Baroque Around the World

With Orchestra & Soloists Noah Horn, Artistic Director Scott Walters, Associate Conductor Presents Baroque Around the World Featuring works by Gabrieli (Italy), Charpentier (France), Araujo (Peru), Zelenka (Bohemia), Arañés (Spain), J. S. Bach (Germany), and Handel (England) Sunday, November 19, 2017 3:00 PM St. James Episcopal Church 355 W. Maple Rd. Birmingham, MI 48009

Welcome to the first concert of the Oakland Choral Society s 2017-2018 season, under the baton of our artistic director and conductor, Noah Horn. We are pleased that several of Dr. Horn s choral students at Wayne State University are singing with us this season. Our program offers a variety of works from the Baroque era, c1600-1750. In the Baroque, four-part melody structures and syncopated phrases were important aspects of many musical compositions, including choral works, with three of the parts in four-count rhythm and the fourth voice adding a syncopated eighth or sixteenth note series. While the Baroque style began in Europe, it was exported to the Americas, primarily by Spanish colonists, where the music commingled with the traditions of the indigenous peoples and African slaves, creating dance rhythms that helped form the basis of European musical forms such as the chaconne. One example of the chaconne is the piece by Juan Arañés: Un sarao de la chacona (A la vida bona). You can also hear these influences in Juan de Araujo s Los coflades de la estleya, with its use of African rhythms. For our next concert in April 2018, we will present Gabriel Fauré s Requiem and Morten Lauridsen s Lux Aeterna. More details are available on our website, oaklandchoralsociety.org. After today s concert, we would appreciate receiving your review and comments. Please go to our website and proceed to the Contact Us tab. We welcome your input. Thank you, audience and supporters, for your patronage. Hope you enjoy the concert! Mark Bartnik President, Oakland Choral Society 2

Oakland Choral Society Noah Horn, Artistic Director & Conductor Scott Walters, Associate Conductor Shari Fiore, Rehearsal Pianist Soprano Ann Bayleran Mary F. Bennett Barbara Burnham Gisele Carrera Kate Connolly Wei Du Mary Dunn Linda Freeze Cleo Hamilton Laurie Harris Vera Hurchik Linda Isbell Elizabeth Kanasty Lisa Keinert Marlene Knaus * Janilla Lee Mary Sue Livingston Olga S. Meyer Luanne M. Offer Jane Ozolins Lynn Pember Candace Pierce- Winters Kathleen Ransome Kathleen Rogers Reiko Saito Nancy Smith Anne Tomiak Sandra Toms Bonnie Topper- Bricker Catherine Waring Jennifer Yan Alto Sachiko An Serafina Belletini Christine Brown Sandra Collins Nora Conn Mary E. Creager Ellen Dempsey Bette Duprey Karen Eldred * Barbara Fairbrother Anita DeMarco Goor Deborah Hoover Marissa McConnell Susan McDonald Linda Morrison Bea Sandweiss Marjie Scott Marilyn Sicklesteel Mary Weinhold Allison Weinmann Tenor Mark Bartnik David E. Crawford Chad Creager # Benjamin Findlan Cindy Oberg Gloria Rhodes Harold Silk Pierce Ward Larry Wolf * Paul Yu Bass Glen Battjes # Clarence Bennett # Ed Conn Michael Dempsey Marilyn Duguid David Field Karl Geisler Daniel Harris Timothy Higle Rick Johnston Bud Kilgore Chris Owens Ward Randol Craig Sieferd * Josiah Tazelaar Willem Tazelaar * Section Leader Assistant Conductor # Stage Manager 3

