Twelfth Night Festival - Gotham Early Music Scene

Trinity Wall Street December 26, 2012–January 6, 2013 

Twelfth Night Festival 

Immerse yourself in Early Music 

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trinity wall street | Julian Wachner, Director of Music and the Arts 


December 26, 2012 – January 6, 2013 

Wednesday, December 26, 1pm 

Pipes at One 

St. Paul’s Chapel 

Julian Wachner, organ 

Wednesday, December 26, 7:30pm 

Festival Lecture – Bach and Liturgy 


Julian Wachner, Trinity’s Director of Music 

and the Arts, discusses the liturgical life of Johann 

Sebastian Bach 

Thursday, December 27, 1pm 

Bach’s Brandenburg Concerti 1, 3, 5 


The Chamber Players of the 

Trinity Baroque Orchestra 

Thursday, December 27, 7:30pm 

As It Fell on a Holie Eve 

Trinity Church* 

Parthenia, with soprano Julianne Baird, performs 

a sparkling array of songs, dances and carols from 

Elizabethan England 

Friday, December 28, 1pm 

Bach’s Brandenburg Concerti 2, 4, 6 


The Chamber Players of the 


Friday, December 28, 7:30pm 

Our Lady II 


Ryland Angel, countertenor, sings 

works of Sances, Leopold I, O’Regan, 

and Wachner 

Saturday, December 29, 3pm 

A Holiday Concert for 

Children of All Ages 


Sinfonia New York 

Saturday, December 29, 7:30pm 

Madrigals of Love and War 


TENET performs Claudio Monteverdi’s 

Madrigals, Book VIII 

Sunday, December 30, 4pm 

A Russian Christmas 


Clarion Music Society, with Steven Fox, conductor, 

performs works by Tchaikovsky, Rachmaninoff, 

Stravinsky, and Arvo Pärt 

Monday, December 31, 1pm 

Pipes at One 


Renée Anne Louprette, organ 

John Thiessen, trumpet 

Wednesday, January 2, 1pm 

Bach’s Christmas Oratorio, 

Cantatas 1-2 


The Trinity Baroque Orchestra and the 

Choir of Trinity Wall Street perform 

Bach’s Christmas Oratorio, Cantatas 1 and 2 

Julian Wachner, conductor 

Wednesday, January 2, 7:30pm 

Monteverdi’s Vespers of 1610 

Church of St. Mary the Virgin* 

145 West 46th Street 

The Green Mountain Project performs 

Claudio Monteverdi’s Vespers of 1610 

Ticket information at tenetnyc.com 

Trinity Church | Broadway at Wall Street • St. Paul’s Chapel | Broadway and Fulton Street • 212.602.0800 

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Thursday, January 3, 1pm 

Bach’s Christmas Oratorio, 

Cantatas 3-4 






Friday, January 4, 1pm 

Christmas Oratorio, 

Cantatas 5-6 






Saturday, January 5, 1pm 

Goldberg Variations/Variations 


Jazz pianist and composer Dan Tepfer performs 

Sunday, January 6, 4pm 

Lessons and Carols 

Trinity Church 

A Festival of Nine Lessons and Carols, sung by 

the Choirs of Trinity Wall Street, followed by a 

procession to St. Paul’s Chapel for a reception 

Sunday, January 6, 8pm 

Compline by Candlelight 


The Choir of Trinity Wall Street 

* Ticketed Events 

Watch online at trinitywallstreet.org 

Events are free will offerings, unless noted. Tickets may be purchased at twelfthnightfestival.org or during intermission at Trinity’s Gift Shop. 

Cover art: “Nativity and concert of angels” from the Isenheim Altarpiece, central panel (oil on panel), Grunewald, Matthias (Mathis Nithart Gothart) (c.1480-1528) 

CREDIT: Musee d’Unterlinden, Colmar, France / Giraudon / The Bridgeman Art Library 

Welcome to Trinity Wall Street and our second 

Twelfth Night Festival, running from December 26, 2012 to 

January 6, 2013. This program of Early Music features concerts 

nearly every day at either Trinity Church or St. Paul’s Chapel 

(with one concert at the Church of St. Mary the Virgin on 

West 46th Street). The Festival includes Bach’s Christmas Oratorio 

and Brandenburg Concerti, performed by the Choir of Trinity Wall 

Street and Trinity Baroque Orchestra under the direction of 

Dr. Julian Wachner. 

In the true spirit of a festival, Trinity has teamed with many of 

New York’s leading Early Music performers to present a wide 

variety of offerings. This year’s partners include: Parthenia, 

Ryland Angel, Sinfonia New York, TENET, Clarion Music Society, 

Juilliard415, and The Green Mountain Project. Additionally, jazz pianist and composer Dan Tepfer 

will perform Bach’s Goldberg Variations/Variations. 

If you are new to Trinity Wall Street, we are so glad you are here. Please note that the Choir of Trinity 

Wall Street sings weekly at our Sunday morning services at Trinity Church, as well as at St. Paul’s Chapel 

on Sunday at 8pm for Compline (prayers for the end of the day). I also invite you to discover any of our 

weekly series: Bach at One on Mondays at St. Paul’s Chapel;* Pipes at One on Wednesdays, also at 

St. Paul’s; and Concerts at One on Thursdays at Trinity Church. 

Information about Trinity’s offerings, including webcasts of many of our liturgies and concerts, 

is available at trinitywallstreet.org. 

Everything you hear and see around you at Trinity Wall Street is the result of gifts made by generous 

donors. Their gifts, made over the course of more than three hundred years, continue to support 

Trinity’s Music & Arts program, which encompasses a wide range of choral and instrumental ensembles, 

concert performances, support of local arts groups, and outreach in local schools, as well as visual arts 

programs, musical formation and education, collaborations with international peer organizations, 

Webcast concerts, recordings, and tours. If you are interested in learning more about how you can support 

Trinity’s Music & Arts program, including sponsorship of concert series and events, please contact the 

Fund Development Office. 

Christmas blessings, 

* Broadcast live by WWFM-The Classical Network, 89.9HD2 in New York City. For details, go to wwfm.org. 

The Rev. Canon Anne Mallonee 

Vicar 

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Early Music, Timeless and Universal 

by Gene Murrow, Executive Director, Gotham Early Music Scene 

Why a Twelfth Night Festival? 

Early music is the sacred and secular music 

composed during the roughly 1,000 years 

spanning the Medieval, Renaissance, Baroque, 

and early Classical periods. The antecedent 

and foundation of nearly all music today – both classical 

and pop – it is accessible, diverse, and timeless. Providing 

immediate and emotional connection to the full range of 

human experience, it has engaged audiences and inspired 

musicians for centuries, and is now an important part of 

Trinity Wall Street’s ministry. 

Beyond a specific repertoire, however, early music also 

embodies an approach to music, one which values inquiry, 

open-mindedness, and collegiality. Because original sources 

provide little information about performance practice (or 

even what instruments and vocal forces were actually used 

at the time), and because much of the tradition of musicmaking 

in times past involved improvisation, musicians 

seeking to perform this music must engage themselves 

in scholarly research, be open to experimentation, and 

participate in a sharing of ideas. There is little “received 

wisdom.” Interestingly, this approach to uncovering a 

composer’s intentions and more faithfully reproducing 

what the music might actually have sounded like at the 

time has spread into mainstream music making. Like art 

restorers removing layers of yellowed varnish from paintings, 

musicians in all genres today have adopted many of 

the disciplines of early music, seeking insights into the 

music of composers as recent as Stravinsky. 

The popularity of the early music “movement” (both 

repertoire and approach) in America arguably began here 

in New York City in 1952 with the founding of the New 

York Pro Musica Antiqua directed by Noah Greenberg. 

An annual touring schedule, numerous recordings, and a 

celebrated revival of a medieval liturgical music-drama, 

“The Play of Daniel” at The Cloisters, spread the gospel. 

Since then early music has taken hold throughout North 

America, earning well-deserved success but at times 

eclipsing New York’s primary place. 

The last few years, however, have been particularly 

fruitful for early music in the Big Apple. The scene here 

now comprises numerous venerable ensembles with 

reliable, thoroughly-researched, historically-informed 

programs as well as new groups that “push the envelope,” 

a large variety of venues with good acoustics and 

architectural interest, a community of brilliant artists and 

respected scholars, an infrastructure to educate present 

and future audiences and artists, revelatory special projects, 

supportive institutions, a busy 12-month calendar of events, 

a growing and supportive fan base, and knowledgeable 

critics and reporters to keep everyone informed. 

Developments old and new contribute to the vibrancy 

of the early music community in New York. Three 

ensembles celebrated their 25th anniversaries last season: 

the vocal quartet Anonymous 4; ARTEK, a late- 

Renaissance and Baroque mixed ensemble under the 

direction of organist Gwendolyn Toth; and The Four 

Nations Ensemble, a baroque consort led by harpsichordist 

Andrew Appel (who also serves as President of Chamber 

Music America). Several distinguished active groups that 

pre-date these are still flourishing: Pomerium, a Renaissance 

a cappella ensemble directed by Alexander Blachly; the 

40-year-old vocal ensemble Western Wind; Frederick 

Renz’s constellation of ensembles ranging from medieval 

groups to a period instrument orchestra under the name 

Early Music/New York (formerly NY’s Ensemble for Early 

Music); Thomas Crawford’s American Classical Orchestra; 

and Judith Davidoff’s New York Consort of Viols. These 

veterans are complemented by solidly professional groups 

including medieval ensembles Trefoil and Asteria, vocal 

consort Lionheart, the viol consort Parthenia, baroque 

ensembles Repast and REBEL, period instrument 

orchestras Clarion Music Society and Sinfonia New York, 

and world/early music experts East of the River. 

Among the “hot new groups” making waves in the City 

and abroad are baroque violinist Robert Mealy’s Quicksilver, 

featured at the 2011 Boston Early Music Festival (BEMF); 

soprano Jolle Greenleaf’s TENET, which continues to 

earn an unbroken string of rave reviews in The New York 

Times; the vocal quartet New York Polyphony, who tours 

the world and releases top-selling CDs; and the Sebastian 

Chamber Players, who won the Audience Prize in this 

season’s baroque performance competition sponsored by 

Early Music America. 

Two new developments in particular have had a major 

effect on the City’s cultural life: The Juilliard School’s 

recognition of early music, and Trinity Wall Street’s 

enhanced commitment to the genre. 

The Historical Performance Program at Juilliard is a 

two-year graduate program that is fully endowed by a 

generous gift from the Chairman of Juilliard’s Board. 

The tuition-free program is under the artistic direction of 

Mr. Mealy, recently appointed to succeed Monica Huggett. 

Instruction by a distinguished faculty is supplemented by 

regular residencies by international celebrities Jordi Savall 

and William Christie. Students in the program comprise 

an ensemble named “Juilliard415;” faculty members perform 

under the name “Juilliard Baroque.” Both ensembles 

have become popular fixtures on the City concert scene. 

At the start of the 2010 season, Trinity Wall Street named 

Julian Wachner as director of Music and the Arts and 

conductor of the world-famous the Choir of Trinity 

Wall Street and resident Trinity Baroque Orchestra. 

