Ich habe genug, but never enough Bach!

Transcription

1 The Atlanta Baroque Orchestra Ich habe genug, but never enough Bach! Daniel Pyle, Resident Director Arietha Lockhart, soprano Brent Wissick, violoncello Peter DeWitt & Michael Bauer, harpsichords Sunday 14 March :00 p.m. Roswell Presbyterian Church 755 Mimosa Boulevard Roswell, Georgia

2 PROGRAM MUSIC OF JOHANN SEBASTIAN BACH ( ) Concerto in F for Harpsichord, Two Recorders, and Strings BWV 1057 Allegro Andante Allegro assai Daniel Pyle, harpsichord Catherine Bull & Doug Leonard, recorders Suite in D minor for unaccompanied violoncello BWV 1008 Prelude Allemande Courante Sarabande Menuets I & II Gigue Brent Wissick, violoncello Concerto in C minor for Two Harpsichords and Strings BWV 1060 Allegro Adagio Allegro Peter DeWitt & Daniel Pyle, harpsichords Intermission Cantata Ich habe genug for Soprano, Flute, Strings, and Continuo Aria Recitative Aria Recitative Aria Arietha Lockhart, soprano Catherine Bull, flute BWV 82a Concerto in C for Three Harpsichords and Strings BWV 1064 Allegro Adagio Allegro assai Daniel Pyle, Peter DeWitt, & Michael Bauer, harpsichords The ABO gratefully acknowledges all the performers in this concert, who are donating their services for the benefit of the Orchestra, and Wheat Williams for copying parts and scores.

3 THE ATLANTA BAROQUE ORCHESTRA Julie Andrijeski, Artistic Director Violin Cello Recorder Gesa Kordes Brent Wissick Catherine Bull Ute Marks Douglas Leonard Ruth Johnsen Violone Martha Bishop Harpsichord Viola Daniel Pyle Elena Kraineva Flute Catherine Bull Cantata 82 Ich habe genug Text and Translation Aria (Flute, Violino I/II, Viola, Continuo) Ich habe genug, Ich habe den Heiland, das Hoffen der Frommen, Auf meine begierigen Arme genommen; Ich habe genung! Ich hab ihn erblickt, Mein Glaube hat Jesum ans Herze gedrückt; Nun wünsch ich, noch heute mit Freuden Von hinnen zu scheiden. Ich habe genung! Recitative (continuo) Ich habe genug. Mein Trost ist nur allein, Dass Jesus mein und ich sein eigen möchte sein. Im Glauben halt ich ihn, Da seh ich auch mit Simeon Die Freude jenes Lebens schon. Laßt uns mit diesem Manne ziehn! Ach! möchte mich von meines Leibes Ketten Der Herr erretten; Ach! wäre doch mein Abschied hier, Mit Freuden sagt ich, Welt, zu dir: Ich habe genug. I have enough, I have taken the saviour, the hope of the righteous, in my eager arms; I have enough! I have caught sight of him, my faith has pressed Jesus to my heart; now I wish this very day joyfully to depart from here. I have enough! I have enough. This alone is my consolation, that Jesus might be mine and I his own. In faith I hold him as I see also with Simeon the joy of the life to come already. Let us go along with this man! Ah! how I wish that I might from the chains of the body be delivered by the Lord; Ah! how I wish my departure were here, joyfully I would say to you, World: I have enough.