Noah Horn, Oakland Choral Society s Artistic Director and Conductor, heads the choral program at Wayne State University, where he conducts three choirs, supervises the master's program in choral conducting, and teaches ear training. He also serves as artistic director of Audivi, a professional vocal ensemble with an extensive repertory. On weekends he directs the music program at Grosse Pointe Woods Presbyterian Church. Dr. Horn holds degrees in conducting and organ from Yale University and Oberlin College. In the past he has served as interim director of choral activities at Western Michigan University, artistic director of The Madison Chorale, conductor of the Wesleyan University Orchestra, and director of the professional choirs at Christ Church, New Haven. As a professional tenor, he has sung with Conspirare, Yale Choral Artists, Yale Schola Cantorum, sounding light, and several other nationallyrecruited ensembles, with which he has recorded albums for Naxos and Delos. As an organist he has given recitals across the United States and in Germany. His compositions have recently received several premieres in Michigan and Illinois. Venturing over to reality television, he appeared in the final rounds of America s Got Talent 2013 with Three Penny Chorus and Orchestra. A native of Davenport, Iowa, he now resides in Detroit. Shari Fiore, Rehearsal Pianist, graduated from Oakland University with a Master of Music degree in organ performance and sacred music and a Bachelor of Arts degree in piano. She studied piano with the late Joyce Adelson and organ with D. Frederic DeHaven. In her extensive career, Ms. Fiore has been accompanist and assistant director for the Rackham Symphony Choir and has performed with the DeHaven Chorale. She has also performed major organ works and accompanied choral performances in cathedrals throughout Europe. Ms. Fiore currently teaches at the Detroit School of Arts and is the organist at First Presbyterian Church of Farmington Hills. 4

William Scott Walters, Associate Conductor, enjoys a multifaceted career as a conductor, singer, and educator. He studied conducting with Jerry Blackstone in the University of Michigan's Master of Music conducting program, and studied privately with Robert Spano, Harry Bicket, and Kenneth Kiesler. While at Michigan, Mr. Walters has served as conductor of the Orpheus Singers, assistant conductor of the Residential College Singers, Arts Chorale, and assistant conductor of the University and Chamber Choirs. He has also served as assistant conductor for the Atlanta Symphony Orchestra's 2013 performance of Bach's B Minor Mass, and provided music direction for the Ann Arbor Opera Guild's 2013 American premiere performance and recording of von Suppe's Light Cavalry. Mr. Walters has been a conducting fellow for Sarteano Chamber Workshop in Italy, and Conductors Retreat at Medomak in Maine. A versatile performer, Walters has appeared as a soloist and section member of the UMS Choral Union and Atlanta Symphony Orchestra Chorus, as well as singing backup for Barry Manilow. He was sought out regularly for vocal lessons and coaching in the metro-atlanta area before returning to Ann Arbor. Walters studied voice performance with Carmen Pelton and Valerie Walters. Before commencing graduate studies, Mr. Walters served as director of choral music and taught drama at Pepperell High School in Rome, GA. Originally from Kennesaw, GA, he earned his Bachelor s degree in music education from Kennesaw State University, where he studied conducting with Leslie Blackwell. Oakland Choral Society Officers and Board of Directors Mark Bartnik President, Rick Johnston Vice-President Lisa Keinert Recording Secretary, Karl Geisler Treasurer Anita DeMarco Goor Corresponding Secretary Sandra Collins, Ed Conn, Nora Conn, Marilyn Duguid, Marilyn Sicklesteel, Harold Silk, Pierce Ward, Edwin Washington Artistic Director and Conductor Noah Horn Associate Conductor Scott Walters Rehearsal Pianist Shari Fiore 5

November 19, 2017 Baroque Around the World Program Italy France Peru Giovanni Gabrieli: In ecclesiis (c1605) Marc-Antoine Charpentier: In Nativitatem DNJC canticum H414 (1684) Juan de Araujo: Los coflades de la estleya (c1680) Bohemia Jan Dismas Zelenka: Miserere ZWV 57 (1738) Intermission Spain Juan Arañés: Un sarao de la chacona (1624) (Chacona: A la vida bona) Germany England Johann Sebastian Bach: Christ lag in Todes Banden BWV 4 (1707) George Frideric Handel: Hallelujah Chorus, from Messiah (1741) Soloists Victoria Fraser, soprano (VF) Arianne Abela, soprano (AA) Lara Alami, mezzo-soprano (LA) Brian White, tenor (BW) Michael Hawes, bass (MH) Kate Connolly, soprano (KC) Serafina Belletini, mezzo-soprano (SB) Orchestra Mary Riccardi, Violin 1 Phoebe Gelzer-Govatos, Violin 2 Debra Lonergan, Cello Jeffrey Noonan, Theorbo Kiri Tollaksen, Cornetto Glenn Burdette, Harpsichord (Initials will be used in the program text to designate solos) 6