Under Wachner’s direction, Trinity has confirmed and 

strengthened its position as a world-class venue for music, 

especially early music. Trinity offers a new, weekly “Bach at 

One” series of performances by the Choir and Orchestra 

and the annual “Twelfth Night Festival of Early Music” 

supplementing the weekly liturgy and regular performances 

of choral masterworks. The quality is consistently 

high; of the 2011 performance of Handel’s “Messiah,” The 

New York Times wrote “Trinity’s, largely on the strength of 

its extraordinary choir, pierced the heart.” 

This year’s Twelfth Night Festival includes performances 

by the Choir and Orchestra (including Bach’s Christmas 

Oratorio and all six Brandenburg concerti); solo appearances 

by trumpeter John Thiessen and organist Renée Anne 

Louprette; and concerts by representatives of the larger 

community including TENET’s rendering of Monteverdi's 

Book & Madrigals, the Clarion Music Society’s offering of 

“A Russian Christmas,” and Ryland Angel. Gotham Early 

Music Scene (GEMS), New York’s service and advocacy 

organization for early music, is collaborating with 

Trinity to present two concerts: “A Holiday Concert for 

Children of All Ages” by Sinfonia New York featuring 

vocal and instrumental music and readings designed to 

engage the whole family, and “As It Fell on a Holie Eve” 

a program of Renaissance masterpieces with the viol 

consort Parthenia and soprano Juilianne Baird. 

Over its thousand-year history, early music has helped 

heal listeners in times of great tragedy and buoyed them 

in times of hope. In our current season of promise and 

recovery, music lovers in New York and around the world 

are thankful for the commitment made by the Rector, the 

Rev. Dr. James H. Cooper, The Rev. Canon Anne Mallonee, 

and the entire Trinity Wall Street family to bringing the 

power and joy of extraordinary music into our lives. 

In the Christian tradition, it is easy to track the 

development of the Paschal rituals surrounding 

Easter, and specifically how the observances 

during Holy Week and the culminating 

festivities of the Easter Vigil and Easter Sunday were a 

natural progression from the Jewish tradition of Pesach, 

or the Passover. Indeed there is even Biblical reference to 

the Feast of the Passover in the Passion narratives, so we 

can be sure of the calendar appropriateness of the placement 

of the Passion remembrance and Resurrection feast. 

The image of the Paschal sacrifice derives directly out of 

the image of the sacrificed Passover Lamb and properly 

completes the Hebrew Bible prophecies that forecast the 

coming of the Messiah and the ushering in of a new era 

in human history. Thus, this time period in the Christian 

Year is “theologically pure” – transferred naturally from 

Judeo roots into the new Easter celebration. 

The Season of Christmas, however, is mired in Pagan 

roots and rife with Christological controversy from its 

inception that, one could argue, still remains to the present 

day. For several centuries, the celebration of Christmas 

was co-existent with the Roman festival of Saturnalia, a 

time of great feasting, present giving, and role reversal. 

The climax of Saturnalia was on December 25th, the feast 

of Sol Invictus, celebrating the Persian-derived Sun-god 

Mithras and his return to full power following the Winter 

Solstice. Indeed, by 274 A.D. the Roman Emperor Aurelian 

officially designated the 25th of December as the “Sun’s 

Birthday” crowning his Empire’s recently official shift to 

pantheistic Sun Worship. 

From many vantage points, whether biblical, astronomical, 

or historical, the placement of the celebration of the 

birth of Jesus on December 25 is purely arbitrary – but 

once Constantine officially shifted the celebration of 

Mithras to Jesus, the tradition was set, and a symmetrical 

balance to the Easter Season came to be developed so that 

the liturgical trajectory of Pascha [Lent – Passiontide – 

Easter – Ascension] was mirrored by [Advent – Christmas 

– Epiphany – Candlemas]. Both of these seasons begin 

with intense periods of preparation, introspection and 

fasting (Advent/Lent) followed by periods of remembrance 

and great celebration and feasting. On these two poles 

(Incarnation/Resurrection) the entire liturgical praxis of 

the Church is balanced onto which the current three-year 

cycle of the lectionary creates a harmonious and logical 

calendar on which to focus our worshipping community. 

Now in our modern times, 

fueled by the need to maintain 

the economic engine of 

industry and commerce – our 

Advent time of preparation has 

been revoked and replaced by 

the frenzy of pre-Christmas 

purchasing, partying, and 

panicking! There’s not much 

we can do about that here in 

lower Manhattan – but we can 

return the joy and celebration 

of the 12 days of Christmas 

to our liturgical life together. 

This period of “Yuletide” was 

the original period for the 

celebration of Christ’s birth 

and the events surrounding 

and including the Epiphany – 

and most of the great sacred 

works honoring Christmas were composed for this 12-day 

Festival of the church. 

Thus the impetus for Trinity Wall Street creating New 

York City’s newest classical music festival has its roots 

in our liturgical mission. And in the Festival’s focused 

specificity on historically informed performance practice, 

Trinity continues to illustrate its goal of serving as the 

epicenter of Early Music activities in this great city. 

Honoring the rich traditions of the period-instrument 

ensembles that have called New York City home for 

decades while simultaneously celebrating the new initiatives 

of recent converts to the cause (Juilliard and Trinity 

come to mind…) – Trinity is proud, in collaboration with 

GEMS, to provide the umbrella organization to bring the 

city alive with music, both sacred and secular, during this 

traditional downtime in the city’s concert life. 

Serving as a point of focus for this annual festival are 

the two towering geniuses of the Baroque Period, Claudio 

Monteverdi and Johann Sebastian Bach. Trinity Wall 

Street’s Choir and Baroque Orchestra presents two 

monumental six-part collections of J. S. Bach, both rich 

in liturgical and hermeneutical symbolism: his epic 

Christmas Oratorio and the instrumental collection known 

as the Brandenburg Concerti, while crowning the festival, 

Green Mountain Project returns with Monteverdi’s 

encyclopedic and epic-ushering Vespers of the Blessed 

Virgin. Between these two compositional pillars of the 

Ruins of the Temple of Saturn in Rome 

baroque period, the festival covers wide-ranging offerings 

of beautiful repertoire – mostly Early Music, but also some 

treasures from other periods, and a few world premieres 

as well! 

When we inaugurated Bach at One two years ago, we 

did so with a specific intention of viewing these musical 

treasures in their greater (and original) context, and I 

wrote the following final paragraph in my introductory 

program notes: 

“… we enter this arena with a pre-disposition to realize 

these works within liturgical surroundings, with an 

awareness of the performance practice of Bach’s time, 

and shedding off the previously accepted Apollonian 

shroud of objective recreation by intentionally 

interpreting and emotionally realizing the Dionysian, 

pietistic and eschatological dangers that lurk within this 

body of repertoire….” 

Our intention remains as vivid and vital and we look 

forward to sharing this twelve-day adventure with you, 

presenting this incredible body of repertoire as we 

joyously celebrate the miracle of the Incarnation. 

Dr. Julian Wachner 

Director, Music and the Arts 

Robert lowe (wiki commons) 

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Pipes at One 

Wednesday, December 26, 1pm 


Julian Wachner, solo organ 


Brandenburg Concerti bwv 1046-1051 

Johann Sebastian Bach (1685-1750) 


The Chamber Players of the Trinity Baroque Orchestra 

Pièce d’Orgue, bwv 572....................................................................................................Johann Sebastian Bach (1685-1750) 

Pastorella in F Major bwv 590............................................................................................................ Johann Sebastian Bach 

Improvised Suite on Secular Themes ...............................................................................................................Julian Wachner 

Prelude 

Sarabande 

Rondeau 

Fughetta 

Toccata 

About the Organ 

The mechanical-action pipe organ of St. Paul’s Chapel was built in 1964 by the Schlicker Organ Company of Buffalo, New 

York, and re-built by the Andover Organ Company of Methuen, Massachusetts, in 1981. It boasts the oldest pipe organ case 

in New York City, made of mahogany and dating from around 1803, and contains 1,632 pipes. Following the September 11, 

2001, terrorist attack on the World Trade Center situated directly across the street from St. Paul’s, the organ was silenced, 

but has since been partially cleaned and made playable by Mann & Trupiano organ-builders from Brooklyn. The organ 

is featured in free, 40-minute organ recitals on Wednesdays and in live broadcasts on WWFM of “Bach at One” liturgical 

presentations by the Choir of Trinity Wall Street and Trinity Baroque Orchestra on Mondays. 

Thursday, December 27, 1pm 


Concerto No. 1 in F Major, bwv 1046 

Allegro moderato 

Adagio 

Allegro 

Menuet – Trio I – Menuet da capo – Polacca – Menuet da capo – 

Trio II – Menuet da capo 

Concerto No. 3 in G Major, bwv 1048 


Adagio 

Allegro 

Concerto No. 5 in D Major, bwv 1050 

Allegro 

Affettuoso 

Allegro 

Friday, December 28, 1pm 


Concerto No. 2 in F Major, bwv 1047 


Andante 

Allegro assai 

Concerto No. 4 in G Major, bwv 1049 

Allegro 

Andante 

Presto 

Concerto No. 6 in B-flat Major, bwv 1051 

Allegro 

Adagio ma non troppo 

Allegro 

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Festival Lecture: 

A discussion on the liturgical life of J.S. Bach 

Wednesday, December 26, 7:30pm 


Julian Wachner, lecturer 

Violin 

Robert Mealy, 

Concertmaster 

(1; 2 solo; 4 rip; 5 solo) 

Cynthia Roberts 

(2; 3 pr; 4 solo) 

Daniel Lee (1 pr) 

Abagail Karr (1; 3) 

Violin II 

Cynthia Roberts 

(1 pr; 5 rip) 

Daniel Lee (2 pr; 4 rip) 

Johanna Novom 

Viola 

Jessica Troy 

(1-3; 5-6 pr; 4) 

Adriane Post 

Robert Mealy (3 pr; 6) 

Violoncello 

Katie Rietman 

(1-6 pr) 

Ezra Seltzer (1; 3) 

Paul Dwyer (3) 

Viola da Gamba 

Lisa Terry, pr 

Motomi Igarashi (6) 

Bass 

Motomi Igarashi (1-5) 

Flute 

Sandra Miller 

Recorder 

Priscilla Smith pr (2; 4) 

Tricia Van Oers 

Oboe 

Gonzalo Ruiz, pr (1; 2) 

Kristin Olson 

Marc Schachman 

Bassoon 

Andrew Schwartz 

Trumpet 

Nathan Botts 

Horn 

R J Kelley, pr 

Sara Cyrus 

Harpsichord/Organ 

Avi Stein (5 solo) 

Julian Wachner 

Numerals indicate Concerto numbers pr = principal rip = ripieno 

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As it Fell on a Holie Eve: Early English Christmas Music 

Thursday, December 27, 7:30pm 


Parthenia 

Prelude and Voluntary......................................................................................................................William Byrd (1543-1623) 

Remember, O Thou Man...................................................................................................Thomas Ravenscroft (c. 1582-1635) 

From Virgin’s Womb this Day did Spring ...........................................................................................................William Byrd 

From Pavans, Galliards, Almains and other short Aeirs (1599)........................................ Anthony Holborne (c. 1550-1602) 

