atOne

The Trinity Choir

Trinity Baroque Orchestra

Julian Wachner, Conductor

Bach Cantatas · Schütz Motets

Poetry

Mondays at 1pm
March 21–June 20, 2011
 TRINIT Y WALL STREET present s

The Trinity Choir & Trinity Baroque Orchestra

Julian Wachner, Conductor

atOne

weekly service featuring

the cantatas of J.S. Bach,
with motets of Heinrich Schütz,
and transformative readings
by contemporary poets

Mondays at 1pm

March 21–June 20, 2011*

St. Paul’s Chapel

Broadway at Fulton

*
This program booklet May 2 - June 20
welcome

Welcome to Bach at One, a mid-day service of cantatas,

prayers, and poetry.
Bach, a devout Lutheran, composed 200 cantatas using both sacred and secular texts.
Many of those cantatas are heard in churches around the world every Sunday, but through
Bach at One, your Monday lunch hour can be enriched by timeless cantatas. Motets by
Heinrich Schütz, an influential predecessor of Bach will also be presented, as will poetry
readings by a group of noted poets.

If you enjoy this peaceful and sacred interlude to your day, please know you are warmly
invited back—to Bach at One, or to another of the worship opportunities at St. Paul’s or at
Trinity Church. In particular, I call your attention to Sunday morning services at 8am and
10am here, and a new service of Compline, or prayers for the end of the day.

Compline is an ancient half-hour candlelit service of chant and new music sung by the
Trinity Choir. Imagine your day ending with you and others saying together:
It is night after a long day. What has been done has been done;
what has not been done has not been done; let it be.

It is a sentiment that is increasingly rare in our busy world, yet one consistent with the sense
of spiritual oasis that St. Paul’s has offered for centuries. Compline takes place here at St. Paul’s
Chapel on Sunday evenings at 8pm.

Thank you for visiting today. The chapel staff and I look forward to seeing you again.

Blessings,

The Rev. Canon Anne Mallonee

Vicar

Order of Serv ice FE AT URED POE TS

Prelude May 2 Lee Bricchetti

Welcome May 9 Molly Peacock

Motets May 16 Rick Moody

Readings May 23 Elaine Sexton

May 30 Cornelius Eady
offertory
June 6 Joshua Mehigan
cantatas
June 13 Major Jackson
June 20 J. Chester Johnson

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Progr am Notes
Johann Sebastian Bach (1685–1750) has long been
regarded as the foundational figure on which all Western
Art Music of the so-called “common practice period”
has stood. All of the great composers from this massive
period (1700–1900) have seen Bach as this type of epic
cornerstone, and indeed, his life’s work does provide
an encyclopedic lexicon of compositional praxis, defining
and illustrating a sophisticated mastery of “tonality,” the
underlying presupposition for Mozart, Beethoven,
Brahms, and Wagner.
Although Bach’s work has always been lauded as the
epitome of contrapuntal technique, the reception of Bach
and his work has followed a rather bizarre trajectory: from
relative obscurity in the years following his death, to the
underground appreciation of his keyboard works during
the classical period by Baron van Swieten, Mozart, Haydn,
and Beethoven; the impressive public re-introduction of
the St. Matthew Passion by a young Felix Mendelssohn
in 1827, and Bach’s subsequent coronation as a romantic
hero-like figure in the 19th century — and as the Godfather
of an ethically “pure” music as defined by Schoenberg and
his disciples within the Second Viennese School of the
early 20th century.
When the musicologists got hold of him in the mid-20th
century, his work was seen as the objective output of a
mathematical genius, and sophisticated studies of Bach’s
unconscious neurological patterns and intentional
numerological design were the accepted analytical
methodology. By the late ’60s and ’70s, the mainstream
academic appreciation of his music mirrored the anti-
ecclesiastical thrust of the then current philosophical
thought, and thus Bach’s music was objectively consumed,
thoroughly divorced from its Theological and Liturgical
underpinnings. Indeed, poor Bach was pitied for his
seemingly imprisoned, cloistered existence and as a
grudgingly accepting servant of the Lutheran church.
Still today, in the modern academy, Bach’s expert voice
leading—as evidenced in his 4-part harmonizations of the
chorales; his use of invertible counterpoint in the relatively
simple 2-part inventions; and the epic collection of preludes
and fugues written in every key (Das Wohltemperierte
Klavier) form the basis of any music undergraduate’s
six-semester sequence of music theory. These studies are
mathematical in nature, and are not unlike the problem
sets of an engineering student at a technological institution.
Thus, most musicians have had it drummed into their
minds that Bach is the beginning of musical science,
and that the trajectory of the development of the bread
2
and butter of the concert repertoire begins with Bach,
and specifically Bach’s “discovery” of equal temperament,
and his mastery and invention of a hierarchically based
tonal system.
From the modern performer’s perspective, Bach’s solo
suites provide the young string player a requirement for
dry technical mastery (albeit with full and constant vibrato)
before moving on to the concerto repertoire of Tchaikovsky,
Brahms, and Sibelius. And the pianist-in-training gains the
ability to realize multiple independent parts by practicing
the 3-part Inventions, the Preludes and Fugues and, for fun,
perhaps the Italian Concerto. Generally, Bach is still passed
down as the old stern schoolmaster — the unreachable
inaugurator of all things good and pure in music
composition and basic instrumental technique in the
Western Art tradition.
In the late 20th century, there arose a new paradigm
surrounding the work of J. S. Bach which attempted to
cast new light on the context of his output, instrumental
and vocal. Several watershed 20th-century events, specific
to Bach, occurred within the greater movement for the
quest of historical authenticity specific to the performance
practice of “early” music. Bach, in light of these recent
discoveries, moves from the throne of the great
“inaugurator” to that of the master “culminator.”
In brief, Bach’s own annotated Calov edition of the Bible,
(although discovered in 1934), became known in Bach
circles following World War II. The resulting studies
illuminated that Bach was indeed theologically savvy and
that his compositional choices were intentionally focused
on a sophisticated understanding of hermeneutics and
liturgy. All of the musico-rhetorical devices of the late-17th
and early-18th century were then put to use in order to
interpret the text in exactly the same manner that a
preacher would utilize traditional rhetoric to persuade.
Thus, motivic shapes bearing specific emotional Affekt
would combine with meaning-laden choices of key, time
signature, instrumentation, voice part, number of parts
and references to pre-existing tunes (both secular and
sacred) to create musical essays rich in text painting,
emotionality, and a clear theological message.
Second, Joshua Rifkin, through an intensive analysis
of Bach’s original performance materials, came to the
practical realization that the majority of Bach’s vocal works
were intended to be performed primarily with one singer to
a part, completely turning the concept of massed choral
realizations of Bach’s major works on its head. Thus the
performance ideal for his vocal music is subjectively based So in this early 21st-century series where we present
and emotionally rich — the opposite of traditional objective, J. S. Bach’s cantatas and other vocal music — we enter
Apollonian renderings of his music by large choral societies. this arena with a collective pre-disposition to realize these
works within liturgical surroundings, with an awareness of
And, perhaps most fascinating from a performer’s point of the performance practice of Bach’s time, and shedding off
view—Bradley Lehman’s recent deciphering of the “squiggle” the previously accepted Apollonian shroud of objective
on the original cover of Das Wohltemperierte Klavier provided recreation by intentionally interpreting and emotionally
the solution to Bach’s handling of the tuning “wolf” or realizing the Dionysian, pietistic, and eschatological
“comma” that exists in pure tuning systems, thus debunking dangers that lurk within this body of repertoire.
the myth that Bach created “equal” temperament. Bach’s
tuning system, although individual and specific to Bach, We welcome you and look forward to having you join
was no different in methodology than all of his colleagues us on this adventure.
and predecessors, all of whom were collectively attempting
to provide a solution to a fully useable 12-note keyboard that —Julian Wachner
could realize the entire circle of fifths. (For more on this Director of Music and the Arts
subject see Bach’s temperament, Occam’s razor, and the
Neidhardt factor by John O’Donnell.) What this means is
that all of Bach’s key choices are based in an old-fashioned
sense of rhetorical tuning and key association. B minor
“sounds” serious and studied, while D major reflects jubilation
and victory, E b represents the Trinity, F major represents
the Pastoral etc…

3
Suggested Reading for bach at one
and the St. Matthew Passion (available to view on demand at trinitywallstreet.org)

Boyd, Malcolm (ed.), Oxford Composer Companions: Bach, Oxford UP, 1999
Butt, John (ed.), The Cambridge Companion to Bach, Cambridge UP, 1997.
Butt, John: Bach in the twenty-first century. BuNachwelt iv (2005), 169-182.
Butt, John: Bach’s vocal scoring: what can it mean? EarlyM xxvi/1 (1998), 99-107.
Butt, John: Performer’s View: Bach and the Performance of Meaning. AmerBachSocNL Fall (2001), 5, 10.
Chafe, Eric Thomas. “Bach’s Ascension Oratorio (BWV 11): God’s Kingdoms and their Representation”
Bach Perspectives 8 8. (2010).
Chafe, Eric Thomas. “Bach and Hypocrisy Appearance and Truth in Cantatas 136 and 179.” The Century of Bach
and Mozart (2008): 121-144.
Chafe, Eric Thomas. Analyzing Bach Cantatas. Oxford University Press, 1999.
Chafe, Eric Thomas. Tonal Allegory in the Vocal Music of J.S. Bach. University of California Press, 1991.
Chafe, Eric. “Key Structure and Tonal Allegory in the Passions of J.S. Bach: An Introduction,”
Current Musicology 31 (1981) 39-54.
Hans T. David, Arthur Mendel & Christoph Wolff, The New Bach Reader, Norton, 1998.
Kenyon, Nicholas (ed.), Authenticity and Early Music, Oxford UP, 1988.
Leaver, Robin, J.S. Bach and Scripture: Glosses from the Calov Bible Commentary. St. Louis, 1985.
Leaver, Robin: “Music and Lutheranism,” in The Cambridge Companion to Bach, ed. John Butt, pp. 35-45.
Lehman, Bradley: Bach’s extraordinary temperament: our Rosetta Stone. Early Music Feb 2005 (Part I), May 2005 (Part II)
Marissen, Michael and Melamed, Daniel, An Introduction to Bach Studies, Oxford UP, 1998.
Marissen, Michael: Blood, People, and Crowds in Matthew, Luther, and Bach. LutheranQ xix/1 (2005), 1-22.
Marissen, Michael: On the Musically Theological in J. S. Bach’s Cantatas. LutheranQ xvi/1 (2002), 48-64.
Marissen, Michael: The theological character of J. S. Bach’s Musical Offering. BachStudies ii (1995), 85-106.
Marshall, Robert: The Music of Johann Sebastian Bach, Schirmer, 1989.
Michael Marissen, “Religious Aims in Mendelssohn’s 1829 Berlin-Singakademie Performances of Bach’s St. Matthew Passion,”
The Musical Quarterly 77 (1993) pp. 718- 726.
Parrot, Andrew, The Essential Bach Choir, Oxford University Press, 2004
Pelikan, Jaroslav: “Meditation on Human Redemption in the Saint Matthew Passion,” Bach among the Theologians.
Philadelphia, 1986. pp. 89-101.
Pelikan, Jaroslav: “The Four Seasons of J. S. Bach,” “The Musical Heritage of the Reformation,” in Bach Among the
Theologians, pp. 2-28 and ”Rationalism and Aufklärung in Bach’s Career,” pp. 29-41.
Pelikan, Jaroslav: “Confessional Orthodoxy in Bach’s Religion,” Bach among the Theologians. Philadelphia, 1986. pp. 42-55
and “Pietism, Piety, and Devotion in Bach’s Cantatas,” pp. 56-71
Taruskin, Richard, Text and Act, Oxford UP, 1995.
Wolff, Chistoph (ed.), The World of the Bach Cantatas, Norton, 1995-.
Wolff, Christoph: B ach’s cantata ‘Ein feste Burg’: History and Performance Practice.
AmerChoralReview xxiv/2-3 (1982), 27-38.
Wolff, Christoph: J. S. Bach and the legacy of the seventeenth century. BachStudies ii (1995), 192-201.
Wolff, Christoph: Musical Forms and Dramatic Structure in Bach’s St. Matthew Passion. Bach xix/1 (1988), 6-20.
Wolff, Christoph: The Organ in Bach’s Cantatas. Wolff (1991), 317-323.

