University
Including a Side by Side performance
March 10, 7:30pm
Longy Conservatory Orchestra
Sanders Theatre, Harvard University
with members of the Longy Conservatory
Orchestra and students from El Sistemainspired music programs.
March 20, 7:00pm
Side by Side: 2015 Longy Gala
Sanders Theatre and
Annenberg Hall, Harvard University
January 25, 7:00pm
Faculty Artist Recital
Mihail Jojatu, cello
Wayman Chin, piano
Edward M. Pickman Concert Hall
April 17–18
Spring Opera Performance
Donna Roll, director
SEASON 14 | 15
BACK BAY CHORALE
Boston Globe Fall Arts Preview Critics’ Pick
MUSIC OF VIENNA
Saturday 18 October 2014
Sanders Theatre, Cambridge
A CANDLELIGHT CHRISTMAS
Saturday 13 December 2014
Emmanuel Church, Boston
BEETHOVEN: MISSA SOLEMNIS
Saturday 21 March 2015
Sanders Theatre, Cambridge
DURUFLÉ: REQUIEM
Saturday 9 May 2015
Saint Paul’s Church, Cambridge
TICKETS & INFO: bbcboston.org or 617.648.3885
Scott Metcalfe Music Director
2 014 -15 S u b S c r i p t i O n S e r i e S
Oct. 18 • 8 pm
Special event:
nov. 15 • 3pm & 8pm
A M ASS for St. AuguStine of c A nterbury
Dec. 18 & 19 • 8 pm / Dec. 20 • 2:30 pm
chriStM AS in 15 -Century Fr a nCe & Burgundy
th
Feb. 21 • 8 pm
ockegheM, binchoiS & du fAy
Mar. 21 • 8 pm
ockegheM, buSnoyS, regiS,
c Aron & fAugueS
Capturing MusiC:
Writing & Singing MuSic
in the Middle AgeS
All Concerts & Events at:
11 garden St.
(617) 960-7956
www.blueheronchoir.org
first church in cambridge •
Carmina, Carmen
and Coronations!
75th Diamond Anniversary Season / Let's Celebrate Together!
3-Concert Series ¥ Friday nights in Sanders Theatre
November 14, 2014
ORFF Carmina Burana
March 13, 2015
BIZET 'Carmen' in Concert
May 8, 2015
HANDEL & HAYDN
'Coronation'
Anthems & Mass
MasterworksChorale.org ¥ (617) 858-6785
Mast
Steven Karidoyanes, conductor
Peggy Pearson, Artistic Director
Thanksgiving Concert
with Young Artist Rebecca Printz, mezzo-soprano
Sunday, November 30 at 7:00 pm
Follen Community Church
755 Mass. Ave., Lexington
Haydn: Quartet in B flat, op. 33, no. 4
Bolcom: Serenata Notturna
Mamuya: Song for the Spirit (World Premiere)
Bach: Cantata bwv 170 “Vergnügte Ruh’, beliebte Seelenlust”
Tickets and Information: www.winsormusic.org or 781-863-2861
Fine Musical
Instruments at auction
November 9 | 12PM | 63 Park Plaza, Boston
Jill Arbetter
509.970.3216, [email protected]
www.skinnerinc.com
Fine Italian Violin, Joannes Franciscus
Pressenda, Turin, 1835, est. $180,000-220,000
to be sold November 9th
Auction and previews are open to the public
MA/lic. #2304
COME. PLAY YOuR PART.
Contributions to Emmanuel Music are an opportunity to:
• Support over 200 of Boston’s most outstanding musicians
• Support over 50 concerts and cantatas each year
• Ensure that many of our concerts remain free and open to the public
Yes! I would like to support Emmanuel Music.
I would like to make a gift of $_____________________ to the Annual Fund
One-time
Monthly
Quarterly
Annually
Dates:
to
Please acknowledge this gift in honor of ___________________________________________
Or in memory of _______________________________________________________________
I am interested in underwriting a cantata ($2,500)
I would like to honor someone special in an acknowledgement.
I would like to underwrite a chamber music concert ($5,000)
I would like this gift to be anonymous
to discuss underwriting opportunities please call
Pat krol, executive director, 617.536.3356
Name ___________________________________________________________________
(exactly as you wish to be recognized)
Address _________________________________________________________________
City ________________________________ State ____________ Zip ____________
Phone: (home) ____________________ (work) ______________________________
E-mail address ___________________________________________________________
Enclosed is my check payable to Emmanuel Music in the amount of $ ________
Please charge my contribution of $ ______________________to my
MC
Visa
Card number _________________________________________ Exp. Date _________
My company has a matching gift program. I am enclosing a completed form for this program.
Emmanuel Music | PO Box 171184 | Boston, MA 02117 | 617.536.3356 | emmanuelmusic.org

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