As it fell on a Holie Eve 

The Cradle 

The Night Watch 

From Gradualia seu cantionum sacrarum (1607).............................................................................................William Byrd 

O magnum misterium 

Vidimus stellam 

Puer natus est 

Gentil Madonna ......................................................................................................... Dublin Virginal Manuscript (c. 1600) 

Sweet was the Song the Virgin Sung ..................................................................................................... Anonymous (c. 1600) 

Fantasia a 4 ........................................................................................................................................................William Byrd 

Out of the Orient Crystal Skies............................................................................................................................William Byrd 

Fantasia a 4 ....................................................................................................................... Giovanni Coprario (c. 1570-1626) 

Fantasia a 3..........................................................................................................................................................William Byrd 

Lully, lulla .............................................................................................................................Shearmen & Tailors carol (1591) 

Gigge ...................................................................................................................................................John Bull (c. 1562-1628) 

Fantasia “La sampogna” ............................................................................................................ Thomas Morley (1557-1602) 

Fantasia a 4 .................................................................................................. Alfonso Ferrabosco the younger (c. 1575-1628) 

Divisions on Greensleeves .................................................................................................... Anonymous (mid 17th century) 

The Old Year Now Away is Fled ............................................................................................. Traditional Waits’ carol (1642) 

Rosamund Morley, Treble Viol 

Lawrence Lipnik, Tenor Viol 

Beverly Au, Bass Viol 

Lisa Terry, Bass Viol 

with Julianne Baird, Soprano 

About Parthenia 

The viol quartet Parthenia brings early music into the present with its repertoire 

that animates ancient and fresh-commissioned contemporary works 

with a ravishing sound and a remarkable sense of ensemble. These “local 

early-music stars,” hailed by The New Yorker and music critics throughout the 

world, are “one of the brightest lights in New York’s early-music scene.” 

Parthenia is presented in concerts across America, and produces its own series in New 

York City, collaborating regularly with the world’s foremost early music specialists. 

The quartet has been featured in prestigious festivals and series as wide-ranging as 

Music Before 1800, the Harriman-Jewell Series, Maverick Concerts, the Regensburg Tage 

Alter Musik, the Shalin Lui Performing Arts Center, the Pierpont Morgan Library, the 

Metropolitan Museum of Art, the Yale Center for British Art, Columbia University’s Miller 

Theatre, and the Cathedral of St. John the Divine. 

Parthenia’s performances range from its popular touring program, When Music & Sweet 

Poetry Agree, a celebration of Elizabethan poetry and music with actor Paul Hecht, to the 

complete viol fantasies of Henry Purcell, as well as the complete instrumental works of 

Robert Parsons, and commissions and premieres of new works annually. 

Parthenia has recorded Les Amours de Mai with soprano Julianne Baird and violinist 

Robert Mealy, A Reliquary for William Blake, Within the Labyrinth, and was featured on 

jazz trumpeter Randy Sandke’s CD, Trumpet After Dark. The ensemble’s most recent 

release is As if Fell on a Holie Eve - Music for an Elizabethan Christmas, with soprano 

Julianne Baird. 

More information about Parthenia’s activities can be found at parthenia.org. 

For biographical information on the individual musicians and Julianne Baird, 

please see the “Festival Artists” section of the program book. 

Parthenia is represented by GEMS Live! Artist Management and records for MSR Classics. 

This concert is produced in cooperation with Gotham Early Music Scene (GEMS). 

GEMS is a non-profit corporation whose mission is to promote and enrich public 

understanding and appreciation of early music—the music of the Medieval, Renaissance, 

Baroque, and early Classical eras. Focused on New York City’s early music community, 

GEMS provides critical support services to an increasing number of the City’s early music 

organizations. These services include a website, presentation of showcase concerts, 

cooperative mailing list services, a presenter database, ticketing and box office functions, 

CD production, grant-writing assistance, marketing, and publicity. Allan Kozinn of 

The New York Times wrote that GEMS “will bring cohesiveness and vitality to the city’s 

patchwork of early-music groups.” Please visit GEMS online atgemsny.org 

About the Instruments 

The viol, or viola da gamba, is a family of stringed instruments celebrated in European 

music from the Renaissance to the Enlightenment. Today on both sides of the 

Atlantic, soloists as well as viol groups—known as “consorts”—have rediscovered 

the lost repertoire and ethereal beauty of this early instrument. The viol was first 

known as the “bowed guitar” (vihuela da arco), a joint descendent of the medieval 

fiddle and the 15th-century Spanish guitar. Unlike its cousin, the arm-supported 

violin (viola da braccio), the viol is held upright on the leg (gamba) or between the 

legs; its bow is gripped underhand; and its body is made of bent or molded wood. 

These characteristics lend a distinctive lightness and resonance to viol sound that 

have inspired a wave of new works by 21st-century composers and a growing 

enthusiasm on the part of international audiences. 

Texts and translations are available on the program insert. 

This program will be performed without intermission 

6 7 

William Wegman

Program Note: As it Fell on a Holie Eve: Early English Christmas Music 

Queen Elizabeth I of England spent much 

of her reign juggling to retain her own 

power and independence, and to maintain 

peace and prosperity in her realm. 

Realizing that marriage to anyone at all would make 

England subject either to a foreign power or to a domestic 

faction, she skillfully warded off all suits, whether they 

were tendered as peace offerings or as passionate proposals 

(which in some cases happened at once). She also had to 

balance the antipathies between Catholics and Protestants 

in England: as the daughter of Henry VIII she was herself 

a Protestant and recoiled at the idea of recognizing papal 

authority, but she also knew from experience that the 

persecution of Catholics could lead to bloody insurgency. 

Fortunately for us, in the field of music a truce seemed 

to hold which allowed the preservation of a treasure trove 

of musical riches. One of Elizabeth’s most respected and 

beloved “Gentlemen of the Chapel Royal,” William Byrd, 

was known to be a devout Catholic, but he composed 

motets and liturgical music for both Protestant and 

“Papish” rites, with texts in either English or Latin. 

It seems that Elizabeth liked to hear the English service in 

Latin herself! Byrd was born in 1543, perhaps near Lincoln 

Cathedral where his first adult employment was as organist 

and Master of the Choristers. His post required that he 

teach the choirboys not just singing but also how to play 

the viola da gamba, so a consort of viols like ours, joined by 

a voice, inevitably steers us towards his music. In 1570 Byrd 

came to Elizabeth’s court and over the next decades, despite 

his Catholicism, he apparently maintained close relations 

with many of the most powerful English lords. In 1575, in 

partnership with his former teacher, Thomas Tallis, who 

was a Protestant, Byrd secured a monopoly for the publishing 

of music. Their first venture was a set of Latin motets 

dedicated to the Queen, but over the course of many years, 

their biggest financial successes were Byrd’s Psalmes, Sonets 

and Songs of 1588 and his “Songs of Sundrie Natures” of 

1589, in which were published the joyful “carowles” for the 

Christmas season on our program. 

Although Byrd’s influence inevitably extended over all 

the other composers represented here, much less is known 

of their personal lives. Thomas Ravenscroft was a chorister 

at St. Paul’s Cathedral – and perhaps he played the viol 

too – at a time when the “St. Paul’s company of child 

actors” was famous in London. It was for boys who were 

educated in the choir schools that songs for a solo voice 

and consort of viols were first written. In adult life 

Ravenscroft turned to collecting and editing popular 

songs. “Remember, O thou man” comes from his 1611 

compilation Melismata: Musicall 

Phansies fitting the Court, Citie 

and Countrey Humours.Anthony 

Holborne, described by the lutenist 

and composer John Dowland as a 

“Gentleman Usher to the Queen,” 

published about seventy 5-part Pavans, 

Galliards, Almains in one collection in 

1599 – virtually the only music of his 

that survives – from which we have 

culled three dances and arranged them 

for 4 viols. 

The accession of James I in 1603 

united England and Scotland after 

decades of struggle between the two 

realms and two religions. Perhaps this 

event brought a certain hope for an 

end to this mistrust since James’ son, Henry, was a much 

loved Prince, said to have been popular even among 

Elizabethan courtiers who were otherwise not inclined 

to support the Stuarts. When Henry was made Prince of 

Wales in 1610, he set up his own court and continued the 

tradition of strong patronage of music, aspiring to an establishment 

as glorious as the Medicis. Alfonso Ferrabosco 

the younger, who was Henry’s music teacher, was one of 

the composer-performers at the center of this court where 

Prince and courtiers were entertained by concerts in the 

privy chamber, glorious masques in the Banqueting Hall 

at Whitehall and anthems in his chapel. Henry’s sudden 

death in 1612 made his younger brother Charles heir to 

the throne, and Charles set up a musical court of his own. 

Playford tells us that Charles loved the instrumental music 

of his viol teacher, John Coprario, and that in this music 

the Prince “could play his part exactly well on the bassviol.” 

From among the extensive surviving work of these 

composers we have chosen just two fantaisies which well 

represent the most common kind of abstract instrumental 

music from the time. 

A student of Byrd’s, Thomas Morley, was Gentleman 

of the Chapel Royal from 1592. He was a prolific composer 

of secular vocal and instrumental music and like Byrd, 

turned out both Latin and English church music as well. 

The little duet with its Italian title La sampogna (the bagpipe), 

reminds us of the Elizabethan passion for all things 

Italian – a taste that has hardly waned over the centuries. 

As a madrigalist, Morley was England’s chief exponent of 

the Italian style. We thought that since bagpipes are associated 

with shepherds, the piece would be appropriate for 

Christmas! Keyboardist and organ builder Dr. John Bull, 

Queen Elizabeth I and William Byrd 

although officially also a “Gentleman” and accorded great 

respect by his contemporaries as a musician, seems to have 

been something of a rogue – good fodder, perhaps now, 

for a novel. He was forced to flee England in 1613 to escape 

prosecution for adultery, and sought asylum and employment 

in Brussels claiming to be a Catholic refugee. The 

Archbishop of Canturbury wrote of him, “The man hath 

more music than honesty and is as famous for marring of 

virginity as he is for fingering of organs and virginals.” 

Tobias Hume, an eccentric mercenary soldier, wrote 

that he always took his viol with him on his military 

campaigns. Hume composed in a style unique to the viol 

in which the bowing of chords is central to the sound. 

In this style, known as playing “lyra vial” way, the player 

must read a special tablature which indicates on a kind 

of fingerboard “map” where the fingers should be placed 

rather than what notes should be sounded. Such music 

is peppered with bowed chords which can accompany a 

melody on viol or voice as successfully as a lute. “Harke, 

harke” is an evocative solo lyra-viol piece in which Hume 

asks the player at the end to “strike the strings with the 

back of the bow” – the earliest known use of “col legno” 

style – and to play using pizzicato, or plucking, called by 

Hume a “thump.” 

Finally, into this, as into so many Christmas programs, 

the ever-popular song “Greensleeves” finds its way. On a 

broadside sheet of the early 17th century, a text beginning 

“The olde year now away is fled” is indicated “to be sung 

to the tune of Greensleeves.” We wind down the program 

with a set of “divisions,” or variations, written by an 

anonymous Jacobean viol player on the same tune. 