4
List of Works (Se ason)
MARCH
21 BWV 21 Ich hatte viel Bekümmernis
SWV 369 Es wird das Szepter von Juda nicht entwendet werden
SWV 372 Verleih uns Frieden genädiglich
28 BWV 80 Ein feste Burg ist unser Gott
SWV 370 Er wird sein Kleid in Wein waschen
SWV 371 Es ist erschienen die heilsame Gnade Gottes all Menschen
APRIL
4 BWV 131 Aus der Tiefen rufe ich, Herr, zu dir
SWV 377 Herr, auf dich traue ich
SWV 373 Gib unsern Fürsten und aller Obrigkeit Fried und gut Regiment
SWV 378 Die mit Tränen säen
11 BWV 198 Trauerode: Laß, Fürstin, laß noch einen Strahl
SWV 374 Unser keiner lebet ihm selber
SWV 379 So fahr ich hin zu Jesu Christ
SWV 381 O lieber Herre Gott, wecke uns auf
18 BWV 182 Himmelskönig, sei willkommen
SWV 375 Viel werden kommen von Morgen und von Abend
SWV 376 Sammlet zuvor das Unkraut
SWV 387 Herzlich lieb hab ich dich, o Herr
25 BWV 4 Christ lag in Todes Banden
SWV 390 Unser Wandel ist im Himmel
SWV 386 Die Himmel erzählen die Ehre Gottes
MAY
2 BWV 42 Am Abend aber desselbigen Sabbats
SWV 385 Das Wort ward Fleisch
SWV 388 Das ist je gewißlich wahr und ein teuer wertes Wort
SWV 383 Ich bin eine rufende Stimme
9 BWV 106 Gottes Zeit ist allerbeste Zeit—Actus tragicus
SWV 394 Sehet an den Feigenbaum und alle Bäume
SWV 395 Der Engel sprach zu den Hirten
SWV 396 Auf dem Gebirge hat man ein Geschrei gehöret
SWV 397 Du Schalksknecht, alle diese Schuld habe ich dir erlassen
16 BWV 158 Der Friede sei mit dir
23 BWV 51 Jauchzet Gott in allen Landen
BWV 170 Vergnügte Ruh, beliebte Seelenlust
30 BWV 50 Nun ist das Heil und die Kraft
BWV 11 Lobet Gott in seinen Reichen
BWV 812 French Suite no. 1 in D (Introducing new harpsichord)
JUNE
6 BWV 150 Nach dir, Herr, verlanget mich
13 BWV 230 Motette: Lobet den Herrn, alle Heiden
SWV 382 Tröstet, tröstet mein Volk
SWV 380 Also hat Gott die Welt geliebt (Aria)
20 BWV 191 Gloria in excelsis Deo
BWV 147 Herz und Mund und Tat und Leben

5
music and the arts staff
Julian Wachner Director of Music and the Arts Richard Lippold Administrator, Music and the Arts
Robert Ridgell Organist and Director of Music Education Adam Alexander Program Coordinator, Music and the Arts
Marilyn Haskel Program Manager, Liturgical Arts and
New Initiatives

Trinit y Choir

Soprano  lizabeth Baber (191)

E Tenor  ric Dudley (42, 147, 191 & Conducts 150)
E
Martha Cluver (191) Matthew Hensrud (11, 147, 191)
Jolle Greenleaf (106, 191) Timothy Hodges (131, 106, 191)
Mellissa Hughes (150, 191) Stephen Sands (150)
Molly Quinn (147)
Melanie Russell (42, 51, 191)
Bass  aymond Bailey
R
Wesley Chinn
Alto  elissa Attebury (11, 150, 191,147)
M Charles Wesley Evans (147, 191)
James Blachly (106) Steven Hrycelak (150)
Luthien Brackett (191) Thomas McCargar (158, 11)
Virginia Warnken (42, 170, 147, 191) Jonathan Woody (42, 147, 191)
Richard Lippold (106)
Cantata numbers in parentheses indicate soloists.

Trinit y Baroque Orchestr a

May 2, 2011 BWV 42 MAY 9, 2011 BWV 106
Violin  obert Mealy, concertmaster
R Cello Jacques Wood
Owen Dalby, principal second
Violone Motomi Igarashi
Claire Jolivet
Johanna Novom Viola da gamba Lisa Terry, principal
Theresa Salomon John Mark Rozendaal
Viola 
Jessica Troy, principal Organ Avi Stein
Daniel Elyar
Recorder Matthias Maute, principal
Cello Katie Rietman Sophie Larivière
Bass Anne Trout

Organ Avi Stein

MAY 16, 2011 BWV 158
Oboe Washington McClain, principal
Violin Daniel Lee, concertmaster
Priscilla Smith
Cello Jacques Wood
Bassoon Dennis Godburn
Organ Donsok Shin
Trumpet John Thiessen, principal
Nathan Botts Oboe Washington McClain
Timothy Will

Timpani James Baker

6
trinit y baroque orchestr a

MAY 23, 2011 BWV 51 & 170
Violin Robert Mealy, concertmaster
Cynthia Roberts, principal second
Owen Dalby
Claire Jolivet
Daniel Lee
Viola Jessica Troy, principal
Daniel Elyar
JUNE 6, 2011 BWV 150
Violin Daniel Lee, concertmaster
Liv Heym
Cello Ezra Seltzer
Organ Avi Stein
Bassoon Andrew Schwartz

Cello Katie Rietman

Bass Anne Trout JUNE 13, 2011 BWV 230

Cello Ezra Seltzer
Organ Avi Stein
Bass Douglas Balliett
Oboe d’amore Washington McClain
Organ Bradley Brookshire
Trumpet Nathan Botts

MAY 30, 2011 BWV 50, 812 & 11 JUNE 20, 2011 BWV 191 & 147
Violin Robert Mealy, concertmaster
Violin  obert Mealy, concertmaster
R
Claire Jolivet, principal second Cynthia Roberts, principal second
Johanna Novom Daniel Lee
Theresa Salomon Claire Jolivet
Jae-Won Bang Theresa Salomon

Viola Jessica Troy, principal

Viola  aniel Elyar, principal
D
Alissa Smith Daniel Elyar

Cello Ezra Seltzer

Cello Ezra Seltzer
Bass Wen Yang
Bass Anne Trout
Organ Avi Stein
Organ Avi Stein
Flute S andra Miller, principal
Flute S andra Miller, principal
Anne Briggs Anne Briggs

Oboe Gonzalo Ruiz, principal

Oboe Washington McClain, principal
Priscilla Smith Priscilla Smith
Sarah Davol Bassoon Andrew Schwartz
Bassoon Andrew Schwartz Trumpet John Thiessen, principal
Trumpet John Thiessen, principal Nathan Botts
Nathan Botts Brian Shaw
Caleb Hudson Timpani Maya Gunji
Timpani James Baker

Harpsichord Peter Watchorn John Thiessen, orchestral contractor

7
Te x ts and Tr ansl ations

Monday, MAY 2, 2011

Das Wort ward Fleisch, SWV 385 Heinrich Schütz

(1585-1672)
Das Wort ward Fleisch The Word was made flesh,
und wohnet unter uns, and dwelt among us,
und wir sahen seine Herrlichkeit, and we beheld his glory,
eine Herrlichkeit, als des eingebornen Sohns the glory as of the only begotten
vom Vater voller Gnade und Wahrheit. of the Father, full of grace and truth.
–John 1:14

Das ist je gewißlich wahr und ein teuer wertes Wort, SWV 388
Das ist je gewißlich wahr und ein teuer wertes Wort, This is a faithful saying, and worthy of all acceptation,
daß Christus Jesus kommen ist that Christ Jesus came
in die Welt, die Sünder selig zu machen, into the world to save sinners;
unter welchen ich der fürnehmste bin. of whom I am chief.
Aber darum ist mir Barmherzigkeit widerfahren, But that is my mercy,
auf daß an mir fürnehmlich Jesus Christus that in me first Jesus Christ
erzeigete alle Geduld zum Exempel denen, showeth all patience for an example to them
die an ihn glauben sollen zum ewigen Leben. which should hereafter believe in him to life everlasting.
Gott dem ewigen Könige, Now unto the King eternal,
dem Unvergänglichen und Unsichtbaren immortal, invisible, the only wise God,
und allein Weisen sei Ehre und Preis be honour and glory
in Ewigkeit! Amen. for ever and ever. Amen.
–I Timothy:15–17

Ich bin eine rufende Stimme, SWV 383

Ich bin eine rufende Stimme in der Wüsten: I am the voice of one crying out in the wilderness,
Richtet den Weg des Herren. “Make straight the way of the Lord,
Ich taufe mit Wasser; I baptize with water.
aber er ist mitten unter euch getreten, Among you stands one
den ihr nicht kennet, whom you do not know,
der ist’s der nach mir kommen wird, the one who is coming after me;
welcher vor mir gewesen ist, who is preferred before me,
des ich nicht wert bin, I am not worthy to untie
daß ich seine Schuhriemen auflöse. the thong of his sandal.”
–John 1:23, 26–27

Cantata No. 42: Am Abend aber desselbigen Sabbats Johann Sebastian Bach
(1685-1750)

1. Sinfonia
2. Rezitativ (Tenor)
Am Abend aber desselbigen Sabbats, da die Jünger
versammlet und die Türen verschlossen waren aus Furcht
für Verfolgung, kam Jesus und trat mitten ein.
3. Arie (Alt)
Wo zwei und drei versammlet sind
In Jesu teurem Namen,
Da stellt sich Jesus mitten ein
1. Sinfonia
2. Recitative (Tenor)
On the evening, however, of the same Sabbath, when the
disciples had gathered and the door was locked out of fear
of persecution, Jesus came and walked among them.
3. Aria (Alto)
Where two or three are gathered together
in Jesus’ dear name,
there Jesus will stand among them