4 Aria (Violino I/II, Viola, Continuo) Schlummert ein, ihr matten Augen, Fallet sanft und selig zu! Welt, ich bleibe nicht mehr hier, Hab ich doch kein Teil an dir, Das der Seele könnte taugen. Hier muss ich das Elend bauen, Aber dort, dort werd ich schauen Süßen Friede, stille Ruh. Recitative (continuo) Mein Gott! wann kömmt das schöne: Nun! Da ich im Friede fahren werde Und in dem Sande kühler Erde Und dort bei dir im Schoße ruhn? Der Abschied ist gemacht, Welt, gute Nacht! Aria (Flute, Violino I/II, Viola, Continuo) Ich freue mich auf meinen Tod, Ach, hätt er sich schon eingefunden. Da entkomm ich aller Not, Die mich noch auf der Welt gebunden. Rest in sleep, you weary eyes, close with peace and blessing! World, I am staying here no longer, I have indeed no part in you that could benefit my soul. Here I have to cause misery to myself but there, there I shall behold sweet peace, calm rest. My God! When will come that beautiful: Now! when I shall go in peace and in the sand of the cool earth And there in your bosom rest? I have said my farewells, World, goodnight! I rejoice in my death, Ah! how I wish it had taken place already. Then I shall escape from all the distress that still binds me in the world. English Translation by Francis Browne ( August 2008) The Atlanta Baroque Orchestra was founded under the leadership of Lyle Nordstrom, along with founding-members Catherine Bull, Jeanne Johnson, Daniel Pyle, and Eckhart Richter, who felt the need for a permanent, professional, historical-instrument orchestra in the Southeast. The unique, transparent sheen of early instruments, coupled with their capability of a delightful variety of articulations, allows voices and instruments to blend into a unified, yet clear, sound that is very difficult to achieve with modern instruments. Since its founding in 1997, the ABO has been applauded for its freshness and verve, and for its delightful, convincing performances of a wide range of earlier works. The Orchestra received initial generous support from the Atlanta Early Music Alliance and a variety of individuals, and has also depended on donations of time and money from the musicians themselves. The ABO is a not-for-profit corporation based in Atlanta, and is 501(c)3 (tax-exempt). Contributions, which are tax-deductible, are greatly appreciated and are central to the survival of a venture such as this. If you would like to support the ABO and its future programming, please send checks made out to The Atlanta Baroque Orchestra, 303 Augusta Avenue SE, Atlanta, GA There is also a great opportunity for friends of the arts in the community to serve on the Atlanta Baroque Orchestra board. Please visit our website at for more information on the ABO. Daniel Pyle, in addition to being Resident Director and keyboardist of the Atlanta Baroque Orchestra, teaches at Clayton State University and is organist/music-director for the Church of Our Saviour in Atlanta. He has appeared as organ-soloist with the Albany (GA) Symphony Orchestra, playing Poulenc s Organ Concerto, and the Saint-Saëns Organ Symphony, and as harpsichord-soloist with the Columbus (GA) Symphony Orchestra, the Alabama Symphony Orchestra performing all of Bach s Brandenburg Concertos, and with Orchestra Atlanta in Roswell. His CD The Maiden s Songe: Virginal Music on the Lautenwerk was released in 1998 on the Gasparo label. As a chamber-musician, he has played with the ensemble Harmonie Universelle in Paris, Amsterdam, the Utrecht Early Music Festival, London s St. Martin-in-the-Fields and other venues, and throughout the American Southeast and Mid- West, including the 1992 Piccolo Spoleto Festival and the Boston Early Music Festival. Their American performances have been heard many times on NPR s Performance Today.