– Rosamund Morley and Lucy Cross 


Our Lady II 

Friday, December 28, 7:30pm 


Fantasia (Fitzwilliam Virginal Book).............................................................................................William Byrd (1539-1623) 

Mr. Kennerley 

Laude Novella ................................................................................................................................ James Kennerley (b. 1984) 

(World Premiere) 

Mr. Angel, Ms. Roberts, Ms. Wenstrom, Mr. Miller, Mr. Seltzer and Mr. Kennerley 

Mystery Sonata no. 1, The Annunciation..........................................................Heinrich Ignaz Franz von Biber (1644-1704) 

Ms. Roberts, Mr. Seltzer, and Mr. Kennerley 

Generosa........................................................................................................................................... Julian Wachner (b. 1969) 



Chaconne .........................................................................................................................Johann Sebastian Bach (1685-1750) 

Ms. St. John 

Intermission 

Regina Coeli ...........................................................................................................................................Leopold 1(1640-1705) 


Galiarda Passamezzo .......................................................................................................................Peter Philips (1560 -1628) 

Mr. Kennerley 

Now Fatal Change.............................................................................................................................. Tarik O’Regan (b. 1978) 


Mr. Angel, Ms. St. John 

Sonata sopra la Monica ..................................................................................................................Biagio Marini (1594-1663) 

Mr. Angel, Ms. Roberts, Ms. Wenstrom, Mr. Seltzer, and Mr. Kennerley 

Sopra la Bergamasca .................................................................................................................. Marco Uccellini (1603-1680) 


Stabat Mater ......................................................................................................................................G. F. Sances (1600-1679) 


Ryland Angel, Countertenor 

Lara St. John, Violin 

Cynthia Roberts, Baroque Violin 

Beth Wenstrom, Baroque Violin 

Kyle Miller, Baroque Viola 

Ezra Seltzer, Baroque Cello 

James Kennerley, Organ 


Ms. St. John performs on the 1779 “Salabue” Guadagnini thanks to an anonymous donor 

and Heinl & Co. of Toronto. 

8 9

Program Note: Our Lady II 

Tonight’s program features selections from a 

larger performance project called Our Lady, 

a collection of ten pieces commissioned by 

countertenor Ryland Angel to illuminate the 

timeless figure of the Virgin Mary and her many faces. 

Nine works have been written for solo countertenor with 

the same instrumentation and at the same pitch as the 

Vivaldi Stabat Mater: Baroque string quartet and continuo 

at A=415 and one series of duets for Countertenor and solo 

Modern violin. This evening’s program features three 

original works from the collection – by Tarik O’Regan, 

Julian Wachner and James Kennerley – along with other pieces 

that add further nuance and depth to this portrait of Mary. 

The Fitzwilliam Virginal Book includes music dating from 

approximately 1562 to 1612. The manuscript was given no 

title by its copyist, and the ownership of the manuscript before 

the 18th-century is unclear. At the time the Fitzwilliam 

Virginal Book was compiled most collections of keyboard 

music were collected and assembled by performers. As with 

many keyboard manuscripts of the time, the pieces were not 

written for any specific instrument, and many of the pieces 

in the book are short, character pieces. The selections by 

Byrd and Phillips in this program are an exception. Byrd’s 

Fantasia is characteristic of what might have been written 

for viol consort as well as keyboard, and Phillips’ dance 

movements are just that. 

Heinrich Biber was born in northern Bohemia, the 

son of a gamekeeper and was baptized on the 12th of 

August, 1644. Other details of his early life are not recorded 

until the late 1660s, when he entered the service of Karl 

Liechtenstein-Kastelkorn, Prince-Bishop of Olomouc in 

Moravia. Liechtenstein-Kastelkorn maintained an important 

musical ensemble in his castle at Kromeríz in central 

Moravia, so Biber received much of his musical training 

there. Biber left Kromeríz in the autumn of 1670 to enter 

the service of Maximilian Gandolph, Archbishop of 

Salzburg, where he remained for the rest of his life. He was 

appointed Vice-Kapellmeister in 1679 and Kapellmeister in 

1684. In later life he was well known at both the Bavarian 

court in Munich and the Imperial court in Vienna. 

In December of 1690 he was awarded a title of nobility 

by the Emperor, which added the ‘von’ to his full name: 

Heinrich Ignaz Franz Biber von Bibern. 

Biber’s Mystery or Rosary Sonatas survive in a single 

manuscript at the Bavarian State Library in Munich. 

Each sonata is preceded by an appropriate engraving cut 

from a devotional book which are pasted into the score. 

The manuscript lacks a title-page, which explains the 

confusion over the title of the collection. The sonatas have 

come to be called ‘Mystery’ because he closed his dedication 

with the words: “I have consecrated the whole to the 

honour of the XV Sacred Mysteries which you promote 

so strongly.” 

The chaconne appeared first in 16th-century Spain as a 

New World import. It was originally a quick dance-song 

characterized by suggestive movements and mocking 

lyrics, but by the early eighteenth century the chaconne had 

evolved into a slow, triple-meter instrumental form. 

J. S. Bach’s Partita in D minor for solo violin was written 

sometime between 1717 and 1723. Professor Helga Thoene 

suggests this partita, and especially the chaconne used as 

its last movement, was a tombeau, or funerary memorial, 

written in memory of Bach’s first wife, Maria Barbara 

Bach, who died in 1720. This Marian theme prompts its 

inclusion in this program. 

Emperor Leopold I (1640 -1705) ruled Austria from 1658 to 

his death. Because he was originally supposed to follow a career 

in the church as a younger son he received a thoroughly 

humanistic education. This was instrumental in establishing 

his love for music. As a consequence he became both a 

good musician and composer with excellent instruction. He 

composed his Regina coeli (siehe auch Joseph I.) in May 1655, 

leaving the task of writing the accompanying voices to Antonio 

Bertali. This was common not only for the Emperor but 

for other contemporary composers. His love of music lasted 

to the end of his days: he ordered his court chapel to perform 

his favorite works in the adjacent room to his death chamber. 

The Sonata sopra la Monica was written by Biagio 

Marini (c. 1597 – 1665), a Baroque violinist and composer 

who lived and worked in northern Italy. Born in Brescia 

in c. 1597, Marini served as violinist under Monteverdi 

at St Mark’s in Venice from 1615 to 1618. He also worked 

as a court musician in Parma from 1621 to 1623 and as a 

Choirmaster for S. Maria della Scala in Milan during 1649. 

Monica was a tune popular in Italy, Germany, France, the 

Low Countries and England from the 16th through 18th 

centuries. The title stems from the text that was associated 

with the melody in Italy, Madre non mi far monaca. It relates 

the story of a young girl forced to become a nun, a theme 

of much Italian folk literature from the Middle Ages to 

the Renaissance. 

Marco Uccellini was born sometime between 1603 and 

1610 at Forlimpopoli, Forlì in Italy and studied in the 

Assisi Seminary. He served as Capo degl’ instrumentisti for 

the Este court in Modena from 1641 to 1662 and Maestro 

di Cappella for the Modena Cathedral from 1647 to 1665. 

Afterwards he served as Maestro di Cappella at the Farnese 

court in Parma until his death. At the Farnese court he 

The Virgin Mary with the infant Christ, 

by Leonardo da Vinci (1452-1519) 

composed operas and ballets, none of which survive. 

As a result he is mainly known today only for his instrumental 

music. Uccellini was one of a line of distinguished Italian 

violinist-composers who flourished during the first half of 

the 17th century. His sonatas for violin and continuo 

contributed to the development of an idiomatic style of 

writing for the violin, including virtuosic runs, leaps, and 

high positions on the fingerboard, expanding both 

technical capabilities and expressive range of the violin. 

Similar to most other 17th-century Italian sonatas, 

Uccellini’s proceed in short contrasting sections which 

flow one into another. His innovations, particularly 

scordatura, or alternative string tuning, influenced a later 

generation of Austro-German violinist-composers 

including Johann Heinrich Schmelzer, Heinrich Ignaz 

Biber, and Johann Jakob Walther. 

Although born in Rome, Giovanni Felice Sances 

(1600-1679) spent most of his life at the court of Austrian 

Emperor Ferdinand III in Vienna. His compositions 

incorporate a great deal of tone painting to express 

religious symbolism that reinforces its ritual purpose. 

One example is the intentional use of the sharp accidental 

(#) each time that the Cross, symbol of Christ’s Passion, 

is mentioned. Sances’ Stabat Mater, subtitled Pianto della 

Madonna, Mottetti a cove sola, is divided into six sections. 

Its descending musical motifs are a musical expression of 

lamentation which is frequently found in works meant for 

use in the Holy Week. – Lee Lattimore 

Soprano 

Elizabeth Baber* 

Sarah Brailey 

Mellissa Hughes 

Alto 

Matthew Hensrud 

Marguerite Krull 

Geoffrey Williams* 

*denotes soloist 


A Holiday Concert for Children of All Ages 

Saturday, December 29, 3pm 


Sinfonia New York with the Choir of Trinity Wall Street 

Christine Gummere, Artistic Director 

Andrew Megill, Guest Conductor 

Steven Hauck, Actor 

Once in Royal David’s City, traditional English carol.................................................arranged by David Willcocks (b. 1919) 

Star in the East ..................................................................................................................early American shape-note hymn 

Away in a Manger .......................................................................................................................traditional Normandy carol 

“Zion Hört Die Wächter Singen”.....................................................................................Johann Sebastian Bach (1685-1750) 

from Cantata bwv 140 

Concerto for oboe d’amore: Siciliano/Allegro ................................................................................ G.P. Telemann (1681-1767) 

Veni Redemptor .................................................................................................................................Andrew Smith (b. 1970) 

Mervele Noght, Joseph...................................................................................................................Richard Smert (1400-1479) 

Ding Dong Bells.............................................................................................................arranged by Andrew Megill (b. 1965) 

T’was the Night Before Christmas .............................................................................................. Clement Moore (1779-1863) 

Es Ist Ein Ros Entsprungen ..................................... Michael Praetorius (1571-1621), arranged by Hugo Distler (1908-1943) 

Silent Night (please join us in singing!)............................................................................................... Franz Xaver Gruber (1787-1863) 

Marcia for the Ark for three trumpets ...............................................................................................C.P.E. Bach (1714-1788) 

“Nun Seid Ihr Wohl Gerochen,” ......................................................................................................... Johann Sebastian Bach 

from the Weihnachts-Oratorium bwv 248 

Tenor 

Thomas McCargar 

Stephen Sands 

Geoffrey Silver* 

Bass 

Dashon Burton* 

Christopher Herbert 

Steven Hrycelek 

Violin 

Marika Holmqvist, 

concertmaster 

Dongmyung Ahn 

Viola 

Alissa Smith 

Cello 

Christine Gummere 

Bass Violone 

David Chapman 

Oboe 

Priscilla Smith,* 

Principal 

Kristin Olson 

This concert is produced in cooperation with Gotham Early Music Scene (GEMS). 