8
Und spricht darzu das Amen.
Denn was aus Lieb und Not geschicht,
Das bricht des Höchsten Ordnung nicht.
4. Arie – Duett (Sopran, Tenor)
Verzage nicht, o Häuflein klein,
Obschon die Feinde willens sein,
Dich gänzlich zu verstören,
Und suchen deinen Untergang,
Davon dir wird recht angst und bang:
Es wird nicht lange währen.
5. Rezitativ (Bass)
Man kann hiervon ein schön Exempel sehen
An dem, was zu Jerusalem geschehen;
Denn da die Jünger sich versammlet hatten
Im finstern Schatten,
Aus Furcht für die Verfolgern,
So trat mein Heiland mitten ein,
Zum Zeugnis, daß er seiner Kirche Schutz will sein.
Drum laßt die Feinde wüten!
6. Arie (Bass)
Jesus ist ein Schild der Seinen,
Wenn sie die Verfolgung tritt.
Ihnen muß die Sonne scheinen
Mit der güldnen Überschrift:
Jesus ist ein Schild der Seinen,
Wenn sie die Verfolgung trifft.
7. Choral
Verleih uns Frieden gnädiglich,
Herr Gott, zu unsern Zeiten;
Es ist doch ja kein andrer nicht,
Der für uns könnte streiten,
Denn du, unsr Gott, alleine.
Gib unsern Fürsten und all’r Obrigkeit
Fried und gut Regiment,
Daß wir unter ihnen
Ein geruhig und stilles Leben führen mögen
In aller Gottseligkeit und Ehrbarkeit.
Amen.
Monday, May 9, 2011
Sehet an den Feigenbaum und alle Bäume, SWV 394 Heinrich Schütz
Sehet an den Feigenbaum und alle Bäume,
wenn sie jetzt ausschlagen,
so sehet ihrs an ihnen und merket,
daß jetzt der Sommer nahe ist.
Also auch ihr, wenn ihr dies alles sehet angehen,
so wisset, daß das Reich Gottes nahe ist.
Himmel und Erde vergehen,
aber meine Wort vergehen nicht.
–Luke 21:29–31, 33
and say Amen to them.
For whatever happens out of love and necessity
does not break the law of the Highest.
4. Aria – Duet (Soprano, Tenor)
Do not despair, O little flock,
although your enemies might plan
to destroy you utterly,
and seek your undoing,
for which you are rightfully anxious and fearful:
it will not last long.
5. Recitative (Bass)
One can find a perfect message
in what happened in Jerusalem;
for the disciples had gathered there
in dark shadows,
out of fear of their persecutors,
then my Savior walked into their midst
as a sign that He will be the protector of His Church.
Therefore let the enemy rage!
6. Aria (Bass)
Jesus is the shield of His own,
when persecution follows them.
For them the sun must shine
with a golden message:
Jesus is the shield of His own,
when persecution follows them.
7. Chorale
Grant us peace graciously,
Lord God, in our time;
there is indeed no other
who could fight for us
than You, our God, alone.
Give our rulers and all lawgivers
peace and good government,
that under them
we might lead a quiet and peaceful life
in all blessedness and honor.
Amen.
–translation courtesy Pamela Dellal/Emmanuel Music, Boston
Behold the fig tree and all the trees;
as soon as they sprout leaves
you can see for yourselves and know
that summer is already near.
So also, when you see these things taking place,
you know that the kingdom of God is near.
Heaven and earth will pass away,
but my words will not pass away.
9
Der Engel sprach zu den Hirten, SWV 395 Heinrich Schütz
Der Engel sprach zu den Hirten:
Ich verkündige euch große Freude,
denn euch ist heute der Heiland geborn,
welcher ist Christus, der Herr
in der Stadt David und er heißt:
Wunderbar, Rat, Kraft, Held,
ewig Vater, Friedefürst. Alleluja
–Luke 2:10–11; Isaiah:9, 16
Auf dem Gebirge hat man ein Geschrei gehöret, SWV 396
Auf dem Gebirge hat man ein Geschrei gehöret,
viel Klagens, Weinens und Heulens,
Rahel beweinete ihre Kinder
und wollt sich nicht trösten lassen,
denn es war aus mit ihnen.
–Matthew 2:18
Du Schalksknecht, alle diese Schuld habe ich dir erlassen, SWV 397
Du Schalksknecht,
alle diese Schuld hab ich dir erlassen,
weil du mich batest.
Solltest du denn dich nicht auch erbarmen
über deinen Mitknecht,
wie ich mich über dich erbarmet habe.
–Matthew 18:32–33
Cantata No. 106: Gottes Zeit ist allerbeste Zeit Johann Sebastian Bach
Actus tragicus
1. Sonatina
2a. Chor
Gottes Zeit ist die allerbeste Zeit.
In ihm leben, weben und sind wir, solange er will.
In ihm sterben wir zur rechten Zeit, wenn er will.
2b. Arioso (Tenor)
Ach, Herr, lehre uns bedenken, daß wir sterben müssen,
auf daß wir klug werden.
2c. Arie (Bass)
Bestelle dein Haus; denn du wirst sterben und
nicht lebendig bleiben!
2d. Chor und Arioso (Sopran)
Es ist der alte Bund: Mensch, du mußt sterben!
Ja, komm, Herr Jesu!
(Instrumental Chorale:
Ich hab mein Sach’ Gott heimgestellt
Er mach’s mit mir wie’s ihm gefällt
Soll ich all hier noch länger lebn
Nicht wider strebn
Seim Willn tu ich mich ganz ergebn.)
10
And the angel said to the shepherds,
Behold, I bring you good tidings of great joy;
For unto you is born this day
a Saviour, which is Christ the Lord,
in the city of David and he says:
“Wonderful, counselor, power, hero,
eternal Father, Prince of Peace. Alleluia.”
On the mountain was a voice heard,
lamentation, and weeping, and great mourning;
Rachel weeping for her children,
and would not be comforted,
because they are not.
O thou wicked servant,
I forgave thee all that debt,
because you pleaded with me:
Shouldest not thou also have had compassion
on thy fellow servant,
even as I had pity on thee?
Funeral Cantata
1. Sonatina
2a. Chorus
God’s time is the best of all times.
In Him we live, move and are, as long as He wills.
In Him we die at the appointed time, when He wills.
2b. Arioso (Tenor)
Ah, Lord, teach us to consider that we must die, so that we
might become wise.
2c. Aria (Bass)
Put your house in order; for you will die and not
remain alive!
2d. Chorus and Arioso (Soprano)
It is the ancient law: human, you must die!
Yes, come, Lord Jesus!
(Instrumental Chorale:
I have brought my affairs home to God,
He does with me as it pleases Him,
if I should live yet longer here,
I shall not struggle against it;
rather I do His will with total devotion).
3a. Arie (Alt) 3a. Aria (Alto)
In deine Hände befehl ich meinen Geist; du hast mich Into Your hands I commit my spirit, You have redeemed me,
erlöset, Herr, du getreuer Gott. Lord, faithful God.
3b. Arioso und Choral (Bass, Alt) 3b. Arioso and Chorale (Bass, Alto)
Heute wirst du mit mir im Paradies sein. Today you will be with Me in Paradise.
Mit Fried und Freud ich fahr dahin With peace and joy I depart
In Gottes Willen, in God’s will,
Getrost ist mir mein Herz und Sinn, My heart and mind are comforted,
Sanft und stille. calm, and quiet.
Wie Gott mir verheißen hat: As God had promised me:
Der Tod ist mein Schlaf worden. death has become my sleep.
4. Chor 4. Chorus
Glorie, Lob, Ehr und Herrlichkeit Glory, praise, honor, and majesty
Sei dir, Gott Vater und Sohn bereit’, be prepared for You, God the Father and the Son,
Dem Heilgen Geist mit Namen! for the Holy Spirit by name!
Die göttlich Kraft The divine power
Mach uns sieghaft makes us victorious
Durch Jesum Christum, Amen. through Jesus Christ, Amen.
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

Monday, May 16, 2011

Cantata No. 158: Der Friede sei mit dir Johann Sebastian Bach
1. Rezitativ (Bass) 1. Recitative (Bass)
Der Friede sei mit dir, Peace be with you,
Du ängstliches Gewissen! O anxious conscience!
Dein Mittler stehet hier, Your Intercessor stands here,
Der hat dein Schuldenbuch who the record-book of your guilt
Und des Gesetzes Fluch and the curse of the law
Verglichen und zerrissen. has reconciled and torn up.
Der Friede sei mit dir, Peace be with you,
Der Fürste dieser Welt, The prince of this world,
Der deiner Seele nachgestellt, which obstructed your soul,
Ist durch des Lammes Blut bezwungen und gefällt. is through the Lamb’s blood conquered and appeased.
Mein Herz, was bist du so betrübt, My heart, why are you so troubled,
Da dich doch Gott durch Christum liebt? when God so loves you through Christ?
Er selber spricht zu mir: He Himself says to me:
Der Friede sei mit dir! peace be with you!
2. Arie (Bass) und Choral (Sopran) 2. Aria (Bass) and Chorale (Soprano)
Welt, ade, ich bin dein müde, World, farewell, I am tired of you,
Salems Hütten stehn mir an, the tents of Salem stand before me,
Welt, ade! ich bin dein müde, World, farewell! I am tired of you,
Ich will nach dem Himmel zu, I want to go to heaven,
Wo ich Gott in Ruh und Friede where in rest and peace,
Ewig selig schauen kann. forever happy, I shall behold God.
Da wird sein der rechte Friede true peace
Und die ewge, stolze Ruh. and eternal, glorious rest will be there.
Da bleib ich, da hab ich Vergnügen zu wohnen, There I shall stay, there I shall delight to dwell,
Welt, bei dir ist Krieg und Streit, World, war and conflict are yours,
Nichts denn lauter Eitelkeit, nothing but pure vanity;

11
Da prang ich gezieret mit himmlischen Kronen.
In dem Himmel allezeit
Friede, Freud und Seligkeit.
3. Rezitativ und Arioso (Bass)
Nun, Herr, regiere meinen Sinn,
Damit ich auf der Welt,
So lang es dir, mich hier zu lassen, noch gefällt,
Ein Kind des Friedens bin,
Und laß mich zu dir aus meinen Leiden
Wie Simeon in Frieden scheiden!
Da bleib ich, da hab ich Vergnügen zu wohnen,
Da prang ich gezieret mit himmlischen Kronen.
4. Choral
Hier ist das rechte Osterlamm,
Davon Gott hat geboten,
Das ist hoch an des Kreuzes Stamm
In heißer Lieb gebraten,
Das Blut zeichnet unsre Tür,
Das hält der Glaub dem Tode für,
Der Würger kann uns nicht mehr schaden.
Halleluja!
there I shall sparkle resplendent with a heavenly crown.
in heaven eternally
is peace, joy, and happiness.
3. Recitative and Arioso (Bass)
Now, Lord, govern my mind,
so that I may, in the world,
as long as it still pleases You to leave me here,
be a child of peace,
and let me depart out of my sorrows
in peace to You like Simeon!
There I shall stay, there I shall delight to dwell,
there I shall sparkle resplendent with a heavenly crown.
4. Chorale
Here is the true Easter-lamb,
offered up by God,
which was, high on the cross’ stalk
roasted in hot love,
the blood marks our door,
faith holds it against death,
the strangler can no longer harm us.
Hallelujah!
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

Monday, May 23, 2011

Cantata No. 51: Jauchzet Gott in allen Landen Johann Sebastian Bach
1. Arie (Sopran) 1. Aria (Soprano)
Jauchzet Gott in allen Landen! Exult in God in every land!
Was der Himmel und die Welt Whatever creatures are contained
An Geschöpfen in sich hält, by heaven and earth
Müssen dessen Ruhm erhöhen, must raise up this praise,
Und wir wollen unserm Gott and now we shall likewise
Gleichfalls itzt ein Opfer bringen, bring an offering to our God,
Daß er uns in Kreuz und Not since He has stood with us
Allezeit hat beigestanden. at all times during suffering and necessity.
2. Rezitativ (Sopran) 2. Recitative (Soprano)
Wir beten zu dem Tempel an, We pray at your temple,
Da Gottes Ehre wohnet, where God’s honor dwells,
Da dessen Treu, where this faithfulness,
So täglich neu, daily renewed,
Mit lauter Segen lohnet. is rewarded with pure blessing.
Wir preisen, was er an uns hat getan. We praise what He has done for us.
Muß gleich der schwache Mund von seinen Wundern lallen, Even though our weak mouth must gape before His wonders,
So kann ein schlechtes Lob ihm dennoch wohlgefallen. our meager praise is still pleasing to Him.
3. Arie (Sopran) 3. Aria (Soprano)
Höchster, mache deine Güte Highest, renew Your goodness
Ferner alle Morgen neu. every morning from now on.
So soll vor die Vatertreu Thus, before this fatherly love,
Auch ein dankbares Gemüte a thankful conscience shall display,
Durch ein frommes Leben weisen, though a virtuous life,
Daß wir deine Kinder heißen. that we are called Your children.