Giovanni Gabrieli In ecclesiis Giovanni Gabrieli (c1555 1612) was a prominent Venetian composer and an important musical figure in the transition from the late Renaissance to the early Baroque. One of his early teachers was his uncle, Andrea Gabrieli, the organist at St. Mark s Cathedral. His uncle also provided connections to teachers in Germany, most notably Orlando di Lasso. After his return from Germany, Giovanni served as principal organist at St. Mark s until his uncle s death in 1586, at which time he assumed the position of principal composer, a position he held until his death. Gabrieli s work at St. Mark s, with its tradition of musical excellence, made him one of the most noted composers in Europe. His influential volume, Sacrae symphoniae (1597), brought composers from all over Europe to Venice to study with him, including Heinrich Schütz and Hans Leo Hassler, who helped bring early Baroque music to Germany. Gabrieli composed in many forms but he preferred sacred vocal and instrumental music, particularly that which maximized sonority. Among the innovations credited to Gabrieli are the use of dynamics, the use of specifically notated instrumentation, and the use of massive groups of instruments or voices arrayed in multiple and spatially separated groups. The motet, In ecclesiis, based on Psalm 26:12, showcases his polychoral techniques, such as sections solely for instruments, called sinfonia, small sections for soloists accompanied simply by a basso continuo, and close dialogue between choirs and soloists forming rondo patterns in the motet. (LA) In ecclesiis benedicite Domino. Alleluja. (MH) In omni loco dominationis benedic anima mea Dominum. Alleluja. (BW/MH) In Deo salutari meo et gloria mea. Deus auxilium meum et spes mea in Deo est. Alleluja. (VF/BW) Deus noster, te invocamus, te laudamus, te adoramus. Libera nos, vivifica nos. Alleluja. (VF/LA/BW/MH) Deus, adjutor noster in aeternum. Alleluja. Bless the Lord in the congregation. Alleluia. In every region of his power, may my soul bless the Lord. Alleluia. In God is my salvation and my glory. The Lord is my aid, and my hope is in God. Alleluia. Our God, we call upon you, we praise you, we adore you. Liberate us, revive us. Alleluia. God, our Helper forever. Alleluia. 7

Marc-Antoine Charpentier In Nativitatem D(omini) N(ostri) J(esu) C(hriste) Canticum H 414 Marc-Antoine Charpentier (1643 1704), born in or near Paris, was an exceptionally prolific and versatile composer, producing works of the highest quality in many genres including Psalm settings, hymns, motets, operas, and masses. He studied in Rome with the Italian composer, Giacomo Carrisimi, who introduced him to the oratorio form. Upon his return to Paris, Charpentier was the house composer for the Duchesse de Guise for about seventeen years. From 1687 to 1698, he served as music master for the Church of Saint-Louis and in 1698 he became music master of children at Sainte-Chappelle, remaining there until his death. In Nativitatem DNJC is a dramatic motet or oratorio, but Charpentier preferred to call it a canticum, the Latin term for oratorio. He composed more than 30 oratorios with six related to the Nativity. This canticum has been described as the Little Christmas Oratorio and includes a narrator (l Historien) who tells the story and introduces the other characters in the drama. Praeludium Récit de l Historien (KC/SB) Frigidae noctis umbra totum orbem tegebat, et immersi jacebant omnes in somno profundo. Pastores autem Judeæ vigilabant super gregem suum. Et ecce angelus Domini stetit juxta eos. Et claritas Dei circum fulsit eos. Timuerunt autem pastores timore magno. Et dixit illis Angelus: Air de Angelus (AA) Nolite timere, pastores. Ecce enim annuntio vobis gaudium magnum quod erit omni populo: quia natus est hodie Salvator vester in civitate David; et hoc erit vobis signum: invenietis infantem pannis involutum et reclinatum in præsepio. Ite, pastores, et adorate illum. Prelude The Historian s Tale The shadow of the cold night covered all the earth, and plunged all into a profound sleep. The shepherds of Judea were watching over their flocks. And lo, an angel of the Lord stood by them. And the glory of the Lord shone about them. The shepherds were greatly afraid. And the angel said to them: Air of the Angel Fear not, shepherds. For lo, I bring news of great joy which shall be to all people: for today your Savior is born in the city of David; and this will be a sign to you: you will find the baby wrapped in swaddling clothes and lying in a manger. Go, shepherds, and adore him. 8