Trumpet 

John Thiessen,* 

Principal 

Nathan Botts 

Patrick Dougherty 

Timpani 

James Baker 

10 11

Sopranos 

Jolle Greenleaf 

Molly Quinn 


Madrigals of Love and War 

Saturday, December 29, 7:30pm 


TENET 

Jolle Greenleaf, Artistic Director 

Scott Metcalfe, Guest Music Director 

Madrigali guerrieri, et amorosi con alcuni opuscoli in genere 

rappresentativo, che faranno per brevi Episodij frà i canti senza gesto. 

LIBRO OTTAVO DI CLAUDIO MONTEVERDI 

IN VENETIA, appresso Alessandro Vincenti. M D C XXXVIII 

Canti guerrieri................................................................................................................... Claudio Monteverdi (1567-1643) 

Hor che ’l ciel e la terra e ’l vento tace 

Canti amorosi 

Altri canti di Marte e di sua schiera 

Ardo e scoprir, ahi lasso, io non ardisco 

Ms. Greenleaf and Ms. Quinn 

Ninfa che scalza il piede 

Mr. McStoots, Mr. Sheehan, and Mr. Bouvier 

Sonata “in stil moderno” ....................................................................................................... Dario Castello (c. 1590-c. 1658) 

(Venice, 1629) 

Sonata Terza à 2. Soprani 

Sonate concertate in stil moderno…libro secondo 

Canti amorosi....................................................................................................................................... Claudio Monteverdi 

O sia tranquillo il mare o pien d’orgoglio 

Mr. McStoots, Mr. Sheehan 

Non avea Febo / Lamento della ninfa 

Ms. Greenleaf, Mr. Sheehan, Mr. Thompson, and Mr. Bouvier 

Dolcissimo uscignolo 

Canti guerrieri 

Ballo, Movete al mio bel suon 

Poeta 

Mr. Thompson 

Tenors 

Jason Mcstoots 

Aaron Sheehan 

Sumner Thompson 

Bass 

Mischa Bouvier 

Violins 

Scott Metcalfe 

Robert Mealy 


Theorbos/Lutes 

Hank Heijink 

Daniel Swenberg 

Charles Weaver 

Harpsichord 

Avi Stein 

La via naturale all’immitatione (Monteverdi and the imitation of life) 

Claudio Monteverdi published 

seven volumes of madrigals 

between 1587 and 1619. 

All seven saw multiple 

reprints before Monteverdi would send 

his eighth and last volume of madrigals 

to the printer in the late 1630s. Entitled 

Madrigali guerrieri, et amorosi – warlike 

and amorous madrigals – the collection 

is a great grab-bag of genres, styles, affects 

and effects organized into halves labelled 

Canti guerrieri and Canti amorosi. Each 

half opens with a large-scale concerted 

madrigal followed by a setting of a text by 

Petrarch, and concludes with a Ballo. 

Towards the end of the half is a masterpiece 

of the genere rappresentativo, in 

which an individual singer represents a 

character. 

Monteverdi prefaced the Madrigali 

guerrieri, et amorosi with an extensive 

discourse on his conception of expressive 

music: 

I have reflected that the principal passions or 

affections of our mind are three, namely Anger, 

Moderation, and Humility or supplication; so the 

best philosophers declare, and the very nature of 

our voice indicates this in having high, low, and 

middle registers. The art of music also points 

clearly to these three in its terms “agitated,” “soft” 

and “moderate.” In all the works of past composers 

I have indeed found examples of the soft and 

the moderate, but never of the agitated, a genus 

nevertheless described by Plato in the third book 

of his Rhetoric [actually Republic] in these words: 

“Take that harmony that would fittingly imitate the 

utterances and the accents of a brave man who is 

engaged in warfare.” And since I was aware that it is 

contraries which greatly move our mind, and that 

this is the purpose which all good music should 

have…, for this reason I have applied myself with 

no small diligence and toil to rediscover this genus. 

He discovers that repeated sixteenth 

notes played on instruments, “combined 

with words expressing anger and disdain,” 

created “a resemblance to the passion 

which I sought, although the words did 

not follow metrically the rapidity of the 

instrument.” 

To obtain a better proof, I took the divine Tasso, as 

a poet who expresses with the greatest propriety 

and naturalness the qualities which he wishes to 

describe, and selected his description of the combat 

of Tancredi and Clorinda as an opportunity of 

describing in music two contrary passions: war, 

that is, prayer and death. In the year 1624 I caused 

this composition to be performed…and it was 

received by the best citizens of Venice with much 

applause and praise. 

After the apparent success of my first attempt to 

depict anger, I proceeded with greater zeal to make 

a fuller investigation, and composed other works 

in that kind…. 

My rediscovery of this warlike genus has given me 

occasion to write certain madrigals which I have 

called Guerrieri… 

Numerous scholars have grappled 

with the meanings of Monteverdi’s 

theoretical statements, which were never 

given definitive form in a long-promised 

book to be called either Seconda pratica, 

ovvero Perfezioni della moderna musica or 

Melodia, ovvero Seconda pratica musicale. 

Those interested in pursuing the subject 

might turn to studies by Claude Palisca, 

Gary Tomlinson, or Massimo Ossi. Here I 

will simply make a few observations about 

Monteverdi’s efforts to create music that 

would express, and provoke in the listener, 

every human passion. 

The exploration of how music could 

“move our mind…, the purpose which 

all good music should have,” occupied 

Monteverdi his whole life, in practice and 

in theory. In the foreword to the Fifth 

Book of madrigals and in the preface to 

the Scherzi musicali of 1607, the composer 

and his brother Giulio Cesare famously 

argued that the demands of expressive text 

setting should supersede strict rules for 

counterpoint; this new method of composing 

was to be called the Seconda pratica 

or second practice. Monteverdi strove at 

every opportunity to realise his expressive 

goals with more and more refined and 

specific techniques. 

I found out in practice that when I was about to 

compose the lament of Ariadne, finding no book 

that could show me the natural way of imitation, 

not even one that would explain how I ought to 

become an imitator (other than Plato, in one of his 

shafts of wisdom, but so hidden that I could hardly 

discern from afar with my feeble sight what little he 

showed me)—I found out (let me tell you) what 

hard work I had to do what little I did do in the way 

of imitation… 

Letter of October 22, 1633, 

to Giovanni Battista Doni 

The idea of imitation recurs constantly 

in the history of western art, but begs 

the question, Imitation of what? The late 

16th-century polemicists of the Florentine 

Camerata aspired to imitate the music of 

the Greeks, but they knew of no surviving 

examples; asserting, then, that the 

best thing music could do was to imitate 

speech, they developed the recitative 

style, a sort of heightened declamation 

in music, whose melodies and rhythms 

were supposed to be those of dramatic or 

rhetorical speech. Sometimes Monteverdi 

seems to mean this sort of imitation, but 

more often he intends an imitation of the 

emotional content of speech. This is why 

he is reluctant to accept a commission to 

write the music for the “maritime fable” 

Le nozze di Tetide, whose characters 

include winds: 

How, dear Sir, can I imitate the speech of the 

winds, if they do not speak? And how can I, by 

such means, move the passions? Ariadne moved us 

because she was a woman, and similarly Orpheus 

because he was a man, not a wind. Music can 

suggest, without any words, the noise of winds and 

the bleating of sheep, the neighing of horses and so 

on and so forth; but it cannot imitate the speech of 

winds because no such thing exists. 

Letter of December 9, 1616, to Alessandro Striggio 

It is not simply the sound of speech 

that is to be imitated: a singer portraying a 

wind could, obviously, be given a melody 

to sing a text to. The real problem here, I 

think, is that there is no emotional content 

in the speech of a wind, because a wind 

cannot feel emotion. 

As the preface to Book VIII puts it, 

the genere concitato or “warlike genus” 

developed for Tasso’s Combattimento di 

Tancredi et Clorinda is meant to bear a 

“resemblance to agitated speech.” It is not 

meant to portray warfare itself; rather, it 

provides musical enhancement to the pantomime 

battle being fought by the singer/ 

actors playing Tancredi and Clorinda, and 

accompanies the highly agitated narration 

being delivered by the tenor singing Testo. 

But Monteverdi also claims that it creates 

“a resemblance to the passion which 

I sought” (my emphasis): it “depict[s] 

anger,” and this is quite a different thing 

from imitating speech: this is the imitation 

of emotion or the representation of a 

mental state. On more than one occasion, 

Monteverdi grappled with how to imitate 

one mental state or another, including 

comic, feigned madness (in La finta pazza 

12 13


A Russian Christmas 

Sunday, December 30, 4pm 


Clarion Music Society 

Steven Fox, Artistic Director and Conductor 

Baroque period paintings on the themes of love and war, by Peter Paul Rubens. Left, Peace and War, 1629-1630. Right, Venus and Adonis, ca. 1614 

Licori, a libretto he may never have set to 

music). 

…the imitation of this feigned madness must take 

into consideration only the present, not the past or 

the future, and consequently must emphasize the 

word, not the sense of the phrase. So when [Licoris] 

speaks of war she will have to imitate war; when of 

peace, peace; when of death, death, and so forth. 

And since the transformations take place in the 

shortest possible time, and the imitations as well – 

then whoever has to play this leading role, which 

moves us to laughter and to compassion, must be a 

woman capable of leaving aside all other imitation 

except the immediate one, which the word she 

utters will suggest to her. 

Letter of May 7, 1627, to Alessandro Striggio 

So madness means that the speaker 

or singer loses her sense of syntax and 

careens from word to word with no awareness 

of context. We also learn here that 

the imitation of a passion depends on the 

performer as well as the composer. 

Monteverdi sometimes gives specific 

directions for this final step in the rhetorical 

process, the pronuntiatio or delivery. 

The damsel of the Lamento della ninfa, for 

example, is required to sing “a tempo dell’ 

affetto dell’ animo e non a quello della 

mano”: according to the tempo of the 

affect of the soul and not that of the hand 

beating a steady measure. 

Whatever the thing imitated, whatever 

the means, the purpose is clear: to move 

the listener. This is also the test applied to 

any text to be set to music, and is the reason 

he rejects the libretto of the “maritime 

fable” mentioned above: “I do not feel that 

it moves me at all…, nor do I feel that it 

carries me in a natural manner to an end 

that moves me” (letter of December 9, 

1616). In the attempt to move the affections 

any and all methods may, indeed, ought 

to be employed. There is no imperative to 

unity or consistency in this practice; quite 

the opposite. One of the most effective 

weapons a composer has is variety, for “it is 

contraries which greatly move our mind,” 

as the preface to Book VIII says. Contrast 

animates a piece of music, draws the listener 

in, creates drama, stimulates emotion, and 

reflects “the vivifying ambivalence and 

complexity of real human issues” (in Gary 

Tomlinson’s phrase). 

Listen, for example, to the way 

Monteverdi’s music expresses the vivifying 

contrasts of imagery, mood, emotion, in 

Petrarch’s sonnet Hor che ’l ciel e la terra e 

’l vento tace. The first two lines are utterly 

still harmonically, as the entire ensemble 

declaims the text in unanimous rhythm. 

Only at the mention of Night, driving her 

starry car about the heavens, is a second 

harmony introduced; homorhythm, closely 

modelled on the rhythms of speech, 

persists through the entire quatrain. 