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4. Choral (Sopran)
Sei Lob und Preis mit Ehren
Gott Vater, Sohn, Heiligem Geist!
Der woll in uns vermehren,
Was er uns aus Gnaden verheißt,
Daß wir ihm fest vertrauen,
Gänzlich uns lass’n auf ihn,
Von Herzen auf ihn bauen,
Daß uns’r Herz, Mut und Sinn
Ihm festiglich anhangen;
Drauf singen wir zur Stund:
Amen, wir werdn’s erlangen,
Glaub’n wir aus Herzensgrund.
5. Arie (Sopran)
Alleluja!
Cantata No. 170: Vergnügte Ruh, beliebte Seelenlust Johann Sebastian Bach
1. Arie (Alt)
Vergnügte Ruh, beliebte Seelenlust,
Dich kann man nicht bei Höllensünden,
Wohl aber Himmelseintracht finden;
Du stärkst allein die schwache Brust.
Drum sollen lauter Tugendgaben
In meinem Herzen Wohnung haben.
2. Rezitativ (Alt)
Die Welt, das Sündenhaus,
Bricht nur in Höllenlieder aus
Und sucht durch Haß und Neid
Des Satans Bild an sich zu tragen.
Ihr Mund ist voller Ottergift,
Der oft die Unschuld tödlich trifft,
Und will allein von Racha! sagen.
Gerechter Gott, wie weit
Ist doch der Mensch von dir entfernet;
Du liebst, jedoch sein Mund
Macht Fluch und Feindschaft kund
Und will den Nächsten nur mit Füßen treten.
Ach! diese Schuld ist schwerlich zu verbeten.
3. Arie (Alt)
Wie jammern mich doch die verkehrten Herzen,
Die dir, mein Gott, so sehr zuwider sein;
Ich zittre recht und fühle tausend Schmerzen,
Wenn sie sich nur an Rach und Haß erfreun.
Gerechter Gott, was magst du doch gedenken,
Wenn sie allein mit rechten Satansränken
Dein scharfes Strafgebot so frech verlacht.
Ach! ohne Zweifel hast du so gedacht:
Wie jammern mich doch die verkehrten Herzen!
4. Chorale (Soprano)
Glory, and praise with honor
be to God the Father, Son, and Holy Spirit!
He will increase in us
what He has promised us out of grace,
so that we trust fast in Him,
abandon ourselves completely to Him,
rely on Him within our hearts,
so that our heart, will, and mind
depend strongly on Him;
therefore we sing at this time:
Amen, we shall succeed,
if we believe from the depths of our hearts.
5. Aria (Soprano)
Alleluia!
–translation courtesy Pamela Dellal/Emmanuel Music, Boston
1. Aria (Alto)
Delightful rest, beloved pleasure of the soul,
you cannot be found among the sins of hell,
but rather in the concord of heaven;
you alone strengthen the weak breast.
Therefore the pure gifts of virtue
shall have their dwelling in my heart.
2. Recitative (Alto)
The world, that house of sin,
erupts only in hellish songs,
and attempts, through hatred and envy,
to carry Satan’s image upon itself.
Its mouth is full of adder’s venom,
which often mortally attacks the innocent,
and will only utter Vengeance!
Righteous God, how far
has humanity distanced itself from You;
You love, yet its mouth
proclaims curses and enmity
and wishes only to trample a neighbor under its feet.
Alas! this crime is difficult to atone for.
3. Aria (Alto)
How the perverted hearts afflict me,
which are so sorely, my God, set against You;
I truly tremble and feel a thousand pangs,
when they rejoice only in vengeance and hate.
Righteous God, what might You be thinking,
when they, with the very intrigues of Satan,
only scorn Your sharp proscriptions so boldly.
Alas! Without a doubt You have thought:
how the perverted hearts afflict Me!
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4. Rezitativ (Alt) 4. Recitative (Alto)
Wer sollte sich demnach Who should hereafter
Wohl hier zu leben wünschen, wish, indeed, to live here,
Wenn man nur Haß und Ungemach when only hatred and hardship
Vor seine Liebe sieht? is the answer to love?
Doch, weil ich auch den Feind Yet, since even my enemy,
Wie meinen besten Freund like my best friend,
Nach Gottes Vorschrift lieben soll, I should love according to God’s commandment,
So flieht mein herze thus my heart flees from
Zorn und Groll anger and bitterness,
Und wünscht allein bei Gott zu leben, and wishes only to live with God,
Der selbst die Liebe heißt. who is Love itself.
Ach, eintrachtvoller Geist, Ah, spirit filled with mildness,
Wenn wird er dir doch nur sein Himmelszion geben? when only will He grant you His heavenly Zion?
5. Arie (Alt) 5. Aria (Alto)
Mir ekelt mehr zu leben, It sickens me to live longer,
Drum nimm mich, Jesu, hin! therefore take me away, Jesus!
Mir graut vor allen Sünden, I shudder before all sins,
Laß mich dies Wohnhaus finden, let me find this dwelling-place
Woselbst ich ruhig bin. where I myself shall be at peace.
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

Monday, May 30, 2011

Cantata No. 50: Nun ist das Heil und die Kraft Johann Sebastian Bach
1. Chor 1. Chorus
Nun ist das Heil und die Kraft und das Reich und die Macht Now is the salvation and the power and the kingdom and the
unsers Gottes seines Christus worden, weil der verworfen might of our God and of His Christ come, since he is cast down
ist, der sie verklagete Tag und Nacht vor Gott. who accused them day and night before God.
–Revelation 12:10 –translation courtesy Pamela Dellal/Emmanuel Music, Boston

Introducing the Moermans–Zuckermann MMIX Harpsichord

Peter Watchorn, Harpsichord
French Suite no. 1 in D minor, BWV 812 Johann Sebastian Bach
Prelude
Allemande
Courante
Sarabande
Minuet 1 - Minuet 2 - Minuet 1
Gigue

Improvisation

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Cantata No. 11: Lobet Gott in seinen Reichen Johann Sebastian Bach
ASCENSION ORATORIO
1. Chor 1. Chorus
Lobet Gott in seinen Reichen, Praise God in His riches,
Preiset ihn in seinen Ehren, praise Him in His honor,
Rühmet ihn in seiner Pracht; extol Him in His splendor;
Sucht sein Lob recht zu vergleichen, seek to rightly imitate His praise
Wenn ihr mit gesamten Chören when with full chorus
Ihm ein Lied zu Ehren macht! you make a song in His honor!
2. Rezitativ (Tenor) 2. Recitative (Tenor)
Der Herr Jesus hub seine Hände auf und segnete seine The Lord Jesus lifted up His hands and blessed
Jünger, und es geschah, da er sie segnete, schied er von His disciples, and it so happened, that as He blessed them,
ihnen. He departed from them.
3. Rezitativ (Bass) 3. Recitative (Bass)
Ach, Jesu, ist dein Abschied schon so nah? Ah, Jesus, is Your departure already so near?
Ach, ist denn schon die Stunde da, Ah, is the hour then already there
Da wir dich von uns lassen sollen? when we must let You leave us?
Ach, siehe, wie die heißen Tränen Ah, behold, how hot tears
Von unsern blassen Wangen rollen, roll down our pale cheeks,
Wie wir uns nach dir sehnen, how we yearn after You,
Wie uns fast aller Trost gebricht. How all our consolation is nearly destroyed.
Ach, weiche doch noch nicht! Ah, do not withdraw from us yet!
4. Arie (Alt) 4. Aria (Alto)
Ach, bleibe doch, mein liebstes Leben, Ah, just stay, my dearest Life,
Ach, fliehe nicht so bald von mir! ah, don’t flee so soon from me!
Dein Abschied und dein frühes Scheiden Your farewell and Your early departure
Bringt mir das allergrößte Leiden, brings me the greatest of all sorrows,
Ach ja, so bleibe doch noch hier; ah, truly, just stay awhile here;
Sonst werd ich ganz von Schmerz umgeben. otherwise I will be completely undone with grief.
5. Rezitativ (Tenor) 5. Recitative (Tenor)
Und ward aufgehoben zusehends und fuhr auf gen Himmel, And He was apparently lifted up and journeyed to Heaven,
eine Wolke nahm ihm weg vor ihren Augen, und er sitzet a cloud enveloped Him before their eyes,
zur rechten Hand Gottes. and He sits at the right hand of God.
6. Choral 6. Chorale
Nun lieget alles unter dir, Now everything is subject to You,
Dich selbst nur ausgenommen; You Yourself only excepted;
Die Engel müssen für und für the angels must for ever and ever
Dir aufzuwarten kommen. come to wait upon You.
Dir Fürsten stehn auch auf der Bahn The princes stand still on their way
Und sind dir willig untertan; and are willingly in service to You;
Luft, Wasser, Feuer, Erden air, water, fire and earth
Muß dir zu Dienste werden. must be of service to You.
7. Rezitativ (Tenor) & Duet (Tenor, Bass) 7. Recitative (Tenor) & Duet (Tenor, Bass)
Und da sie ihm nachsahen gen Himmel fahren, And as they watched Him ascending to Heaven,
siehe, da stunden bei ihnen zwei Männer in weißen behold, two men in white garments stood beside them,
Kleidern, welche auch sagten: who also said:
Ihr Männer von Galiläa, was stehet ihr und sehet Himmel? You men of Galilee, why do you stand and look
Dieser Jesus, welcher von euch ist aufgenommen gen at Heaven? This Jesus, who has been taken from you
Himmel, wird kommen, wie ihr ihn gesehen habt gen to Heaven, will return, just as you have seen Him
Himmel fahren. ascend to Heaven.

15
8. Rezitativ (Alt) 8. Recitative (Alto)
Ach ja! So komme bald zurück; Ah yes! Then come back soon;
Tilg einst mein trauriges Gebärden, remove at last my sorrowful bearing,
Sonst wird mir jeder Augenblick otherwise every moment
Verhaßt und Jahren ähnlich werden. shall be hateful to me and all the years alike.
9. Rezitativ (Tenor) 9. Recitative (Tenor)
Sie aber beteten ihn an, wandten um gen Jerusalem They however prayed to Him, turned around toward Jerusalem
von dem Berge, der da heißet der Ölberg, welcher ist away from the mountain, which is called the Mount of Olives,
nahe bei Jerusalem und liegt einen Sabbater-Weg davon, which is near Jerusalem and lies a Sabbath-day’s journey away,
und sie kehreten wieder gen Jerusalem mit großer Freude. and they returned again to Jerusalem with great joy.
10. Arie (Sopran) 10. Aria (Soprano)
Jesu, deine Gnadenblicke Jesus, Your merciful gaze
Kann ich doch beständig sehn. I can continually see.
Deine Liebe bleibt zurücke, Your love remains behind,
Daß ich mich hier in der Zeit so that here, in mortal time, I can
An der künft’gen Herrlichkeit refresh myself in spirit
Schon voraus im Geist erquicke, already with future glory,
Wenn wir einst dort vor dir stehn. when one day we shall stand there before You.
11. Choral 11. Chorale
Wenn soll es doch geschehen, When shall it happen,
Wenn kömmst die liebe Zeit, when will the dear time come,
Daß ich ihn werde sehen that I shall see Him
In seiner Herrlichkeit? in His glory?
Du Tag, wenn wirst du sein, O day, when will you be,
Daß wir den Heiland grüßen, when we will greet the Savior,
Daß wir den Heiland küssen? when we will kiss the Savior?
Komm, stelle dich doch ein! Come, present yourself now!
–translation courtesy Pamela Dellal/Emmanuel Music, Boston

Monday June 6, 2011

Cantata No. 150: Nach dir, Herr, verlanget mich Johann Sebastian Bach
1. Sinfonia 1. Sinfonia
2. Chor 2. Chorus
Nach dir, Herr, verlanget mich. Mein Gott, ich hoffe auf Lord, I long for you. My God, I hope in you.
dich. Laß mich nicht zuschanden werden, daß sich meine Let me not be put to shame, so that my enemies will not rejoice
Feinde nicht freuen über mich. over me.
3. Arie (Sopran) 3. Aria (Soprano)
Doch bin und bleibe ich vergnügt, Yet I am and remain content,
Obgleich hier zeitlich toben although at the moment here may rage
Kreuz, Sturm und andre Proben, cross, storm and other trials,
Tod, Höll, und was sich fügt. Death, Hell, and what is theirs.
Ob Unfall schlägt den treuen Knecht, Though misfortune strike the true servant,
Recht ist und bleibet ewig Recht. Right is and remains eternally right.
4. Chor 4. Chorus
Leite mich in deiner Wahrheit und lehre mich; Lead me in your Truth and teach me; for you are the God,
denn du bist der Gott, der mir hilft, täglich harre ich dein. who helps me, I await you daily.

16
5. Terzett (Alt, Tenor, Bass)
Zedern müssen von den Winden
Oft viel Ungemach empfinden,
Oftmals werden sie verkehrt.
Rat und Tat auf Gott gestellet,
Achtet nicht, was widerbellet,
Denn sein Wort ganz anders lehrt.
6. Chor
Meine Augen sehen stets zu dem Herrn;
denn er wird meinen Fuß aus dem Netze ziehen.
7. Chor
Meine Tage in den Leiden
Endet Gott dennoch zur Freuden;
Christen auf den Dornenwegen
Führen Himmels Kraft und Segen.
Bleibet Gott mein treuer Schatz,
Achte ich nicht Menschenkreuz;
Christus, der uns steht zur Seiten.
Hilft mir täglich sieghaft streiten.
Monday, June 13, 2011
Tröstet, tröstet mein Volk, SWV 382 Heinrich Schütz
Tröstet, tröstet mein Volk,
redet mit Jerusalem freundlich,
prediget ihr, daß ihre Ritterschaft ein Ende hat,
denn ihre Missetat ist vergeben,
denn sie hat zwiefältiges empfangen
von der Hand des Herren um alle ihre Sünde.
Es ist eine Stimme eines Predigers in der Wüste:
Bereitet dem Herren den Weg,
machet auf dem Gefilde ebene Bahn unserm Gott.
Alle Tal soll erhöhet werden
und alle Berge und Hügel sollen erniedriget werden,
und was ungleich ist, soll eben werden,
und was höckerig ist, soll schlecht werden,
denn die Herrlichkeit des Herren soll offenbar werden.
Und alles Fleisch miteinander wird sehen,
daß des Herren Mund redet.
Isaiah 40:1–5
Also hat Gott die Welt geliebt, SWV 380
Also hat Gott die Welt geliebt
daß er seinen eingebornen Sohn gab
auf daß alle die an ihn glauben
nicht verloren werden
sondern das ewige Leben haben.
–John 3:16
5. Trio (Alto, Tenor, Bass)
Cedars must, before the winds,
often feel much hardship,
often they will be destroyed.
Place your words and deeds before God,
Heed not what howls against you,
Since his Word teaches otherwise.
6. Chorus
My eyes gaze continually at the Lord;
For he will draw my foot out of the net.
7. Chorus
My days in suffering
God will nevertheless end in joy;
Christians upon the thorny pathways
are led by Heaven’s power and blessing.
If God remains my dearest treasure,
I need not heed mankind’s cruelty;
Christ, who stands by our side,
Helps me daily fight to victory.
–translation courtesy Pamela Dellal/Emmanuel Music, Boston
Comfort ye, comfort ye my people.
Speak ye comfortably to Jerusalem,
and cry unto her, that her warfare is accomplished,
that her iniquity is pardoned:
for she hath received double
from the Lord’s hand for all her sins.
The voice of him that crieth in the wilderness, Prepare ye the
way of the Lord,
make straight in the desert a highway for our God.
Every valley shall be exalted,
and every mountain and hill shall be made low: and the
crooked shall be made straight,
and the rough places plain:
And the glory of the Lord shall be revealed,
and all flesh shall see it together:
for the mouth of the Lord hath spoken it.
For God so loved the world,
that he sent his only begotten Son,
that whosoever believeth in him
should not perish,
but have everlasting life.
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Motet: Lobet den Herrn, alle Heiden, BWV 230 Johann Sebastian Bach
Lobet den Herrn, alle Heiden, Praise the Lord, all nations,
und preiset ihn, alle Völker! and praise Him, all peoples!
Denn seine Gnade und Wahrheit For His grace and truth
waltet über uns in Ewigkeit. rule over us for eternity.
Alleluja! Alleluia.
–Psalm 117 –translation courtesy Pamela Dellal/Emmanuel Music, Boston