Choer de Pastores Surgamus, festinemus, properemus, eamus usque Bethleem. Ibi videbimus puerum qui natus est nobis. Surgamus, festinemus, properemus, eamus usque Bethleem. Ibi laudabimus et adorabimus Deum sub forma peccatoris velatum. Quid moramur, quid cunctamur, O pastores inertes? Surgamus, festinemus, properemus, eamus usque Bethleem. Marche de Pastores Récit de l Historien (MH) Euntes autem pastores pervenerunt ad locum ubi Jesus natus erat, et intrantes domum, invenerunt Mariam et Joseph et puerum involutum pannis et reclinatum in præcipio. Et procidentes adoraverunt eum, inculto sed devoto carmine dicentes: Air d un Pastor et Choer (BW) Salve puerule, salve tenellule, O nate parvule quam bonus es. Tu cælum deseris, tu mundo nasceris, nobis te'ut miseris assimiles. (LA) O summa bonitas, Excelsa deitas Vilis humanitas fit hodie. Æternus nascitur, immensus capitur et rei tegitur sub specie. (VF) Virgo puerpera, beata viscera Dei cum opera dent filium. Gaude, flos virginum, gaude, spes hominum, fons lavans criminum proluvium. Chorus of Shepherds Let us rise up, let us hurry, let us hasten, and go to Bethlehem. There shall we see the child that is born for us. Let us rise up, let us hurry, let us hasten, and go to Bethlehem. There shall we praise and adore God hidden under the form of a sinner. Why delay, why linger, O idle shepherds? Let us rise up, let us hurry, let us hasten, and go to Bethlehem. March of the Shepherds The Historian s Tale So the shepherds came with haste to the place where Jesus was born, and entering the house they found Mary and Joseph and the boy wrapped in swaddling clothes and lying in a manger. And they bowed down and adored him with artless but devoted songs, saying: Air of the Shepherd and Chorus Hail, little child, hail, tender babe, O tiny child how good you are. You leave heaven, you are born in the world, making yourself like us, poor wretches. O highest goodness, lofty Godhead that today becomes poor humanity. The Eternal is born, the boundless circumcised, and hid in worldly garb. Virgin mother, your blessed womb, through God gives birth to a son. Rejoice, flower of virgins, rejoice, hope of mankind, fount that washes away the stain of sins. Latin translation: Kelly Braxton and Keith Anderson 9

Juan de Araujo Los coflades de la estleya Juan de Araujo (1646 1712) was born in Spain but traveled to Peru at an early age with his father. He served as choirmaster for a time at the Lima Cathedral but most of his professional life was spent at the Cathedral of La Plata (present-day Sucre), Bolivia. Araujo composed prolifically. While his output of sacred music in Latin is relatively small, there is an abundance of villancicos that incorporate the dialects and rhythms of the ethnically diverse Latin American populations and employ systemic syncopation in 6/8 time to provide unexpected rhythmic drive, as in Los coflades de la estleya. This piece, subtitled Black Song for the Birth of Our Lord, uses the musical language of the streets to present the story of the Wise Men following the star to Bethlehem, using contemporary characters and imagery familiar to Latin Americans of the time. (VF/AA) Los coflades de la estleya vamo turus a Beléya y velemo azio la beya con Siolo en lo poltal: Vamo, vamo curendo ayá! Oylemo un viyansico que lo compondlá Flacico ziendo gayta su focico, y luego, lo cantalá Blasico, Pellico, Zuanico y Tomá y lo estliviyo dilá: Gulumbé, gulumbé, gulumbá, Guaché, moleniyo de Safalá. Bamo abel que traen de Angola a ziolo y a ziola, Baltasale con Melchola y mi plimo Gasipar. Vamo, vamo curendo ayá! Gulumbé, gulumbé, gulumbá, Guaché, moleniyo de Safalá. Fellow brothers of the Star let us go to Bethlehem and we shall see our beautiful Lady with our Lord in the manger: Let s go, let s run there! We shall hear a carol that Francisco will compose piping in his little voice, then Blasico will sing it with Perico, Juanico and Tomás and the chorus will go: Gulumbé, gulumbé, gulumbá, Poor children, black children from Safala. Let us go and see what they have brought from Angola for Our Lord and Our Lady, Balthasar and Melchoir and my cousin Caspar. Let s go, Let s run there! Gulumbé, gulumbé, gulumbá, Poor children, black children from Safala. 10