A lesser composer might have left it there, 

an effective depiction of silence and stillness, 

but Monteverdi further compels the 

listener’s attention at the word “mar,” sea, 

with a simple yet most arresting gesture: 

one middle voice holds its note into the 

rest observed by all the other parts, and 

it is this voice that adds a suspension, the 

slightest hint of motion, to the cadence at 

“senz’ onda giace” (lies without a wave). 

With these details the music begins to 

create an emotional response as well as 

represent a physical image. 

Immediately the mood changes: 

“Veglio, veglio, penso, ardo” (I wake, I wake, 

I think, I burn) the ensemble cries, rising 

in pitch while dropping harmonically, 

then dissolving into a plangent dissonance 

at “piango” (I weep). At this point two 

tenors emerge from the ensemble, a pair of 

soloists who for a moment represent the 

single voice of the speaker. Homorhythm 

returns to wind up the section, with the 

most biting discords deployed on the word 

“dolce,” sweet. 

Next a solo bass introduces the image 

of war and with war come the repeated 

notes of the genere concitato, martial 

dotted rhythms, fanfares and rapid scales 

in the violins. As in the Combattimento, 

all this G-Major agitation has little to do 

with actual warfare; what it does is to 

excite the listener, making the utterly 

contrasting material that follows that 

much more moving. And all the contrasts, 

which continue in the second half of 

the madrigal, embody and convey the 

contrasts of Petrarch’s poem, the speaker’s 

desperate sorrow and suffering, his sweet 

pain, as he is nourished and poisoned 

by the sweet and bitter waters of a single 

fountain, dying and being reborn a 

thousand times each day. 

We have arranged our selections into a 

new structure loosely derived from that of 

one of the halves of Book VIII, framing 

six Canti amorosi with two guerrieri, featuring 

a madrigal in genere rappresentativo 

towards the end, and concluding with a 

Ballo. In the middle we offer an instrumental 

work by a colleague of Monteverdi’s at San 

Marco, the wind virtuoso Dario Castello. 

– Scott Metcalfe 

Soprano 

Lianne Coble 

Anna Dennis* 

Mellissa Hughes † 

Nacole Palmer † 

Sherezade Panthaki* 

Jessica Petrus 

Богородице Дево (To the Holy Mother of God) 

Bogoroditse Dyevo .......................................................................................................... Slavic Byzantine chant 

Bogoroditse Dyevo ................................................................................................... Igor Stravinsky (1882-1971) 

Bogoroditse Dyevo .................................................................................................................Arvo Pärt (b. 1935) 

Vyelichaniye ....................................................................................................................................Kievan chant 

Hymn to the Mother of God ......................................................................................Sir John Tavener (b. 1944) 

Дева днесь (Today Is Born to Us a Savior) 

Pastriye vifleyemstii ........................................................................................ Alexander Kastalsky (1856-1926) 

When The lord Jesus Was Born .................................................................................................. Znameny chant 

Legenda .................................................................................................... Piotr Iliich Tchaikovsky (1840-1893) 

Spaseniye Sodelal ................................................................................................. Pavel Chesnokov (1877-1944) 

Deva Dnes’.........................................................................................................Dmitri Bortniansky (1751-1825) 

Тебе Поем (To Thee We Sing) 

Svete Tixii .......................................................................................................................................Kievan chant 

Svete Tixii from All Night Vigil ..................................................................... Sergei Rachmaninoff (1873-1943) 

Oliver Mercer, Tenor 

Budi Imya Gospodnye ............................................................................................... Anonymous 17th century 

Tebye Poyem from Liturgy of St. John Chrysostum .......................................................... Sergei Rachmaninoff 

Sherezade Panthaki, Soprano 

Tebye, Boga Hvalim (Te Deum) ....................................................................... Dmitri Bortniansky (1751-1825) 

Alto 

Melissa Attebury † 

Robert Isaacs 

Tim Parsons 

Kirsten Sollek 

Virginia Warnken † 

* denotes plainchant soloist 

† 

denotes shepherds of Bethlehem 

Tenor 

Andrew Fuchs 

Timothy Hodges 

Drew Martin 

Oliver Mercer* 

Geoffrey Silver 

Bass 

Scott Dispensa* 

Chris Herbert † 

Glenn Miller* † 

Neil Netherly 

Jonathan Woody † 


14 15

Program Note: A Russian Christmas 

TThe rich musical tradition of 

the Russian Orthodox Church 

has humbled some of the 

greatest composers in Western 

musical history, many of whom stripped 

their language of certain defining characteristics 

in order to accommodate the 

Orthodox liturgy’s demand for clarity of 

text and musical restraint. In the Western 

church, floridity and complexity became 

a source of inspiration that could reflect 

God’s greatness and his gifts to mankind. 

In the Eastern church, the music has always 

had to accompany, support and respect the 

text. The great Russian composers learned 

to write for this hallowed tradition, and 

it should be no surprise that the geniuses of 

Stravinsky, Tchaikovsky, and Rachmaninoff, 

among others, were able to excel at it, and, 

by their own admission, grow from this 

challenge as composers. 

This Russian Christmas program 

explores prayers to the Mother of God, 

liturgical works specific to the Incarnation 

and birth of Christ, and lastly, hymns of 

praise commonly sung during the Feast of 

Christmastide. The music stretches from 

the earliest known forms of plainchant 

used in the Orthodox Church through to 

contemporary settings of liturgical prayers. 

The ancient Byzantine chants are 

believed to have emerged at the dawn of 

Christianity and to have made their way 

into the Russian liturgy in the Medieval 

period. Byzantine melodies are often sung 

with an ‘ison’ or pedal tone. Znameny 

chants are the oldest Medieval Slavic 

chants, which were notated with neumes 

(signs indicating the movement in pitch) 

and without staves. Kievan chants are a 

later version of Znameny chants, which 

were staved and sung in the Church of 

Kievan Russ in the 16th and 17th centuries. 

All three of these types of chants were 

co-existing in the early 17th century, when 

Polish and Ukrainian singers began 

visiting Moscow and St. Petersburg and 

introducing the Western style of polyphony 

(multiple, rhythmically independent 

voices). It is thought this initial contact 

with Western influences, as well as the 

parallel development of indigenous 

Russian part singing in Moscow from the 

time of Ivan III, resulted in the first 

Russian polyphony, which was a variant 

of the aforementioned types of plainchant. 

Troistrochnoie was a style with two parts 

harmonizing the chant melody, one voice 

below and one above. 

In the following century, rulers such as 

Peter the Great and Catherine the Great fully 

embraced not only Western Enlightenment 

ideals, but also a Western aesthetic. Tsar Peter 

the Great constructed St. Petersburg as the 

new capital, converting a swamp into a 

grand and decadent Baroque Western city, 

Russia’s ‘Window on the West.’ Embracing 

the vision and ideals of Peter, Catherine 

developed St. Petersburg into one of 

Europe’s cultural capitals, attracting some 

of the continent’s finest architects, artists 

and composers. In her Winter Palace, now 

known as the Hermitage Musuem, she 

began one of the greatest collections of art 

in the world. Among the great composers 

Catherine brought to the Russian Imperial 

Court were Galuppi, Cimarosa and Paisiello, 

and their duties included not only composing 

and conducting for the court, but also 

training the first crop of native Russian composers. 

At the top of the class was Dmitri 

Bortniansky (1751-1825), an opera singer and 

versatile composer (Clarion performs parts 

of his opera Le fils rival next season). Bortniansky 

was the first native composer of 

the Russian Empire to be named Imperial 

Kappellmeister, and after taking this position 

he focused his attention on building and 

training the Chapel Choir to the highest 

performance standards. His setting of the 

Russian Te Deum is a Choral Concerto – 

a mutiple-movement a cappella form that 

Bortniansky brought to prominence in 

Russia. Bortniansky wrote over forty Choral 

Concertos, most of which were published 

posthumously and earned the admiration 

of figures such as Berlioz, who praised their 

‘great freedom’ and richness of sound. 

While Bortniansky’s style is high 

Classical, his longevity brought him well 

into the 19th-century, and his late sacred 

works became the link to the great 

Romantic composers. Tchaikovsky was the 

first of the great Romantics to compose 

prolifically for the church. His settings 

of the All Night Vigil, and Liturgy of St. 

St. Basil's Cathedral in Moscow 

John Chrysostom are critical in this regard, 

setting the example for later composers. 

Today we hear his setting of a poem by 

19th-century poet Aleksei Pleshcheyev. 

It is therefore one of two pieces on today’s 

program in modern Russian. The second 

is Alexander Kastalsky’s carol Shepherds 

of Jerusalem. Kastalsky (1856-1926) was 

a wonderful turn-of-the-century choral 

composer who was a strong influence in 

this genre for Chesnokov (1877-1944) and 

Rachmaninoff (1873-1943). If any work on 

today’s program tests the limit of musical 

complexity for the Orthodox Church, 

it would be Rachmaninoff’s Svete Tixii, 

in which the composer in his rich vocal 

orchestration utilizes the full extent of 

the singers’ range and adds a harmonic 

complexity not found earlier in sacred 

works. However, Rachmaninoff is true 

to the tradition in all other ways, having 

kept the Kievan chant melody primary 

throughout the movement, and having 

preserved its irregular rhythm at all points. 

It is not only Russians who have made 

significant contributions to the Orthodox 

tradition. The great Estonian composer 

Arvo Pärt (b. 1935) grew up in Sovietruled 

Estonia, where Russian culture was 

omnipresent. The Bogoroditse Dyevo is one 

of several simple and beautiful Slavonic 

settings he composed in the 1990s. 

English composer Sir John Tavener (b. 1944) 

converted to the Russian Orthodox 

Church in 1977. He was apparently drawn 

in by the mysticism of the faith, a mysticism 

captured so elegantly in so many of 

his choral works. His love for the Russian 

Orthodox liturgy and aesthetic has made 

an indelible mark on his own choral writing, 

and his Slavonic settings have become 

an important part of the living Russian 

Orthodox musical tradition. 

© 2012 Steven Fox 

Stan Sheb (wiki commons) 


Pipes at One – New Year’s Eve Program 

Monday, December 31, 1pm 


John Thiessen, Baroque Trumpet 

Renée Anne Louprette, Organ 

Sonata detta del Nero ...............................................................................................Girolamo Fantini (ca. 1600; fl. 1630-38) 

Toccata prima del 5º tono............................................................................................................ Claudio Merulo (1533-1604) 

A Due No. 11 in G minor ......................................................................................................... H. J. F. von Biber (1644-1704) 

A Due No. 5 in C Major ............................................................................................................................... H. J. F. von Biber 

Cappricio Sopra ré, fa, mi, sol........................................................................................Giovanni de Macque (ca. 1548-1614) 

Sonata in D .................................................................................................................................... Henry Purcell (1659-1695) 

I. Allegro 

II. Grave 

III. Presto 

Tiento de Medio Registro de Tiple de Cuarto Tono.................................................................. Correa de Arauxo (1584-1654) 

Sonata in D ............................................................................................................................... Arcangelo Corelli (1653-1713) 

I. Grave 

II. Allegro 

III. Grave 

IV. Allegro 

V. Allegro 

From manuscripts (1599).......................................................................................................... Suzanne van Soldt (1555-1615) 

Pavana Bassano 

Almande trycottee 

Almande Brun Smeedelyn 

Suites de Symphonies: Première Suite ..................................................................................Jean-Joseph Mouret (1682-1738) 

I. Vite 

II. Gracieusement sans lenteur 

III. Guay 

Air for French Horns and Flutes ..................................................................................................... John Reading (1685-1764) 

Suite of Ayres for the Theatre .................................................................................................Jeremiah Clarke (ca. 1674-1707) 

I. Round-O: The Prince of Denmark’s March 

II. Slow Air 

III. The Serenade and Minuett 

IV. Rondo 

V. Trumpet Tune 

VI. Gigue 

Note on Baroque Trumpet: The trumpet music on this program dates from the 17th and 18th centuries before the invention of valves. 