Monday June 20, 2011

Brian Jones, Guest Conductor
Cantata No. 191: Gloria in excelsis Deo Johann Sebastian Bach
ERSTER TEIL PART ONE
1. Chor 1. Chorus
Gloria in excelsis Deo. Et in terra pax hominibus bonae Glory be to God on high, and on earth peace, good will towards
voluntatis. men.
ZWEITER TEIL PART TWO
2. Arie (Duett): Sopran, Tenor 2. Aria (Duet): Soprano, Tenor
Gloria Patri et Filio et Spiritui sancto. Glory be to the Father and the Son and the Holy Ghost.
3. Chor 3. Chorus
Sicut erat in principio et nunc et semper et in saecula As it was in the beginning, is now, and ever shall be, world
saeculorum, amen. without end, amen.

Julian Wachner, Conductor

Cantata No. 147: Herz und Mund und Tat und Leben
ERSTER TEIL
1. Chor
Herz und Mund und Tat und Leben
Muß von Christo Zeugnis geben
Ohne Furcht und Heuchelei,
Daß er Gott und Heiland sei.
2. Rezitativ (Tenor)
Gebenedeiter Mund!
Maria macht ihr Innerstes der Seelen
Durch Dank und Rühmen kund;
Sie fänget bei sich an,
Des Heilands Wunder zu erzählen,
Was er an ihr als seiner Magd getan.
O menschliches Geschlecht,
Des Satans und der Sünden Knecht,
Du bist befreit
Durch Christi tröstendes Erscheinen
Von dieser Last und Dienstbarkeit!
Jedoch dein Mund und dein verstockt Gemüte
Verwschweigt, verleugnet solche Güte;
Doch wisse, daß dich nach der Schrift
Ein allzuscharfes Urteil trifft!
PART ONE
1. Chorus
Heart and mouth and deed and life
must give testimony of Christ
without fear or hypocrisy,
that He is God and Savior.
2. Recitative (Tenor)
Blessed mouth!
Mary makes the inmost part of her soul
known through thanks and praise;
she begins to narrate to herself
the miracle of the Savior,
which He has worked in her as His handmaiden.
O human race,
slave to Satan and to sin,
you are freed
through Christ’s reassuring appearance
from this burden and servitude!
However your mouth and your stubborn spirit
supresses, denies such goodness;
yet know, that according to the scripture,
an all-too-harsh judgment will be yours!

18
3. Arie (Alt)
Schäme dich, o Seele nicht,
Deinen Heiland zu bekennen,
Soll er dich die seine nennen
Vor des Vaters Angesicht!
Doch wer ihn auf dieser Erden
Zu verleugnen sich nicht scheut,
Soll von ihm verleugnet werden,
Wenn er kommt zur Herrlichkeit.
4. Rezitativ (Bass)
Verstockung kann Gewaltige veblenden,
Bis sie des Höchsten Arm vom Stuhle stößt;
Doch dieser Arm erhebt,
Obschon vor ihm der Erde Kreis erbebt,
Hingegen die Elenden,
So er erlöst.
O hochbeglückte Christen,
Auf, machet euch bereit,
Itzt ist die angenehme Zeit,
Itzt ist der Tag des Heils: der Heiland heißt
Euch Leib und Geist
Mit Glaubensgaben rüsten,
Auf, ruft zu ihm in brünstigem Verlangen,
Um ihn im Glauben zu empfangen!
5. Arie (Sopran)
Bereite dir, Jesu, noch itzo die Bahn,
Mein Heiland, erwähle
Die gläubende Seele
Und siehe mit Augen der Gnade mich an!
6. Choral
Wohl mir, daß ich Jesum habe,
O wie feste halt ich ihn,
Daß er mir mein Herze labe,
Wenn ich krank und traurig bin.
Jesum hab ich, der mich liebet
Und sich mir zu eigen gibet;
Ach drum laß ich Jesum nicht,
Wenn mir gleich mein Herze bricht.
ZWEITER TEIL
7. Arie (Tenor)
Hilf, Jesu, hilf, daß ich auch dich bekenne
In Wohl und Weh, in Freud und Leid,
Daß ich dich meinen Heiland nenne
Im Glauben und Gelassenheit,
Daß stets mein Herz von deiner Liebe brenne.
3. Aria (Alto)
Do not be ashamed, O soul,
to acknowledge your Savior,
so shall He name His own
before His Father’s face!
Yet whomever, on this earth,
is not shy to deny Him,
shall be denied by Him
when he approaches glory.
4. Recitative (Bass)
Astonishment might dazzle the mighty,
until the arm of the Highest throws them down from their thrones;
yet this arm uplifts,
although the orb of the earth trembles before it,
the wretched, on the other hand,
which He has redeemed.
O most delighted Christians,
arise, make yourselves ready,
now the pleasant time is here,
now is the day of salvation: the Savior calls
you to arm body and soul
with the gifts of faith,
arise, call to Him in fervent longing,
in order to embrace Him in faith!
5. Aria (Soprano)
Prepare, Jesus, even now the path for Yourself,
my Savior, select
the faithful souls
and look upon me with eyes of mercy!
6. Chorale
Happy I, who has Jesus,
O how tightly I cling to Him,
so that He delights my heart
when I am sick and sad.
I have Jesus, who loves me
and gives Himself to me as my own;
ah, therefore I will not let go of Jesus,
even if my heart is breaking.
PART TWO
7. Aria (Tenor)
Help, Jesus, help that I may also acknowledge You
in prosperity and in woe, in joy and in sorrow,
so that I may call You my Savior
in faith and calmness,
that my heart may always burn with Your love.
19
8. Rezitativ (Alt)
Der höchsten Allmacht Wunderhand
Wirkt im Verborgenen der Erden.
Johannes muß mit Geist erfüllet werden,
Ihn zieht der Liebe Band
Bereits in seiner Mutter Leibe,
Daß er den Heiland kennt,
Ob er ihn gleich noch nicht
Mit seinem Mund nennt,
Er wird bewegt, er hüpft und springet,
Indem Elisabeth das Wunderwerk ausspricht,
Indem Mariae Mund der Lippen Opfer bringet.
Wenn ihr, o Gläubige, des Fleisches Schwachheit merkt,
Wenn euer Herz in Liebe brennet,
Und doch der Mund den Heiland nicht bekennet,
Gott ist es, der euch kräftig stärkt,
Er will in euch des Geistes Kraft erregen,
Ja Dank und Preis auf eure Zunge legen.
9. Arie (Bass)
Ich will von Jesu Wundern singen
Und ihm der Lippen Opfer bringen,
Er wird nach seiner Liebe Bund
Das schwache Fleisch, den irdschen Mund
Durch heilges Feuer kräftig zwingen.
10. Choral
Jesus bleibet meine Freude,
Meines Herzens Trost und Saft,
Jesus wehret allem Leide,
Er ist meines Lebens Kraft,
Meiner Augen Lust und Sonne,
Meiner Seele Schatz und Wonne;
Darum laß ich Jesum nicht
Aus dem Herzen und Gesicht.
20
8. Recitative (Alto)
The wondrous hand of the exalted Almighty
is active in the mysteries of the earth.
John must have been filled with the Spirit,
the bond of love drew him
already in his mother’s body,
so that he knew the Savior,
even though he could not yet
name Him with his mouth,
he became lively, he leapt and stirred,
while Elizabeth expressed the miracle,
while Mary’s mouth made her lip’s offering.
If you, O believers, note the weakness of the flesh,
if your hearts burn in love,
and yet your mouths do not acknowledge the Savior,
then it is God who will powerfully strengthen you,
He will stir up the power of the spirit in you,
indeed lay thanks and praise upon your tongues.
9. Aria (Bass)
I will sing of Jesus’ wonders
and bring my lip’s offering to Him,
He will compel weak flesh, the earthly mouth
powerfully, through the holy fire,
towards the bond of His love.
10. Chorale
Jesus shall remain my joy,
my heart’s comfort and sap,
Jesus shall fend off all sorrow,
He is the strength of my life,
the delight and sun of my eyes,
the treasure and wonder of my soul;
therefore I will not let Jesus go
out of my heart and sight.
–translation courtesy Pamela Dellal/Emmanuel Music, Boston
 about the artists

Julian Wachner

Born in Hollywood, California,
and raised in New York City,
Julian Wachner is one of
North America’s most exciting
and versatile musicians, sought-
after as conductor, composer,
and keyboard artist. In his
new position as the inaugural
Director of Music and the Arts
at Trinity Wall Street, Wachner
serves as Principal Conductor
of the Trinity Choir and of the Trinity Baroque Orchestra,
in addition to overseeing Trinity’s numerous and varied
concert offerings, museum expositions, dance and theatre
performances, poetry and literary readings, and educational
and outreach initiatives in lower Manhattan and Brooklyn.
This appointment complements his existing roles as
Music Director of the Kennedy Center’s GRAMMY®
Award-winning Washington Chorus and as Principal
Conductor of Opera McGill, Montreal. Wachner has
also made memorable guest appearances with such major
organizations as The Philadelphia Orchestra, the Montreal
and Pittsburgh Symphonies, the Handel and Haydn Society,
Glimmerglass Opera, New York City Opera, and the
Boston Pops. A Baroque specialist, he was the founding
Music Director of the Boston Bach Ensemble and the Bach
Académie de Montréal, besides serving as Artistic Director
of International Bach Festivals in Boston and Montreal.
Last season, Wachner made New York City Opera history
when he was selected as both conductor and composer at
the company’s annual VOX festival of contemporary opera.
His original music has been variously described as “bold
and atmospheric” (The New York Times), “jazzy, energetic,
and ingenious” (The Boston Globe), and “a compendium
of surprises” (The Washington Post).
An award-winning organist and improvisateur, Wachner’s
solo recital at the Spoleto Festival USA featured an
improvised finale that inspired one reviewer to conclude:
“This stupefying wizardry was the hit of the recital, and
it had to be heard to be believed” (The Post and Courier,
South Carolina). And as a concert pianist, in his recent
Kennedy Center all-Rachmaninoff performance, The
Washington Post noted that “Wachner dazzled with
some bravura keyboard work, both in the rhapsodic
accompaniments to the songs and … in the highly
virtuosic transcription of the Dances.” E. C. Schirmer
publishes Wachner’s complete catalogue of compositions,
comprising over 80 titles, and his recordings are with
the Chandos, Naxos, Atma Classique, Arsis, Dorian,
Musica Omnia, and Titanic labels.