Vamo siguiendo la estleya lo negliyo coltezano pus lo reye con tesuro de calmino los tres ban. eya vamo turo ayá Let us follow the star Come on! we black courtiers Let s go! since the Three Kings All of us! are coming with treasure. That way! Blasico, Pellico, Zuanico, y Tomá, Eya! Vamo turu ayá! Gulumbé, gulumbé, gulumbá, Guaché, moleniyo de Safalá. Vamos turus los Neglios plimos pues nos yeba nostla estleya beya que sin tantuz neglos folmen noche mucha luz en lo poltal ablá Blasico, Pellico, Zuanico y Tomá, plimo neglo, bueye ablá. Gulumbé, gulumbé, gulumbá, Guache, moleniyo de Safala. Blasico, Perico, Juanico and Tomás Come on! Let s all go there! Gulumbé, gulumbé, gulumbá, Poor children, black children from Safala. Let s go, all the black children, my cousins! since our Star is leading us, beautiful! even though we re all as black as night on the manger, plenty of light there ll be. Blasico, Perico, Juanico, and Tomás, Black cousins, there will be oxen. Gulumbé, gulumbé, gulumbá, Poor children, black children from Safala. Translation by Jules Whicker, University of Birmingham Jan Dismas Zelenka Miserere ZWV 57 Jan Zelenka (1679-1745) was born in Bohemia, which was part of the present-day Czech Republic. Not much is known of his early years but it is likely that he received his music training from his father, a schoolmaster and organist. From 1710 until his death in 1745, he held positions at the Dresden Hofkapelle, the court orchestra, first as a double bass player and later as church-music composer. Except for a few years in Vienna to further his studies, he remained in Dresden, where he composed works for the Catholic church service, including masses, vespers, litanies, and other liturgical services. The Miserere in C minor, a setting of the 50th Psalm, was completed in 1738 and was most likely intended for use with the Holy Week liturgy. It is comprised of six movements with the complete psalm text sung in the 11

second movement with lively rhythms that are anchored by the basses repeating the text, Miserere mei, Deus, throughout the movement. The third movement, Gloria Patri I, is sung by a solo soprano and provides a pleasing contrast to the rest of the piece. Movements four and five complete the doxology, the expression of praise to God, and the final movement reprises the opening one. Miserere I Miserere, miserere mei, Deus; miserere. Miserere II Miserere mei, Deus, secundum magnam misericordiam tuam. Miserere mei, Deus. Et secundum multitudinem miserationum tuarum, dele, dele iniquitatem meam. Amplius lava, lava me ab iniquitate mea: et a peccato meo munda, munda me. Quoniam iniquitatem meam ego cognosco: et peccatum meum contra me est semper, contra me est semper. Tibi soli peccavi, et malum coram te feci: ut justificeris in sermonibus tuis, et vincas, et vincas cum judicaris. Ecce enim, in iniquitatibus conceptus sum. Et in peccatis meis concepit me mater mea. Ecce enim, veritatem dilexisti. Ecce enim: incerta et occulta sapientiæ tuæ manifestasti mihi. Have mercy, have mercy on me, O God; have mercy. Have mercy on me, O God; your mercy is so great. O God, have mercy on me. And through the vastness of your mercies, take away, take my sins away from me. Wash me all over, wash away from me all my sins: cleanse me from all my wrongs; wash, wash me. For I know my iniquities: and my sins are always before me, always before me. Against you alone have I sinned, and done evil in your sight: your sentence upon me is justified, and blameless, blameless is your judgment against me. Behold, I was born, I was conceived in sin. It was in sin that my mother conceived me. Behold, you want inward truth in us. Look then: teach me, in the depths of my heart teach me your wisdom. 12

Asperges me hyssopo, et mundabor: et super nivem dealbabor. Auditui meo dabis gaudium, dabis gaudium et lætitiam, et exsultabunt ossa humiliata. Averte faciem tuam a peccatis meis et omnes iniquitates meas dele. Cor mundum crea in me, Deus: et spiritum rectum innova, innova in visceribus meis et spiritum sanctum tuum. Ne projicias me a facie tua, ne auferas a me salutaris tui: et spiritu principali confirma me. Redde mihi laetitiam: et spiritu principali confirma me. Docebo iniquos vias tuas: et impii ad te convertentur, ad te convertentur, convertentur. Libera me de sanguinibus, Deus. Deus salutis meae: et exultabit lingua mea justitiam tuam, exultabit justitiam tuam. Domine, labia mea aperies: et os meum annuntiabit laudem tuam. Quoniam si voluisses sacrificium dedissem utique. Holocaustis non delectaberis. Miserere mei, Deus. Sacrificium Deo spiritus contribulatus: cor contritum, et humiliatum, Deus, non despicies. Purge me with hyssop, and I will be clean: I will be whiter than snow. Fill me with gladness, with gladness and joy, and let the bones which you have crushed rejoice. Hide your face from my sins and blot out all my iniquities. Create in me a clean heart, O God: and renew a steadfast spirit within me, renew me within with your Holy Spirit. Do not cast me away from your face, do not take your salvation away from me: strengthen me with your holy spirit. Restore to me the joy of your salvation: and uphold me with a willing spirit. Then I will teach the wicked your ways: and they will come back to you, they will come back, back to you. Free me from death, O God. O God of my salvation: and my tongue shall sing aloud of your justice, shall sing of your deliverance. O Lord, open thou my lips: and my mouth shall show forth thy praise. If you wished for sacrifice, I would surely offer it. But you delight not in burnt offerings. Have mercy on me, O God. My sacrifice to God is a broken spirit: a contrite and humble heart, O God, you will not despise. 13