The original instrument has a fixed length which determines its pitch. The baroque trumpet is not fully chromatic, and is restricted to notes 

in the harmonic series. 

– John Thiessen 

16 17


Juilliard Historical Performance 

Wednesday, January 2, & Friday, January 4, 3pm 


Robert Mealy, Director 

Monica Huggett, Artistic Advisor and Artist in Residence 

Benjamin Sosland, Administrative Director 

Programs will be announced from the stage. 

Established in 2009, Juilliard Historical Performance was immediately 

recognized as one of the leading programs of its kind. The full tuition 

scholarship program is open to master of music degree and graduate 

diploma candidates and offers comprehensive study focusing on music from 

the 17th and 18th centuries. The performance-oriented curriculum fosters an informed, 

vital understanding of the many issues unique to period instrument performance with 

the level of technical excellence and musical integrity for which Juilliard is renowned. 

Students have the opportunity to work with a world-renowned resident and guest faculty 

in the classroom and the concert hall. Juilliard415, the school’s primary period-instrument 

orchestra maintains a rigorous and intensive performance schedule. Among the highlights 

of recent seasons are performances of music by Rameau and Lully with William Christie; 

a fully-staged production of Monteverdi’s L’Incoronazione di Poppea led by Harry Bicket; 

Haydn’s Creation, with the Yale Schola Cantorum, conducted by Masaaki Suzuki; and a 

selection of early Haydn symphonies under the baton of Christopher Hogwood. In April 

2011, the ensemble was engaged to accompany David Daniels and Dorothea Röschmann 

in a concert of Handel arias and duets at Carnegie Hall, a concert that The New York Times 

described as “radiantly beautiful” and cited as one of the best concerts of the year. 

The ensemble recently traveled to Spain for a sold-out performance of the complete 

“Brandenburg” Concertos at the Auditorio Nacional in Madrid and performed Bach’s 

St. Matthew Passion on tour in Italy in a joint concert project with Yale University’s Institute 

of Sacred Music under the baton Masaaki Suzuki. In the 2011-12 season, the group toured 

Japan and Singapore with performances of Bach’s B minor Mass. 


The Green Mountain Project 

Wednesday, January 2, 

& Thursday, January 3, 7:30pm 

St. Mary the Virgin in Times Square 

(New York, NY) 

Saturday, January 5, 7:30pm 

St. Paul’s Church on Harvard Square 

(Cambridge, MA) 

The Green Mountain Project (honoring the literal translation of Monteverdi’s 

name) returns with Claudio Monteverdi’s grand Vespers of 1610, the work that 

launched this beloved annual event. The antiphons, responses, motets, hymn 

and canticle that Monteverdi shaped into the Vespers of 1610 represent the 

pinnacle of 17th century sacred music, and over 30 musicians will perform this masterpiece 

in an ideal space, the glorious Church of St. Mary the Virgin. Because of the overwhelming 

audience demand to hear this work, there will be three performances: two in New York 

City, and one in Cambridge, MA. 

St. Mark’s Basilica in Venice 

Andreas Tille (wiki commons) 

Wednesday, January 2, 1pm 


Weihnachts–Oratorium/Christmas Oratorio bwv248 

I. Jauchzet, frohlocket, auf, preiset die Tage 

(Cantata for Christmas Day) 

Coro: Jauchzet, frohlocket, auf preiset die Tage 

Evangelista: Es begab sich aber zu der Zeit 

Recitative: Nun wird mein liebster Bräutigam. (Ms. Brackett) 

Aria: Bereite dich, Zion, mit zärtlichen Trieben (Ms. Brackett) 

Choral: Wie soll ich dich empfangen? 

Envagelista: Und sie gebar ihren ersten Sohn. 

Choral, Recitativo: Er ist auf Erden kommen arm (Mr. Burton) 

Aria: Großer Herr, o starker König (Mr. Burton) 

Choral: Ach mein herzliebes Jesulein. 

II. Und es waren Hirten in derselben Gegend 

(Cantata for the 2nd Day of Christmas) 

Sinfonia 

Evangelista: Und es waren Hirten in derselben 

Choral: Brich an, o schönes Morgenlicht 

Evangelista, An Angel: Und der engel sprach zu ihnen (Ms. Panthaki) 

Recitative: Was Gott dem Abraham verheißen (Mr. Woody) 

Aria: Frohe Hirten, eilt, ach eilet (Mr. Wilson) 

Evangelista: Und das habt zum Zeichen 

Choral: Schaut hin, dort liegt im finstern Stall 

Recitative: So geht denn hin, ihr Hirten, geht (Mr. Woody) 

Aria: Schlafe, mein Liebster, genieße der Ruh (Ms. Attebury) 

Evangelista: Und alsobald war da bei dem Engel die 

Chorus: Ehre sei Gott in der Höhe 

Recitative: So recht, ihr Engel, jauchzt und singet 

(Mr. Woody) 

Chorale: Wir singen dir in deinem Heer 

Thursday, January 3, 1pm 

III. Herrscher des Himmels, erhöre das Lallen 

(Cantata for the 3rd Day of Christmas) 

Coro: Herrscher des Himmels, erhöre das Lallen 

Evangelista: Und da die Engel von ihnen 

Chorus: Lasset uns nun gehen gen Bethlehem 

Recitative: Er hat sein Volk getröst (Mr. McCargar) 

Choral: Dies hat er alles uns getan 

Aria Duetto: Herr, dein Mitleid, dein Erbarmen (Ms. Cluver, Mr. McCargar) 

Evangelista: Und sie kamen eilend und funden beide 

Aria: Schließe, mein Herze, dies selige Wunder (Ms. Attebury) 

Recitative: Ja, ja, mein Herz soll es bewahren (Ms. Attebury) 

Choral: Ich will dich mit Fleiß bewahren 

Evangelista: Und die Hirten kehrten wieder um 

Choral: Seid froh dieweil 

St Paul's Chapel 

Johann Sebastian Bach (1685-1750) 

Julian Wachner, Conductor Dann Coakwell, Evangelist 

The Choir of Trinity Wall Street and the Trinity Baroque Orchestra 

IV. Fallt mit Danken, fallt mit Loben 

(Cantata for New Year’s Day/Feast of the Circumcision) 

Chorus: Fallt mit Danken, fallt mit Loben 

Evangelista: Und da acht Tage um waren 

Recitative con Chorale: Immanuel, o süßes Wort (Mr. Burton) 

Aria: Flößt, mein Heiland, flößt dein Namen (Ms. Cluver, Ms. Quinn) 

Recitative con Chorale: Wohlan! dein Name soll allein 

Jesu, meine Freud’ und Wonne (Mr. Burton) 

Aria: Ich will nur dir zu Ehren leben (Mr. Coakwell) 

Chorale: Jesus richte mein Beginnen. 

Friday, January 4, 1pm 

V. Ehre sei dir, Gott, gesungen (Cantata the Sunday after New Year) 

Coro: Ehre sei dir, Gott, gesungen 

Evangelista: Ehre sei dir, Gott, gesungen 

Chor + Recitativo: Wo ist der neugeborne König der Jüden? (Ms. Brackett) 

Choral: Dein Glanz all’ Finsternis verzehrt 

Aria: Erleucht’ auch meine finstre Sinnen (Mr. Burton) 

Evangelista: Da das der König Herodes hörte 

Recitative: Warum wollt ihr erschrecken (Ms. Attebury) 

Evangelista: Und ließ versammeln alle Hohenpriester 

Trio: Ach! wann wird die Zeit erscheinen? (Ms. Panthaki, Ms. Attebury, Mr. Wilson) 

Recitative: Mein Liebster herrschet schon (Ms. Attebury) 

Choral: Zwar ist solche Herzensstube 

VI. Herr, wenn die stolzen Feinde schnauben 

(Cantata for the Feast of Epiphany) 

Chorus: Herr, wenn die stolzen Feinde schnauben 

Evangelista: Da berief Herodes die Weisen heimlich 

Recitative: Du Falscher, suchet nur den Herrn zu fallen (Ms. Brailey) 

Aria: Nur ein Wink von seinen Händen (Ms. Brailey) 

Evangelista: Als sie nun den König gehöret hatten. 

Choral: Ich steh an deiner Krippen hier 

Evangelista: Und Gott befahl ihnen im Traum’ 

Recitative: So geht! Genug, mein Schatz geht nicht von hier (Mr. Coakwell) 

Aria : Nun mögt ihr stolzen Feinde schrecken (Mr. Coakwell) 

Recitative: Was will der Höllen Schrecken nun 

(Mr. Wilson, Mr. Burton, Ms. Brailey, Ms. Brackett) 

Choral: Nun seid ihr wohl gerochen 


18 19

The Choir of Trinity Wall Street 

Soprano 

Sarah Brailey 

Martha Cluver 

Mellissa Hughes 

Linda Jones 

Melissa Kelley 

Sherezade Panthaki 

Molly Quinn (Parts III and IV) 

Alto 

Melissa Attebury 

Luthien Brackett 

Eric Brenner 

Matthew Hensrud 

Marguerite Krull 


Violin 1 

Robert Mealy, Concertmaster 

Owen Dalby 

Claire Jolivet 

Theresa Salomon 

Violin 2 

Cynthia Roberts, Principal 

Daniel Lee 

Johanna Novom 

Viola 

Jessica Troy, Principal 

Daniel Elyar 

Alissa Smith 

Violoncello 

Katie Rietman, Principal Concert 1 

Ezra Seltzer, Principal Concerts 2 & 3 

Paul Dwyer 

Jacques Wood 

Tenor 

Dann Coakwell 

Eric Dudley 

Timothy Hodges 

Geoffrey Silver 

Steven Caldicott Wilson 

Bass 

Adam Alexander 

Dashon Burton 

Kelvin Chan 

Christopher Herbert 

Steven Hrycelak 

Thomas McCargar* 

Jonathan Woody 

*Trinity Choir Contractor 

Bass 

Anne Trout 

Flute 

Sandra Miller, Principal 

Anne Briggs 

Oboe, oboe d’amore 

Gonzalo Ruiz, Principal 

Priscilla Smith 

Oboe da caccia 

Marc Schachman 

Julie Brye 

Bassoon 

Andrew Schwartz 

Trumpet 

John Thiessen, Principal* 

Nathan Botts 

Kristine Kwapis 

The GRAMMY®-nominated Choir of Trinity 

Wall Street is the premier ensemble of the music 

and arts program at Trinity Wall Street. Under the 

direction of Julian Wachner, the Choir leads the 

liturgical music at Trinity Church during Sunday 

services, performs in concerts throughout the year 

– highlighted by their renowned presentations 

of Handel’s Messiah which annually tops critics’ 

picks – and has made world-class recordings for 

NAXOS (Haydn: The Complete Masses, Handel’s 

Messiah, and Christmas from Trinity) and Musica 

Omnia (J.S. Bach: Complete Motets, released in 

September of 2011). It is both a beloved church 

choir, singing favorite Anglican hymns and 

historic sacred music, and one of New York City’s 

most acclaimed professional vocal ensembles. 