5 He studied organ and harpsichord at the University of Alabama and the Eastman School of Music, and in Amsterdam with Gustav Leonhardt and Hans van Nieuwkoop, and at the Accademia Musicale Chigiana in the class of Kenneth Gilbert. Since returning to this country he has also taught at the University of Kansas and at Louisiana State University. Arietha Lockhart has appeared as soloist with the Atlanta Symphony Orchestra Chamber Chorus in Carnegie Hall, the Christmas with Robert Shaw concerts of the Atlanta Symphony Orchestra and Chorus, the Robert Shaw Chamber Singers and Festival singers and as a recitalist at Spivey Hall and Carnegie Hall, as well as, various churches and civic organizations. However, Arietha Lockhart s largest audience never saw her -- for it was she who provided the haunting ethereal voice of the battered white butterfly in the worldwide broadcast of the 1996 Olympic Games Opening Ceremony in Atlanta, GA. Arietha's awards include: 1st place jury and audience choice, the Meistersinger Competition, Graz, Austria. 2nd place, the Classical Singer Competition (Classical Singer Magazine); National Opera Association Competition s Legacy Award Professional division; 2nd Place, The Center for Contemporary Opera International Competition-Prize; a New York debut recital at Weill Recital Hall at Carnegie Hall in 2002; the Friedrich Shorr Memorial Prize in Voice, National Association of Teachers of Singing Association Artist Awards for the State of Georgia; The Leontyne Price Vocal Arts Competition; The Encouragement Award form the Licia Albanese-Pucinni Foundation Competition; 3rd place in The Oratorio Society of New York competition. Brent Wissick is the Zachary Taylor Smith Distinguished Term Professor in the Department of Music at UNC- CH, where he has taught cello, viola da gamba and chamber music since A member of Ensemble Chanterelle and principal cellist of the Atlanta Baroque Orchestra, he is also a frequent guest with American Bach Soloists, Folger Consort, Boston Early Music Festival, Concert Royal, Dallas Bach Society, Vancouver Early Music Festival and Collegio di Musica Sacra in Poland. With these ensembles he has recorded for the Centaur, Albany, Koch, Radio Bremen, Bard and Dux labels as well as in the soundtrack for the Touchstone film "Casanova". His online video article titled "The Cello Music of Bononcini" can be viewed in the peer-reviewed Journal of Seventeenth-Century Music" and several of his teaching videos are posted on the website of the Viola da Gamba Society of America. He served as president of that society from 2000 through 2004 and chaired its international Pan-Pacific Gamba Gathering in Hawaii during the summer of His current research and performance interests include the cello music of Benjamin Britten, Chopin s cello music on period instruments and French gamba music. A graduate of the Crane School of Music at Potsdam College in NY and of Penn State (MM cello, 1978), he also studied with John Hsu at Cornell University and was an NEH Fellow at Harvard in the 1993 Beethoven Quartet Seminar. He has taught at the College of St Scholastica in Minnesota ( ), Chautauqua Institution and the 1997 Aston Magna Academy at Yale; and has presented lectures, master classes and recitals at schools, colleges and workshops throughout North America, Europe, Asia and Australia. Dr. Peter DeWitt, Professor of Music, is University Organist and Coordinator of Music Theory at Shorter University in Rome, GA. From Spring 2000 to 2002, he was President of the Southeastern Historical Keyboard Society. He has performed on harpsichord, piano, and organ - as soloist and ensemble player - throughout the Southeastern U.S. and Europe. In Fall 2000, he presented the complete four volumes of Clavierübung by Bach in five consecutive recitals in several venues. He is a founding member of the early music ensemble Consortium Collinum and the Roman Renaissance Singers. His compositions, principally for organ and for church choirs, have been performed throughout the southeast. His students have been national finalists in MTNA competitions three times in the last seven years, and winner in Michael Bauer is a Professor of Organ and Church Music at the University of Kansas, where he developed a new doctoral program in church music. In 1995 Bauer held a Keeler Family Intra-University Professorship at KU, which enabled him to work in the art history and architecture departments. He currently serves as Organist/Minister of Arts at St. John's Lutheran Church in Bennington. For twelve years, Bauer performed regularly on harpsichord as a member of the Oread Baroque Ensemble, with whom he released a CD of French music entitled La Magnifique. With his wife, Marie, he released a CD of the organ works of Petr Eben on the Calcante label. They have also served together as contributing