In bona voluntate tua Sion: benigne fac, Domine, ut aedificentur muri Jerusalem. Miserere mei, Deus. Tunc acceptabis sacrificium justitiae: oblationes, et holocausta, Deus. Tunc imponent super altare tuum vitulos. Gloria Patri I (VF) Gloria Patri, Patri, et Filio, et Spiritui Sancto, Spiritui Sancto, et Spiritui, et Spiritui Sancto. Gloria Patri II Gloria Patri, Patri, et Filio, et Spiritui, et Spiritui Sancto. Sicut Erat Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen. Miserere mei, Deus. Miserere III Miserere, miserere, miserere mei, Deus, miserere. In your good will toward Zion: be merciful, Lord, rebuild the walls of Jerusalem. Have mercy on me, O God. Then you will delight in just sacrifices: in offerings, and burnt offerings, O God. Then will bulls be offered on your altar. Glory be to the Father, to the Father, and to the Son, and to the Holy Ghost, the Holy Ghost, the Holy, the Holy Ghost. Glory be to the Father, to the Father, and to the Son, and to the Holy, and to the Holy Ghost. As it was in the beginning is now, and ever shall be, world without end. Amen. Have mercy on me, O God. Have mercy, mercy, mercy on me, O God, have mercy. Translation by Olivia Holmes Juan Arañés Un sarao de la chacona (also known as Chacona: A la vida bona) Juan Arañés (c1580-1649) was a Spanish composer, active briefly in Italy. A la vida bona was the first chacona for voices by a Spanish composer to appear in print. Writers from the time (such as Cervantes) indicate that the chacona, a lively dance in triple time, was associated with servants, slaves, and Amerindians. It was often condemned for its suggestive rhythms and mocking texts, and was said to have been invented by the devil. A la vida bona celebrates life and pleasure. 14

Un sarao de la chacona se hizo el mes de las rosas, hubo millares de cosas y la fama lo pregona. A la vida, vidita bona vida vámanos a chacona. (AA/LA/BW/MH) Porque se casó Almadán se hizo un bravo sarao, dançaron hijas de Anao con los nietos de Milán. Un suegro de Don Beltrán y una cuñada de Orfeo comemçaron un guineo y acabólo una amaçona y la fama lo pregona. (MH) Salió la çabala garda con la mujer del encenque y de Zamora el palenque con la pastora Lisarda. La mezquina doña Albarda trepó con pasta a Gonzalo y un ciego dió con un palo tras de la braga lindona y la fama lo pregona. One evening in the month of roses a dancing party was held, it afforded a thousand pleasures and was famed both far and wide. Here s to the good, sweet life, my sweet, let s dance the chaconne. When Almadan was wed a grand old party was thrown, the daughters of Aneus danced with the grandsons of Milan. The father-in-law of Bertran and Orpheus s sister-in-law began a Guinea dance and was finished by an Amazon and was famed both far and wide The plump shepherdess went out with the wife of the puny man and of Zamora the pregnant one with Lizzy the shepherdess. The stingy Doña Albarda stumbles with the splendid Gonzalo and a blind man with a stick goes for the pretty knickers, and was famed both far and wide. (LA) Porque se casó Almadán (repeat) Johann Sebastian Bach Christ lag in Todes Banden BWV 4 Johann Sebastian Bach (1685-1750) was born in Eisenach, Germany, to a family of musicians. Orphaned by the age of ten, he first lived with an older brother, who was an organist, and then continued his musical education at St. Michael s church school in Lüneburg, where he was exposed to the German choral tradition and French orchestral music. Before the age of twenty, Bach was employed as a church organist, and within a few years he began composing sacred vocal and choral music. 15