Wachner’s performances inspire uncommon praise. The

New York Times pronounced his Trinity Wall Street debut
“superbly performed” and, later that season, noted that “he
succeeded admirably” in presenting his first Messiah in New
York City. Of his interpretation of Bach’s St. Matthew Passion,
according to The Boston Globe, “there was genius here and
no mistaking it.” Also from The Globe: “Wachner has shown
the kind of technical command, large-spiritedness, and fiery
imagination that all but shout to the skies: ‘Major Talent!’”
The Washington Post declared a recent performance
“exhilarating,” commenting: “Julian Wachner knows how to
draw maximum drama from a score.” Following his account
of Messiah with the Philadelphia Orchestra, The Inquirer’s
David Patrick Stearns observed: “Few conductors have
drawn such focused, committed, and meticulous music-
making as Julian Wachner … [He] built the music, line by
line, as an architectural edifice, serving both the music’s
emotional and more purely aesthetic elements.”

21
guest artists
may 30
Peter Watchorn (b.1957) has studied the harpsichord, its
history, repertoire and construction in great detail since
1974, introduced to the instrument through his teacher,
Margaret Lloyd. In the years since, he has achieved an
international reputation for his consistently high standard
of performance. In 1985 he was presented with the Erwin
Bodky Memorial Award by the Cambridge Society of Early
Music for his performance of J. S. Bach’s solo harpsichord
music. Born in Newcastle, NSW (Australia), he moved to
Cambridge, MA in 1987, becoming a dual Australian/US
citizen in 2005. He has continued to enjoy an active career
in the USA and Europe as performer, scholar, recording
artist and participant in several ensembles. He is also
noted as a harpsichord builder and researcher, his most
recent efforts resulting in collaboration with Zuckermann
Harpsichords International in re-constructing the 1642
Ioannes Moermans double-manual harpsichord, now in
the Russell Collection, Edinburgh. He is closely associated
with the Zuckermann shop and serves as technical advisor
and overseer of the musical finishing department. Examples
of this harpsichord have been acquired by the Melbourne
Recital Centre (Australia), Oberlin Conservatory and,
most recently, Trinity Church, Wall Street.
From 1985-1992 Peter Watchorn studied with Isolde
Ahlgrimm in Vienna and has written extensively about
her life and career. His full-length biography of her, Isolde
Ahlgrimm, Vienna & the Early Music Revival appeared in
2007 (Ashgate Publishing, London). Dr. Watchorn was a
contributing artist to the 2000 Edition Bachakademie
(Hänssler-Klassik), recording the seven harpsichord
toccatas (BWV 910-916) and the seventeen concertos
arranged by Bach after other composers (BWV 972-987;
592a). With the award-winning recording label, Musica
Omnia, which he co-founded in 2000 (with David Fox
and Joel Gordon), and for which he serves as producer
and board president, he has embarked on separate projects
devoted to the immense keyboard outputs of J. S. Bach
and the English Renaissance composer, Dr. John Bull.
He holds the Doctor of Musical Arts degree from Boston
University (1995). His articles have been published in
professional journals such as Musicology Australia, Early
Music, Early Music America, The Diapason and Harpsichord
& Fortepiano.
22
June 20
Guest Conductor Brian Jones, one of America’s most highly
regarded church musicians, is Emeritus Director of Music
and Organist at Trinity Church, Copley Square, Boston,
where he directed a widely acclaimed program from 1984
to 2004. In addition to numerous lauded recordings, the
Trinity Choir (Copley Square) has been heard on National
Public Radio, as well as on the BBC in Great Britain. In
recent years, Mr. Jones has served in three interim positions:
Director of Cathedral Music at the Cathedral of St John,
Albuquerque, New Mexico; Director of Music at Old South
Church in Boston; and Associate Organist of Memorial
Church, Harvard University, Cambridge, Massachusetts.
An active concert organist, he is also in demand as guest
conductor and accompanist. In June, 2009, he was Organist
in Residence at Grace Cathedral, San Francisco, and in
2010 he was Visiting Artist at Christ Church Cathedral,
Lexington, Kentucky. He is Director of the Copley Singers,
a Boston-based choir he founded in 2006.
Mr. Jones has taught at many workshops and conferences
for the American Guild of Organists and American Choral
Director’s Association, and at the Evergreen Music
Conference, Sewanee Conference, and St. Dunstan’s
Workshop. In the summer of 2004 he was invited to
lecture at the notable Eton Choral Course in England.
A graduate of Oberlin College Conservatory of Music and
Boston University, he studied choral directing with Robert
Fountain, orchestral conducting with Hermann Genhart,
and eurythmics with Inda Howland. Mr. Jones was raised
in Duxbury, Massachusetts, where he traces his ancestors
back to 1632, with the arrival of Christopher Wadsworth,
who became the first constable in Duxbury, and whose
great-grandson is the poet Henry Wadsworth Longfellow.
This is Mr. Jones’ second guest conducting appearance
with the Trinity Choir (Wall Street).
music at trinit y wall stree t

TRINITY CHOIR and Glover, and in collaboration with Rebel Baroque

Orchestra, the set commemorates the bicentenary of the
The Trinity Choir is the premier ensemble of the music
composer’s death. Also on Naxos, the Choir has recorded
and arts program at Trinity Wall Street. The Choir leads
Handel’s Messiah and Christmas from Trinity. In addition to
the liturgical music during Sunday morning services,
these recordings, Trinity Choir concerts are broadcast on
Compline and Bach at One, performs in concerts
WQXR 105.9 (a subsidiary of WNYC).
throughout the year, and has made world-class recordings
for the esteemed Naxos label. It is both a beloved church
choir, singing favorite Anglican hymns and historic PRAISE & PREMIERES
sacred music, and one of New York City’s most acclaimed A highlight of the Choir’s season is their annual
professional vocal ensembles. Particularly well-versed presentation of Handel’s Messiah. With a profusion of
in major compositions of the Baroque and Classical Messiah performances in New York City concert halls and
periods, the Choir’s repertoire also includes Baltic choral sacred spaces every holiday season, the Trinity Choir’s
compositions as well as works by Britten, Brahms, Howells, offering stands out. The New York Times hailed the choir’s
Pärt, and other contemporary composers. The New York 2005 performance as, “A Messiah to Beat in a Season
Times has praised the Choir as possessing “voices so pure Bursting With Them,” praising the “pure” voices of the
they suggest a seraphic chorus beyond the human sphere.” soloists from the Choir. Under the direction of J. Owen
Burdick, the Choir offered New York premieres of many
TRINITY BAROQUE ORCHESTRA works including Dominick Argento’s The Masque of Angels,
and William Albright’s oratorio, A Song to David, which the
The Trinity Baroque Orchestra made its debut for
composer hailed as the work’s “finest, most accurate and
Trinity Choir’s 2009 performances of Messiah. Trinity has
moving performance.” Premieres under Larry King
used period-instrument orchestras for early music concerts
included Iain Hamilton’s Epitaph for This World and Time,
for over a decade in presentations of major works of Bach
Jean Guillou’s Allen, and several liturgical settings by
and Mozart, for Haydn’s Masses and Purcell’s Operas, as
Richard Feliciano, as well as much of King’s own music.
well as for liturgical performances. The practice began
with the core members of the acclaimed Rebel Baroque
In addition to their active concert series at Trinity Church,
Orchestra, led by Jörg-Michael Schwarz and Karen Marie
the Choir has appeared at The Metropolitan Museum of Art,
Marmer, combined with a wealth of New York’s finest
The Cloisters, and The Tribeca Film Festival, which invited
period players. Baroque orchestras in New York are
the Choir to perform Arvo Pärt’s Passio in a mixed-media
contracted from a relatively small pool of exceptionally
collaboration with Paolo Cherchi Usai’s film of the same
skilled Baroque and Classical players.
name. In March 2010, the Choir traveled to Moscow to
perform Purcell’s Dido and Aeneas with the Mark Morris
DIRECTORS
Dance Group.
Julian Wachner is the Director of Music and the Arts at
Trinity Wall Street. Previous Directors of Music at Trinity BEHIND THE SCENES
include Dr. J. Owen Burdick (1990-2008), Dr. Larry King
Interviews and concert notes with Julian Wachner and
(1968-1989), and George Mead (1941-1968). In recent
guest conductors, as well as profiles of choir members, can
years the Choir has collaborated with a number of guest
be found on the Trinity Wall Street website. Other feature
conductors including Jane Glover, Stefan Parkman, George
videos include a history and appreciation of Handel’s
Steel, Simon Carrington, Andrew Megill (who also served
Messiah and the story of a music camp started in post-
as Guest Choirmaster in 2008 and 2009), Steven Fox
Katrina New Orleans by several choir members. A rich
(Acting Director of Music for 2009-2010), Eric Milnes,
archive of past concerts can be found online as well.
and Andrew Parrott.
To find the “Music at Trinity” channel, go to
trinitywallstreet org/webcasts/videos.
RECORDINGS & RADIO
In 2009, the Trinity Choir released Haydn: The Complete
Masses, an eight-disc boxed set on the Naxos label.
Twelve masses and the Stabat Mater were recorded over a
nine-year period in Trinity Church. Conducted by Burdick

23
 trinit y choir bios
Solo concert engagements for Melissa Attebury (mezzo-
soprano) include Handel’s Messiah, Israel in Egypt, and
Judas Maccabeus; Bach’s St. Matthew and St. John Passions
and Mass in B minor; and Mozart’s Requiem and Mass in C
Minor. She has appeared with the New York Philharmonic
at Carnegie Hall and Lincoln Center, and performs
regionally and abroad in opera and operetta.
Elizabeth Baber (soprano) has been praised for her “angelic
brightness and dedication” and her “ability to seduce.”
Recent performances include Guido’s Ear, Hesperus, Parthenia,
Ex Umbris, and the Play of Daniel at the Cloisters. She also
performs with lutenist Charles Weaver and is a vocal coach
for the New York Continuo Collective.
Raymond Bailey is a Virginia-born, Yale-educated,
classically trained multi-instrumentalist who joined the
Trinity Choir as a bass-baritone in 2004. Most of his work is
as a musical director and coach in musical theatre, but he
also performs with the Antioch Chamber Ensemble and his
band, Autobahn-da-Fé. Ray believes that teaching music to
children is the best thing he does.
James Blachly (alto) is the conductor of the ISO Trinity-
Florentine Youth Orchestra and the founder of the Sheep
Island Ensemble, which promotes great music and
community. An established composer and conductor,
he has been hailed by Chamber Music America as
“vigorous and assured,” and by The New York Times for
his “thoughtful conception.”
Luthien Brackett (alto) is in great demand as an ensemble
performer, appearing regularly with acclaimed ensembles
including Tenet, Vox, Voices of Ascension, Pomerium,
Clarion Music Society, and The Antioch Chamber Ensemble.
Her discography includes featured solos in the Trinity
Choir’s Haydn: The Complete Masses on the Naxos label.
The longest-serving member of the Trinity Choir, Wesley
Chinn (baritone, countertenor, and instrumentalist) leads a
diverse musical life that ranges from playing kazoo at
Lincoln Center and Carnegie Hall to conducting children’s
choirs (and new operas). Also an active organizer of musical
mischief, he is Artistic Director of Opera Omnia.
Wisconsin native Martha Cluver (soprano) has been a
member of the Trinity Choir since September 2003. As a
New Yorker, she has been involved with many vocal groups,
and has premiered a number of new solo and chamber
works. Martha particularly enjoys performing works of the
Renaissance and Baroque periods.
24
Eric Dudley (tenor) performs with the American Symphony
Orchestra, Bard Summerscape Opera, Seraphic Fire,
Roomful of Teeth, and numerous choral ensembles in New
York. As a conductor he has worked in Finland and
Australia and with the Cincinnati and Princeton Symphony
Orchestras. He is also a pianist and composer.
Charles Wesley Evans (baritone) is establishing a fine career
as an early-music artist, recitalist, and professional chorus
member. An active soloist, he is also on the rosters of some
of the nation’s finest choral ensembles. Mr. Evans is a
graduate of Brewton-Parker College in Mt. Vernon, GA.
Hailed as a “golden soprano” by The New York Times,
Jolle Greenleaf is a leading specialist in early music,
performing as soloist in works of J. S. Bach, Charpentier,
Handel, Monteverdi, and Purcell, among others. She is
artistic director of Tenet and the Green Mountain Project,
and frequently collaborates with premier ensembles around
the country.
Matthew B. Hensrud (tenor) can be regularly heard with
ensembles such as Pomerium, Clarion, Antioch, and New
York Early Music. Recent projects include Brooklyn
Acadamy of Music’s St. Matthew Passion, Nico Muhly’s
Elements of Style, a recording of Frank London’s A Night at
the Old Marketplace, and the premiere of David Lang’s
Anatomy Theatre.
The active career of Timothy Hodges (tenor) includes
performances as a soloist with Rebel Baroque Orchestra,
Carmel Bach Festival Orchestra, Mark Morris Dance Group,
Garden State Philharmonic, Spoleto Festival Orchestra, and
Princeton Glee Club. He is active in many ensembles
including Vox, Clarion, Fuma Sacra, and the Carmel Bach
Festival Chorale.
Steven Hrycelak (bass) has been a soloist with the Trinity
Choir, Musica Sacra, 4x4, the New York Collegium, the
Waverly Consort, the American Symphony Orchestra, and
the Collegiate Chorale. Other ensemble work has included
Early Music New York, Vox, Tenet, Seraphic Fire, the Yale
Whiffenpoofs, and his vocal jazz quintet, West Side 5.
Hailed by Time Out New York as a “dazzling diva, adept at
old and new music,” Mellissa Hughes (soprano) performs
with Newspeak, Signal, and Eighth Blackbird. Ms. Hughes
has recorded for Nonesuch, Cantelope, and Naxos Records,
is a New Amsterdam Records Artist, and holds degrees from
Westminster Choir College and Yale University.
Baritone Thomas McCargar’s choral engagements include
the Trinity Choir, Pomerium, Early Music New York, Musica
Sacra, New York Virtuoso Singers, Vox Vocal Ensemble, and
Seraphic Fire in Miami. His solo work includes To Be Certain
of the Dawn (Stephen Paulus), Die Schöne Müllerin (Schubert)
and Carmina Burana (Orff).
Molly Quinn (soprano) has performed with ensembles such
as Clarion Music Society, Tenet, Green Mountain Project,
Musica Sacra, 4X4 festival, and Buxtehude Consort. She has
appeared in Dido and Aeneas with Mark Morris Dance
Group and The Coronation of Poppea with Opera Omnia.
Her other interests include volunteerism, sewing, and
college basketball.
Melanie Russell (soprano) has performed with the
Oregon Bach Festival Choir, Santa Fe Desert Chorale,
Etherea Vocal Ensemble, Yale Schola Cantorum, and Yale
Voxtet. Solo engagements in opera, musical theater, and
concert repertoire have taken her from her hometown of
New Orleans to Carnegie Hall, Moscow, and London.
Virginia Warnken (mezzo-soprano) performs regularly
with renowned early music ensembles such as the Trinity
Choir, Clarion Music Society, Musica Sacra, Tenet, Vox
Vocal Ensemble, and the Green Mountain Project. Recent
solo highlights include Monteverdi’s Vespers of 1610, Judd
Greenstein’s Yehudim (world premiere, Merkin Hall),
Bach’s Christmas Oratorio, and Handel’s Messiah.
Jonathan Woody (bass-baritone) performs with Clarion
Music Society, Santa Fe Desert Chorale, La Chappelle de
Québec, Studio de Musique Ancienne de Montréal, and
the Bach Sinfonia of Washington, DC. Some recent roles
include Sorceress (Dido & Aeneas), Claudio (Agrippina),
and Escamillo (La Tragédie de Carmen). He is a student
of Sanford Sylvan.