6 authors for the book Leading the Congregation's Song, published by Augsburg. In addition, Bauer has written a chapter for the book A Tribute to Petr Eben published by the British Dvorak Society. He has published in a number of journals, including CrossAccent, L'Orgue, and Reformed Worship. He is in demand as an organ recitalist, having played extensively in Switzerland, Poland, and America, and he lectures widely on topics concerning the relationship between religion and the arts. His bachelors and masters degrees were obtained at the University of Alabama, while his doctorate is from the University of Cincinnati's College - Conservatory of Music. On both his masters and doctoral degrees he completed double majors in organ and choral conducting. Following his doctoral work, Bauer spent two years in Geneva Switzerland, where he earned the Certificat de Perfectionnement from the Conservatoire de Musique. Catherine Bull is principal flutist with the Atlanta Baroque Orchestra and the flute instructor at the Georgia Institute of Technology. In , she was artist-in-residence in Moultrie GA through the NEA s Chamber Music in Rural Communities Program; before that she was for several years a flute teacher in the national music-school system in the Netherlands. Her performances, on both modern and baroque flutes, have been broadcast several times on NPR. In 2002 she was the first musician to receive a grant from the King Baudouin Foundation for extended study and performance in Belgium. She holds the Bachelor of Music degree from the Univ. of North Carolina at Chapel Hill (with honors, in modern flute), a Master of Music degree from the New England Conservatory (in Early Music), and a Master of Music degree from the University of Alabama (on modern flute). She continued her studies for several years in the Netherlands with Wilbert Hazelzet; she also performed in masterclasses for Frans Brüggen and Bart Kuijken. She has also continued her studies on modern flute with Peter Lloyd (former principal flute of the London Symphony Orchestra); she holds a diploma from the class of Severino Gazzelloni at the Accademia Musicale Chigiana, and has been a student in William Bennett's summer courses in England. In the coming year she will be performing in Turkey, and will be the soloist in Ernst Bloch s Suite Modale for solo flute and string orchestra. Douglas Leonard is Professor of Mathematics at Auburn University. He has been playing recorder and baroque flute for over forty years, and has studied for several years with Catherine Bull, and at the Oberlin Baroque Performance Institute; he has also performed on transverse flute with the ABO. When Leonard is not teaching mathematics, he directs the American Recorder Society chapters in Montgomery and Birmingham, Alabama, and is a keen grower of cacti and other succulents. Support for ABO is provided by

7 Embellish A Melody! Bach Club ($ ) Vivaldi Club ($ ) Cathy Callaway Adams Mr. & Mrs. Jeffery A. Freeman Dr. & Mrs. David Bright Mr. & Mrs. Gerald Hickman Peter & Pat DeWitt Virginia Ware Killorin Federal Home Loan Bank of Atlanta Dr. & Mrs. Eckhart Richter an anonymous donor Douglas A. Leonard Telemann Club ($ ) Daniel Pyle & Catherine Bull Stratton H. Bull Lois Z. Pyle Janis Gay Donald E. Snyder Dr. Alan Goodman Russell Williamson Dymples E. Hammer Virginia Ware Killorin Handel Club ($ ) Gayle Lloyd Anne P. Halliwell North Side Women s Club Dr. John Gamwell Rich & Caroline Nuckolls Dr. & Mrs. William P. Marks, Jr. Rebecca M. Pyle John & Zoe Pilgrim Eric Wilke Dr. George Riordan & Karen Clarke Melinda Wharton Susan Wagner The Atlanta Baroque Orchestra would like to thank the following persons and establishments for contributing their time, talents, and energy in regard to the details of ABO concerts. Atlanta Early Music Alliance (AEMA) Cathy Adams & The Federal Home Loan Bank of Atlanta Peter and Pat DeWitt Roswell Presbyterian Church: Bruce Graham Daniel Pyle & Catherine Bull Eckhart & Rosemary Richter Russell Williamson Valerie Prebys Arsenault Sid & Linda Stapleton Susan Wagner Linda Bernard & RyeType Design Wheat Williams The ABO would also like to acknowledge the several thousand dollars worth of rehearsal time that has been graciously given to the orchestra by its members. These concerts could not be given without their enthusiasm and support. President: Cathy Adams Treasurer: Peter DeWitt Daniel Pyle, Resident Director ABO Board of Directors Alan Goodman Melanie Punter

8 Come to our Next Concert: Sunday 13 February 2011, 4:00 pm inaugural concert by our new Artistic Director, Julie Andrijeski music by Telemann, Handel, & Tavener (in memoriam Irma Lee Shepherd) Visit our web-site at and on FaceBook