Christ lag in Todes Banden is Bach s first cantata for Easter, written in the style of a chorale cantata, in which both text and music are based on a hymn. Bach used Martin Luther s hymn of the same name, and the movements of the cantata correspond to the stanzas of the hymn, which focuses on the struggle between Life and Death. Unlike Bach s later cantatas, all movements here are in the same key. The seven stanzas are treated as chorale variations in each movement, with the melody present as a cantus firmus. All stanzas end with the word Halleluja. Sinfonia Verse 1 Chorus Christ lag in Todes Banden für unsre Sünd gegeben, er ist wieder erstanden und hat uns bracht das Leben. Des wir sollen fröhlich sein, Gott loben und ihm dankbar sein und singen halleluja, Halleluja! Verse 2 Duet: VF & LA Den Tod niemand zwingen kunnt bei allen Menschenkindern; das macht' alles unsre Sünd, kein Unschuld war zu finden. Davon kam der Tod so bald und nahm über uns Gewalt, hielt uns in seinem Reich gefangen. Halleluja! Verse 3 Solo: BW Jesus Christus, Gottes Sohn, an unsre Statt ist kommen und hat die Sünde weggetan, damit dem Tod genommen all sein Recht und sein Gewalt; da bleibet nichts denn Tods Gestalt, den Stachel hat er verloren. Halleluja! Symphony (Introduction) Christ lay in death's bonds handed over for our sins, he is risen again and has brought us life For this we should be joyful, praise God and be thankful to him and sing alleluia, Alleluia! Nobody could overcome death among all the children of mankind; our sin was the cause of all this, no innocence was to be found. Therefore death came so quickly and seized power over us. held us captive in his kingdom. Alleluia! Jesus Christ, God's son, has come to our place and has put aside our sins, and in this way from death has taken all his rights and his power; here remains nothing but death's outward form, it has lost its sting. Alleluia! 16

Verse 4 Chorus Es war ein wunderlicher Krieg, da Tod und Leben rungen; das Leben behielt den Sieg, es hat den Tod verschlungen. Die Schrift hat verkündigt das, wie ein Tod den andern fraß, ein Spott aus dem Tod ist worden. Halleluja! Verse 5 Solo: MH Hier ist das rechte Osterlamm, davon Gott hat geboten, das ist hoch an des Kreuzes Stamm in heißer Lieb gebraten. Das Blut zeichnet unser Tür, das hält der Glaub dem Tode für, der Würger kann uns nicht mehr schaden. Halleluja! Verse 6 Duet: VF & BW So feiren wir das hohe Fest mit Herzensfreud und Wonne, das uns der Herr erscheinen läßt. Er ist selber die Sonne, der durch seiner Gnaden Glanz erleuchtet unsre Herzen ganz, der Sünden Nacht ist verschwunden. Halleluja! Verse 7 Chorus Wir essen und leben wohl in rechten Osterfladen; der alte Sauerteig nicht soll sein bei dem Wort der Gnaden. Christus will die Koste sein und speisen die Seel allein, der Glaub will keins andern leben. Halleluja! It was a strange battle where death and life struggled; life won the victory, it has swallowed up death Scripture has proclaimed how one death ate the other, death has become a mockery. Alleluia! Here is the true Easter lamb that God has offered which high on the trunk of the cross is roasted in burning love. His blood marks our doors, which faith holds in front of death, the strangler can harm us no more. Alleluia! Thus we celebrate the high feast with joy in our hearts and delight, that the Lord lets shine for us. He is himself the sun who through the brilliance of his grace enlightens our hearts completely, the night of sin has disappeared. Alleluia! We eat and live well on the right Easter cakes; the old sour-dough should not be with the word grace. Christ will be our food and alone feed the soul, faith will live in no other way. Alleluia English Translation by Francis Browne (January 2005) 17