Stephen Sands (tenor) holds a degree from Westminster

Choir College. He has been heard as the Evangelist in
numerous performances of Bach’s St. John and St. Matthew
Passions. He is a member of the Antioch Chamber Ensemble,
Carmel Bach Festival Chorale, Tenet, and Clarion. He is the
Vocal Music Director at Bernards High School and the
Artistic Director of Music in the Somerset Hills.

25
trinit y baroque ORCHES TR A BIOS
Robert Mealy (Concertmaster), one of America’s leading
historical string players, has been praised for his imagination,
taste, subtlety, and daring” (Boston Globe). The New Yorker
described him as “New York’s world-class early music
violinist.” He has recorded over 50 CDs on most major labels,
ranging from Hildegard of Bingen with Sequentia, to
Renaissance consorts with the Boston Camerata, to Rameau
operas with Les Arts Florissants. Mr. Mealy has appeared
at music festivals from Berkeley to Belgrade, and from
Melbourne to Versailles; he has also toured with the
Mark Morris Dance Group and accompanied Renée Fleming
on the David Letterman Show. In New York he is a frequent
leader and soloist with various ensembles. Since 2004, he has
been concertmaster for the distinguished Boston Early Music
Festival Orchestra, leading them in three GRAMMY®-
nominated recordings and several festivals. A devoted
chamber musician, he is a member of the medieval ensemble
Fortune’s Wheel, the Renaissance violin band the King’s
Noyse, and the ensemble Quicksilver.
Mr. Mealy is Professor of Music, adjunct, at Yale University,
where he directs the Yale Collegium and teaches courses on
rhetoric and performance. For a decade previously, he
directed the Harvard Baroque Orchestra. He is also on the
faculty of the new Historical Performance program at
Juilliard. In 2004 he received Early Music America’s Binkley
Award for outstanding teaching at both Harvard and Yale.
James Baker is Principal Percussionist of the New York City
Ballet Orchestra, and Coordinator of Percussion Studies at the
Mannes College of Music. He has performed with the NY
Philharmonic and Orpheus Chamber Orchestra, conducts
New York New Music Ensemble and Speculum Musicae, and
has won a Bessie award for composition for dance.
Doug Balliett is a prolific artist whose career has spanned
classical performance, composition, rap, rock, and conducting.
As a double bassist he has performed across the globe with
many ensembles and earned fellowships with most leading
festivals. His compositions have garnered several prizes and
residency appointments.
Korean-Canadian violinist Jae-Won Bang is a member
of the Yale Baroque Ensemble. She received her MMus
from Yale University in 2010 and her BMus degree from
Colburn Conservatory in 2008. Jae-Won has studied with
Robert Lipsett, Ani Kavafian, and Gerald Stanick, and
currently studies with Robert Mealy and Laurie Smukler.
Raised as a jazz trumpeter in the San Francisco Bay area,
Nathan Botts now enjoys a diverse career as a soloist,
26
recording artist, composer, improviser, and specialist on
the historic natural trumpet. On period instruments he
performs as principal trumpet with Concert Royal and the
Bach Vespers at Holy Trinity series.
A graduate of the Juilliard School and a Fulbright scholar,
Anne Briggs has performed on baroque, classical, and modern
flutes in the Aulos Ensemble, Concert Royal, American
Classical Orchestra, New York Philharmonic, American
Symphony, Orpheus, and is Principal Flute with Sacred Music
in a Sacred Space, Oratorio Society, and Musica Sacra.
Bradley Brookshire is harpsichordist and assistant conductor
for the Metropolitan Opera. His recording of Bach’s French
Suites was a New York Times “Critic’s Choice.” Ashgate
published his study of Byrd’s Walsingham variations in 2010.
He is Director of Graduate Studies in the Conservatory of
Music at Purchase College (SUNY).
Sarah Davol, serves as principal oboe of Grand Tour
Orchestra and Big Apple Baroque in NYC, Vox Ama
Deus Orchestra in Philadelphia, La Follia in Austin, the
Connecticut Early Music Festival Orchestra, and is a
founding member of The American Classical Orchestra.
She is a concerto soloist with Amor Artis, Concert Royal,
and Los Angeles Baroque Orchestra, among others.
Daniel Elyar (viola) has performed with Tafelmusik,
the Utrecht Baroque Consort, Concerto d’Amsterdam,
Teatro Lirico, Concerto Palatino, the Boston Early Music
Festival Orchestra, the New York Collegium, Rebel, New
York State Early Music Association, Tempesta di Mare, and
Clarion. He has recorded for Chandos, Elektra, Atma, and
Hungaroton labels.
Dennis Godburn is a versatile bassoonist performing on
Baroque, Classical and Modern instruments. He lives in
California and in NYC. He is a member of St. Lukes and
Orpheus and has appeared with many other ensembles
concertizing internationally. He has recorded over 70 CDs
and enjoys cooking and wine.
Timpanist Maya Gunji has appeared as member of St. Luke’s,
Orpheus, and at Radio City Music Hall. She has performed
with the New York Philharmonic, the Metropolitan Opera
Orchestra, the American Ballet Theater, the Berlin
Philharmonic, Rebel Baroque, and the Israel Philharmonic
with Itzhak Perlman. Broadway productions include The
Three Penny Opera, The Man of La Mancha, Les Miserables,
Miss Saigon and Mary Poppins. She holds advanced degrees
from The Juilliard School.
Liv Heym pursues a versatile musical career focused on
chamber music and the approach of historical performance.
A native of Berlin, Germany, she studied the violin in Berlin
and Detmold before coming to New York for further studies.
She currently studies Baroque violin with Monica Huggett
and Cynthia Roberts at The Juilliard School.  achieved an international reputation as one of the finest
Trumpeter Caleb Hudson is in the Juilliard Masters of Music
program as a student of Raymond Mase, Mark Gould, and
John Thiessen. A native of Lexington, KY, Caleb has won first
place at the National Trumpet Competition, was a soloist with
the Lexington Philharmonic, and was awarded fellowships at
the Music Academy of the West and the Aspen Music Festival.
This summer he will be participating in the Verbier Festival
in Switzerland.
Motomi Igarashi graduated from The Juilliard School
and studied in France with Marianne Muller. She has
played the viola da gamba, violone, baroque double bass,
and lirone with American Classical Orchestra, Anima, Artek,
Bach Collegium Japan, Boston Early Music Festival, and
Concert Royal. The The New York Times has praised her
“deft accompaniment.”
Claire Jolivet regularly appears with Repast, Sarasa, Concert
Royal, Sinfonia New York, Clarion, and the Trinity Baroque
Orchestra; is a founding member of the Dodd String Quartet,
and is concertmaster of the Grand Tour Orchestra and Opera
Lafayette in Washington, DC. She performs with Paris-based
Opera, Fuoco, and has recorded for Deutsche Harmonia Mundi.
Flautist Sophie Larivière is a member of Ensemble Caprice
and has been its Artistic Co-Director since 1997. With
Ensemble Caprice, Ms. Larivière has appeared in numerous
concerts and festivals, including the Lufthansa Festival in
England, Tel Aviv and the Mediterranean Arts Festival in
Israel, performances in Vienna, Berlin, Stuttgart, Chicago,
Los Angeles, the Boston Early Music Festival, and in Canada
she has appeared in Ottawa, Edmonton, and Vancouver.
Daniel S. Lee (violin) regularly performs with the American
Baroque Orchestra, Clarion Music Society, Early Music
New York, Trinity Baroque Orchestra, Yale Collegium
Musicum, and Sebastian Chamber Players (which he founded
and directs). He has studied at The Juilliard School and Yale
School of Music, and currently teaches at Connecticut College.
A specialist on Baroque and Classical oboes, Washington
McClain performs with many groups in the United States,
Canada and Europe. He has performed with Tafelmusik
Baroque Orchestra, serving as core oboist for seven years.
Washington teaches at the Early Music Institute at Indiana
University in Bloomington, and has recorded extensively.
He makes his home in Windsor, Ontario (Canada).
Flautist, composer and conductor Matthias Maute has
recorder and baroque flute players of his generation. He
made his Lincoln Center debut in New York in December
2008. In 2003 and 2005, he was the featured recorder soloist
at the Boston Early Music Festival. Mr. Maute is also esteemed
for his artistic direction of Ensemble Caprice, for whom he
produces ingenious and fascinating programs.
Flautist Sandra Miller is a faculty member of Juilliard’s
Historical Performance program. Winner of the Bodky
Competition for Early Music and of a Solo Recitalist’s
Fellowship from NEA, she performs with many US and
Canadian period-instrument ensembles. Her recordings
include the complete Bach sonatas and Mozart concerti
on period instruments.
Johanna Novom is associate concertmaster of Apollo’s Fire
in Cleveland, and a first-prize winner of the American Bach
Soloists’ Young Artists competition. Recent performances
include the American Bach Soloists, Chatham Baroque,
and the Carmel Bach Festival Orchestra. Johanna received
her Master’s from Oberlin, and is a member of the Yale
Baroque Ensemble.
Katie Rietman (cello) enjoys a career that has taken her to
18 countries on 4 continents (next stop: Peru). She has
recorded over 40 CDs with noted period instrument groups
in the United States, Canada, and Europe. Based in Cologne,
Germany, for over 10 years, her favorite repertoire to perform is
Bach’s cantatas and oratorios, especially with the Trinity Choir.
One of America’s leading baroque violinists, Cynthia Roberts
serves as concertmaster of the New York Collegium,
Apollo’s Fire and Concert Royal. She appears as a soloist
throughout the US, Europe, and Asia; performs regularly
with Tafelmusik and American Bach Soloists; and has
played with the London Classical and Taverner Players.
Her solos are heard in the film Casanova.
John Mark Rozendaal has served as principal cellist for
Chicago’s The City Musick and Basically Bach, and as
soloist and continuo player with the Newberry Consort,
King’s Noyse and the Boston Early Music Festival Orchestra.
He performs with Repast Baroque Ensemble and Trio
Settecento and directs New York’s Viola da Gamba Dojo.
27
Gonzalo X. Ruiz (oboe) is one of America’s most sought-after
historical woodwind soloists and is a faculty member of The
Juilliard School. He performs with Philharmonia Baroque,
English Concert, Boston Early Music Festival Orchestra, and
Sonnerie. Mr. Ruiz been the principal oboist of LA’s Musica
Angelica since its inception.  & St. Timothy Episcopal Church in New York. He has directed
Theresa Salomon (violin) came to New York from her native
Germany in 1993. She has appeared at the Gulbenkian and
Prague Spring Festivals, has performed with the Orchestra
of St. Luke’s, Rebel, Concert Royal, American Classical
Orchestra, and SEM Ensemble, and directs a new chamber
music series at Music Under Construction.