George Frideric Handel Hallelujah Chorus, from Messiah George Frideric Handel (1685-1759) was born in Halle, Saxony. He showed an early gift for music and studied with the organist of the parish church, Friedrich Zachow. Handel may have started composing church music as early as the age of nine. In 1712, after four years in Italy, he moved to England and quickly became a favorite of the royal court. When the popularity of his Italian-style operas began to wane, Handel started writing oratorios. Although he composed several on biblical themes, Messiah is the only one based on the New Testament, and the only one he titled A Sacred Oratorio. Messiah was written during a bleak time in Handel s life, when he was beset by financial troubles and poor health. Despite these problems, he was so inspired by Charles Jennens libretto for Messiah that he wrote the music in just 24 days. When Handel himself conducted the first performance in Dublin on April 13, 1742, it was a huge success, and the work has continued to be much in demand to this day. Handel conducted his last performance of Messiah just eight days before his death in London in 1759. Hallelujah: for the Lord God omnipotent reigneth. The kingdom of this world is become the kingdom of our Lord and of his Christ; and he shall reign for ever and ever. King of Kings and Lord of Lords. Hallelujah! Revelations 19:6; 11:15; 19:16 OCS 2017-2018 Season Continues Sunday, April 22, 2018 Lux Aeterna by Morten Lauridsen & Requiem, Op. 48 by Gabriel Fauré Details at www.oaklandchoralsociety.org 18

2017 2018 Season Supporters Oakland Choral Society is a 501(c) 3 organization. Donations are tax-deductible. Thanks to all of you! We are extremely grateful for your generosity and support! SPONSORS ($500 - $999) Richard Johnston PATRONS ($100 - $249) Mary and Chad Creager Anita DeMarco Goor Jane and Andis Ozolins Gloria Rhodes Nancy and John Smith Sandra Toms BENEFACTORS ($250 - $499) Les and Bonnie Bricker David Szymborski and Marilyn Sicklesteel FRIENDS (up to $100) Sachiko An Wei Du Karen Eldred Cynthia Oberg Luanne Offer Bea Sandweiss HONORARIUMS AND MEMORIALS In honor of Karen McGrath by Joan Barnard In honor of Karen Mayer by Polly and Bill McGrath In memory of Paul John from Mom Acknowledgments The music that we are privileged to bring to you would not be possible without the efforts of our members, the board, the support of our families and friends, and the involvement of the community. We would especially like to thank the following: Birmingham Unitarian Church: Rev. Patricia Shelden, Rev. Daniel Budd, Kym Worth St. James Episcopal Church, Birmingham: Rev. Joshua A. Hoover, Glenn Burdette, Quenten Matthews Program and Publicity: Mary Creager, Anita Goor, Luanne Offer, Gloria Rhodes, Marilyn Sicklesteel Tickets & Concert Support: Glen Battjes, Chad Creager, Joan & Janet Geisler, Luanne Offer, Sandra Pinchback, Edwin Washington Website: Mark Bartnik, Pierce Ward 19

Corporate Programs that Support OCS Kroger Community Rewards, Luanne Offer, Coordinator. Oakland Choral Society is enrolled in Kroger Community Rewards. Through this program, Kroger makes donations to your designated nonprofit organization based on your spending as a registered Kroger Plus Card customer. There is no cost to you, the customer. To participate, go to www.kroger.com. Our organization number is 96419. AmazonSmile, Mark Bartnik, Coordinator. Amazon will donate 0.5% of your purchases to the nonprofit organization you designate through your Amazon account. Follow the directions on the Amazon website and select Oakland Choral Society as your designated nonprofit organization. When making purchases, you must log into Amazon through https://smile.amazon.com using the same login and password as your existing account. Please encourage your family and friends to designate Oakland Choral Society for these corporate programs. We appreciate your participation and support. Thank you. Do you or someone you know like to sing classical choral music? Then consider joining Oakland Choral Society (OCS). The story of OCS began in 1963, when Oakland University first offered a course for a community chorus. In early 2003, the university discontinued the course. A group of those singers then formed a separate, independent chorus, OCS, under the baton of D. Frederic DeHaven. While the conductor of OCS has changed since then, many of the original singers still remain. The OCS mission is to provide educational enrichment for Oakland County and metropolitan Detroit communities; to expand and enhance cultural experiences through dedication to the highest possible musical performance standards by presentation of significant classical and contemporary choral works; and to expose the listener to the finest choral literature in order to foster an appreciation of composers and singing. Our activities are made possible through ticket sales, choir membership dues, and the generosity of individuals and businesses. We welcome those who read music, have some singing experience, and love singing classical choral music. No audition required. Please join us! 20

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PO Box 214064 Auburn Hills, MI 48321-4064 (248) 391-0184 For information on membership, rehearsal schedule, and upcoming performances, please visit our website at www.oaklandchoralsociety.org Like us on Follow us on Twitter @OCSsings 24