Andrew Schwartz is principal bassoonist of many of the finest
period-instrument organizations including Trinity Baroque
Orchestra, Concert Royal, American Classical Orchestra,
Handel and Haydn Society, Boston Baroque, and Smithsonian
Chamber Players. He is delighted to join Julian Wachner and
Trinity Choir in the new Bach at One cantata series.
Noted for his “beauty of tone and keenness of musicianship”
(Opera Brittania), Ezra Seltzer is a student of Phoebe Carrai at
the Juilliard School. He received his BA in history and MMus in
cello performance from Yale University, studying with Aldo
Parisot and Ole Akahoshi, and was also a post-graduate fellow in
early music with Robert Mealy and the Yale Baroque Ensemble.
Early Music America wrote of Brian Shaw; “[his] tone is
beautiful, and his playing unfailingly musical… His is a voice
that will make a major mark on Baroque trumpet playing.”
Mr. Shaw is heard as Principal Trumpet (valved) on CDs with
the University of Texas (his current post) and Eastman Wind
Ensembles, and the Dallas Wind Symphony. Mr. Shaw is an
Assistant Professor of Trumpet and Jazz Studies at Louisiana
State University.
Alissa Smith holds music degrees from the Australian
National University and the Juilliard School. She has
performed with the American and Houston Symphonies,
Klangforum Wien and The Australian Chamber Orchestra.
As a baroque violist, she has appeared with The New York
Collegium, The Grand Tour Orchestra, Tempesta di Mare,
Four Nations, and has recorded with Apollo’s Fire, Concert
Royal, and the San Francisco Bach Choir.
Priscilla Smith has performed with Waverly Consort,
Portland Baroque Orchestra, Handel and Haydn, Ex Umbris,
Orchester Wiener Akademie, Capilla Flamenca, and Artek.
She is a core member of Piffaro, the Renaissance Band, and is
pursuing a Master’s degree at The Juilliard School’s Historical
28
Performance program, where she studies baroque oboe with
Gonzalo Ruiz.
Avi Stein teaches harpsichord, vocal repertoire, and chamber
music at Yale University, and is Music Director at St. Matthew
a variety of ensembles including the Opera Français de New
York, OperaOmnia, the critically acclaimed 4x4 Festival, and
the Young Artists’ Program at the Carmel Bach Festival.
Lisa Terry practices, performs and teaches viola da gamba and
cello in New York City, where she is a member of Parthenia,
the Consort of Viols, the Dryden Ensemble, Baroque Across
the River and the Lyra Consort. She teaches privately, and at
the French-American School of Music in Manhattan.
John Thiessen is Principal Trumpet of Tafelmusik,
Philharmonia Baroque Orchestra, American Bach Soloists
and the Boston Early Music Festival. He has performed with
the Academy of Ancient Music, English Baroque Soloists,
Amsterdam Baroque Orchestra, and Taverner Players, and
recorded extensively for Sony Classical, EMI, BMG, London
Decca, Telarc, and CBC.
Anne Trout (bass) regularly appears with Rebel, Aston Magna,
Handel and Haydn Society, the Trinity Baroque Orchestra,
and other prominent ensembles in historically informed
performance in the US and Canada. Anne actively
commissions new compositions for early instruments. She
teaches at Longy School of Music in Cambridge, Boston
College, and the Groton School.
Jessica Troy, the violist of the Mark Morris Dance Group Music
Ensemble since 1998, has toured extensively and performed
throughout the US and Japan with Yo-Yo Ma. On baroque viola
she performs with the Dodd String Quartet, Four Nations
Ensemble, Grand Tour Orchestra, Opera Lafayette, and
Washington National Cathedral Baroque Orchestra.
Jacques Lee Wood is gaining attention as a soloist, recitalist
and chamber musician of the highest caliber. A versatile artist,
Wood’s interest in teaching, and research supplements a
performance career that covers a broad range of repertoire
and interests: from historically informed performance of the
Baroque, Classical, and Romantic periods to newly composed
works. He is a Doctoral Candidate at Yale University and a
Visiting Fellow in Early Music at the Yale School of Music.
Mr. Wood is a Swiss Global Artist.
Described in one review as “knocking people off their seats,”
double bassist Wen Yang has appeared as a member of the
National Cathedral’s chamber vocal ensemble, Cathedra,
Yale Temperament, Yale Schola Cantorum, Yale Collegium
Musicum, New Haven Oratorio, and Sebastian Chamber
poe t bios
MAY 2
Lee Briccetti is the long-time Executive Director of Poets
House, a 50,000-volume poetry library and meeting place
for poets and poetry readers at 10 River Terrace in Battery
Park City. A graduate of the Iowa Writers’ Workshop, she
received a New York Foundation for the Arts Award for
Poetry and has been a Poetry Fellow at the Fine Arts Work
Center in Provincetown. Her first book of poetry, Day Mark,
was published in 2005 by Four Way Books.
MAY 9
Molly Peacock is the author of six volumes of poetry,
including The Second Blush and Cornucopia: New and
Selected Poems. Widely anthologized, her work has appeared
in both The Best American Essays and The Best American
Poetry. Her latest work of nonfiction is The Paper Garden:
An Artist Begins Her Life’s Work at 72. She is a member of
the Graduate Faculty of the Spalding University Brief
Residency MFA Program.
MAY 16
Rick Moody is the author of five novels—including
The Ice Storm, adapted for film by Ang Lee—three
collections of stories, a memoir, and a forthcoming volume
of essays, On Celestial Music. He also plays and sings in
The Wingdale Community Singers.
MAY 23
Elaine Sexton is the author of two collections of poetry,
Sleuth and Causeway, both with New Issues Press. Her
poems, essays, and art and book reviews have appeared in
numerous journals including American Poetry Review, Art
in America, New Letters, Poetry, and O! the Oprah Magazine.
She teaches poetry workshops at the Sarah Lawrence College
Writing Institute and works in magazine publishing in
New York City.
MAY 30
Cornelius Eady is the author of several poetry collections:
Kartunes; Victims of the Latest Dance Craze, winner of the
1985 Lamont Prize; The Gathering of My Name, nominated
for the 1992 Pulitzer Prize in Poetry; You Don’t Miss Your
Water; The Autobiography of a Jukebox; Brutal Imagination;
Players. She is a graduate of The Juilliard School and Yale
School of Music. Wen enjoys cooking and painting.
and most recently, Hardheaded Weather (Putnam, 2008). His
awards include Fellowships from the NEA, the Guggenheim
Foundation and the Rockefeller Foundation, a Lila Wallace-
Reader’s Digest Traveling Scholarship, and The Prairie
Schooner Strousse Award. His work appears in many journals,
magazines, and the anthologies Every Shut Eye Ain’t Asleep,
In Search of Color Everywhere, and The Vintage Anthology of
African American Poetry, (1750-2000). He is co-founder of
Cave Canem, and is currently The Miller Family Endowed
Chair in Literature and Writing and Professor in English
at The University of Missouri-Columbia.
JUNE 6
Joshua Mehigan’s first book, The Optimist, was one of five
finalists for a 2005 Los Angeles Times Book Prize and winner
of the Hollis Summers Prize. His poems have been featured
in many periodicals, including Poetry, The New York Times,
and The New Republic, and on Poetry Daily and The Writer’s
Almanac. He is a 2011 NEA Fellow.
JUNE 13
Major Jackson is the author of Holding Company (2010,
Norton), Hoops (2006, Norton), and Leaving Saturn (2002,
University of Georgia Press). He has published poems and
essays in American Poetry Review, The New Yorker, and
Poetry, among other fine literary periodicals. Mr. Jackson
is the Richard Dennis Green and Gold Professor at
University of Vermont. He serves as the Poetry Editor
of The Harvard Review.
JUNE 20
J. Chester Johnson has written verse and been widely
published for over four decades. He is the author of numerous
books of poetry, with the most recent, St. Paul’s Chapel &
Selected Shorter Poems, now in its second printing. Of this
volume, one critic said, “Undoubtedly, this is a work headed
for literary permanence in our collective ear.”
29
 be part of a community
for a world of good
Welcome to Trinity Wall Street, a historic Episcopal parish in lower Manhattan that
includes both Trinity Church and St. Paul’s Chapel. We are glad you joined us for this
concert and hope you will consider this an invitation to all of Trinity’s offerings—daily
worship and prayer, educational programs for all ages, concerts and arts events, volunteer
and mission opportunities, and more.
Trinity is one of the most diverse parishes in New York City, with people from all over
the New York metropolitan area and beyond. Our commonality is our shared belief that
a relationship with Jesus makes us more vital and that by reaching out to one another,
we live more deeply. We endeavor to serve the communities around us as well as those
around the world.
Your visit means a lot to us. If you liked this concert, keep in mind that the
Choir sings Sundays at Trinity’s 9am choral mass and 11:15am worship service
and St. Paul’s 8pm Compline service, and at many other services.
We welcome you and look forward to meeting you. To learn more about us,
visit us on the web at trinitywallstreet.org.
Faithfully,

The Rev. Dr. James H. Cooper

Rector

Worship Services About Trinity Church

Trinity Church
Broadway at Wall Street
Sunday
Holy Eucharist 9am and 11:15am
Monday–Friday
Morning Prayer 8:15am
Eucharist 12:05pm
Evening Prayer 5:15pm
Thursdays in All Saints’ Chapel
Contemplative Prayer at 8:30am
Laying on of Hands for Healing
following the 12:05pm Eucharist
and St. Paul’s Chapel
St. Paul’s Chapel
Broadway and Fulton Street Trinity Church
· Part of New York City since 1697
Sunday · Burial site of Alexander Hamilton
Holy Eucharist 8am and 10am · Home of the renowned
Compline 8pm Trinity Choir
Daily St. Paul’s Chapel
Prayers for Peace 12:30pm · Survivor of the Great Fire of 1776
· Host to George Washington
mondays on his inaugural day
Bach at One 1pm · Home to September 11
rescue workers
W
 ebcast live from Trinity Church
at trinitywallstreet.org

Evensong 5:15pm trinitywallstreet.org

Worship Services
Trinity Church · Broadway at Wall Street
Sunday
Holy Eucharist 9am and 11:15am

Monday–Friday
Morning Prayer 8:15am
Eucharist 12:05pm  
Evening Prayer 5:15pm

On Thursdays · in All Saints’ Chapel

Contemplative Prayer 8:30am
Laying on of Hands for Healing following the 12:05pm Eucharist
Evensong 5:15pm

St. Paul’s Chapel · Broadway and Fulton Street

Sunday
Holy Eucharist 8am and 10am
Compline 8pm

Daily
Prayers for Peace 12:30pm

Mondays about
Bach at One 1pm
Trinity Church
Webcast live from Trinity Church at trinitywallstreet.org & St. Paul’s
Chapel
Trinity Church
· Part of New York City since 1697
· Burial site of Alexander Hamilton
· Home of the renowned Trinity Choir

St. Paul’s Chapel

· Survivor of the Great Fire of 1776
· Host to George Washington on his inaugural day
· Home to September 11 rescue workers

trinitywallstreet.org