In March of 2011, Trinity began Bach at One, a 

weekly cantata series at Trinity’s own St. Paul’s 

Chapel. Bach at One has quickly become a favorite 

destination each Monday in the Financial District 

for New Yorkers and visitors alike. Particularly wellversed 

in major compositions of the Baroque and 

Classical periods, the Choir’s repertoire also includes 

Baltic choral music as well as works by Britten, 

Brahms, Howells, Pärt, and other contemporary 

composers, including dozens of recent premieres 

of New Music in their weekly Compline services 

each Sunday evening. The New York Times has 

praised the Choir as possessing “voices so pure 

they suggest a seraphic chorus beyond the human 

sphere.” 

Horn 

R.J. Kelley, Principal 

Alexandra Cook 

Timpani 

James Baker 

Organ 

Avi Stein 

Harpsichord 

Jordan de Souza 

* Trinity Baroque Orchestra contractor 

The GRAMMY®-nominated Trinity Baroque 

Orchestra made its debut for Trinity Wall 

Street’s 2009 performances of Messiah, and has 

since performed and recorded exclusively with 

the Choir of Trinity Wall Street in masterworks 

of Bach, Handel, and Schütz, including Handel’s 

Israel in Egypt, Bach’s Passions, and a wealth of 

Bach Cantatas presented weekly in historic St. 

Paul’s Chapel as the orchestra for Bach at One. 

The Trinity Baroque Orchestra has recorded 

with the Choir of Trinity Wall Street for Israel in 

Egypt (nominated for a GRAMMY® in 2013) and 

J.S. Bach: Complete Motets. With Julian Wachner 

as principal conductor, the group boasts a varied 

roster of North America’s finest period players. 

In addition to their liturgical and concert 

presentations at Trinity Church, the Choir has 

appeared at The Metropolitan Museum of Art, 

The Cloisters, and The Tribeca Film Festival, 

which invited the Choir to perform Arvo Pärt’s 

Passio in a mixed-media collaboration with Paolo 

Cherchi Usai’s film of the same name. In March 

2010, the Choir traveled to Moscow to perform 

Purcell’s Dido and Aeneas with the Mark Morris 

Dance Group. Recent successes include the 

Grammy®-nominated recording of Handel’s 

Israel in Egypt (Maestro Wachner’s Trinity concert 

debut), and several moving performances as part 

of Trinity’s shared observances of the 10th 

anniversary of the events of September 11, 2001; 

a week of events entitled “Remember to Love.” 

The Choir of Trinity Wall Street has collaborated 

with a number of guest conductors including 

Harry Bicket, Simon Carrington, Steven Fox, 

Jane Glover, Andrew Megill, Stefan Parkman, 

Andrew Parrott, and John Scott. Guest artists 

such as classical vocalists Angela Meade, Joyce 

DiDonato, Frederica Von Stade, Anthony Roth 

Costanzo, Luca Pisaroni, singer-songwriter 

Melanie DeMore, and violinist Gil Shaham have 

appeared with the Trinity Choir. 

Previous Directors of Music at Trinity include 

Dr. J. Owen Burdick (1990-2008), Dr. Larry King 

(1968-1989), and George Mead (1941-1968). 

Robert Mealy, described by The New Yorker as 

“New York’s world-class early music violinist,” 

serves as principal concertmaster. The band is 

rich with notable players such as Avi Stein, John 

Thiessen, Anne Trout, Cynthia Roberts, Gonzalo 

Ruiz, Washington McClain, Sandra Miller, Katie 

Reitman, Lisa Terry, and Jessica Troy, to name 

a few. Players in the Trinity Baroque Orchestra 

bring extensive experience gained with the finest 

orchestras (Baroque, Classical, and modern), 

chamber ensembles and festivals worldwide, 

including the Boston Camerata, Les Arts Florissants, 

Mark Morris Dance Group, Boston Early 

Music Festival, Tafelmusik, REBEL, Fortune’s 

Wheel, King’s Noyse, Quicksilver, Philharmonia 

Baroque, American Bach Soloists, Academy of 

Ancient Music, English Baroque Soloists, Handel 

and Haydn Society, Amsterdam Baroque, 

Taverner Players, Ensemble Caprice, the Metropolitan 

Opera, Piffaro, Green Mountain Project, 

Spiritus Collective, Concerto Palatino, Big Apple 

Baroque, Concert Royal, Los Angeles Baroque, 

Orpheus Chamber Orchestra, the Orchestra 

of St. Lukes, Clarion Music Society, Parthenia, 

the Lufthansa Festival, Oregon Bach Festival, 

Aspen Music Festival, Verbier Festival and many 

others. In addition, several of the players hold 

faculty and adjunct faculty positions at the most 

respected institutions, including Yale University, 

Harvard University, Indiana University, and 

The Juilliard School. 

J. S. Bach: Weihnachts-Oratorium/Christmas Oratorio bwv 248 

Bach’s Christmas Oratorio (Oratorium 

Temporem Nativitatus Christi), a cycle of 

cantatas unified by the Christmas story, and 

like the St. Matthew and St. John Passions, 

narrated by an Evangelist, was first performed over six 

days (the first three days of Christmas, New Year’s Day, 

Sunday after New Year and the Feast of the Epiphany) 

in 1734-1735. The performances were divided between 

Leipzig’s two main churches for whose music Bach was 

responsible, St. Thomas’s and St. Nicholas’s. Due to the 

rotation of performances between the two churches, only 

St. Nicholas’s actually heard the work in its entirety. The 

author of the text, though not positively identified, was 

in all likelihood Christian Friedrich Henrici (1700-64), 

a prominent official and man-of-letters in Leipzig, who 

adopted the nom-de-plume Picander. A well-known and 

widely published poet, Picander produced many of Bach’s 

libretti during the Leipzig period, both sacred and secular, 

including those for the Peasant and Coffee cantatas (bwv 

212 and 211) and the St. Matthew Passion (bwv 244). 

As is the case with many of Bach’s Leipzig church 

works (for example, the five Missae bwv 232-6), the music 

was not entirely new, but often adapted to its text from 

pre-existing compositions, a technique with a long and 

honourable tradition known as parody. Many of the most 

popular large religious pieces of the eighteenth century 

were compiled in this way, perhaps the best known 

examples being Handel’s Messiah and Bach’s Mass in 

B-minor. In the case of the Christmas Oratorio, the sources 

were three of Bach’s recently composed birthday cantatas 

for various members of Saxony’s royal family: Laßt uns 

sorgen, laßt uns wachen (1733, bwv 213), Tönet ihr Pauken 

(1733, bwv 214) and Preise dein Glück, gesegnetes Sachsen 

(1734, bwv 215). Given the performance date of bwv 215 

(October 5, 1734), it seems that the Christmas 

Oratorio was composed in the space of a few weeks 

towards the end of 1734. Given the close proximity of the 

performance dates of both works to each other, it is even 

more likely that Bach conceived the music with both 

secular and sacred texts in mind, in close collaboration 

with Picander. Since the Leipzig churches required no 

complex (“figured”) music during Advent, the resulting 

relatively free time may have provided Bach with a small 

window of opportunity to complete the oratorio in time 

for Christmas. 

The Christmas Oratorio, like the four Lutheran Masses 

(bwv 233-236) attracted some derogatory comments from 

nineteenth-century Bach scholars because of its recycled 

content, criticism which for some reason was never 

levelled at the B-minor Mass, although it was compiled in 

exactly the same way. Such reservations concerning Bach’s 

working methods reveal a conflict between Romantic 

ideals of creative originality and the eighteenth-century 

balance between practicality and craftsmanship in the 

service of art. Indeed, so skilful are Bach’s sacred adaptations 

of the secular works that the original dual function 

hypothesis seems entirely plausible. That it was not in 

Bach’s Lutheran nature to waste material is plainly evident 

from the surviving autograph score of the Christmas 

Oratorio where not one single line is left blank. Since the 

composer’s frugality extended to the use of music paper, a 

precious (and expensive) resource, it is scarcely surprising 

that complex, difficult and labour intensive music written 

for a one-time event such as a Royal birthday would not 

have been discarded either. 

During Bach’s lifetime there existed no such thing as a 

“complete” score of the Christmas Oratorio. Each of the 

six cantatas was housed in a separate cover, along with the 

relevant vocal and instrumental parts, a division of the 

material which was preserved by Bach’s son, Carl Philipp 

Emanuel, who inherited the score and parts for the 

Christmas Oratorio. It was not until the nineteenth 

century that Mendelssohn’s teacher, Carl Friedrich Zelter, 

director of the Berlin Singakademie (which at one time 

owned the score), separated the parts and had the remaining 

material bound into one volume. 

The first cantata begins with a splendid chorus (1) 

reworked from the opening movement of bwv 214. It opens 

with a timpani solo, betraying the imagery of its original 

text Tönet, ihr Pauken (Sound, Ye Drums!) Bach’s autograph 

score reveals the haste with which the project must have been 

completed, for, in the first line of text Bach mistakenly copied 

the words of the original cantata, Tönet ihr Pauken, only to 

cross them out and replace them with Jauchzet, frohlocket!, 

the opening of Picander’s new Christmas libretto. Perhaps 

this is further evidence that Bach was working with both 

texts simultaneously. The grand opening chorus is opulently 

scored, as befits a hymn of praise for the King of Heaven. This 

musical richness, as well as the use of symbolic instrumentation 

(trumpets, for example to depict heavenly majesty; 

oboes and flutes to evoke a pastoral atmosphere) is generally 

characteristic of the Christmas Oratorio, whose performance 

requires three trumpets and timpani, two horns, 2 flutes, up 

to four oboes of various sizes, bassoon, strings and continuo, 

in addition to four-part chorus and vocal soloists. 

In his first recitative (2) the Evangelist takes up the story 

of Joseph and Mary’s journey to Bethlehem in preparation 

for Jesus’ birth. The opening cantata’s two arias, the first for 

alto, with strings and oboe d’amore, Bereite dich, Zion, (4) 

featuring wedding imagery, and the second for bass with 

trumpet obbligato, Großer Herr, O starker König (8) are 

separated by a four-part setting (5) of the familiar “passion” 

chorale tune Herzlich tut mich verlangen, and by one of the 

most ethereal movements in the entire work (7), a bass recitative 

combined with the chorale tune Gelobet seist du Jesu 

Christ (once again, parodied, with a newly written text describing 

how Christ’s appearing on earth in direst poverty 

makes us rich in heaven). The concluding chorale melody, 

Vom Himmel hoch da komm ich her (9), (once again, to a 

new text “Ach mein herzliebes Jesulein”) is accorded the 

“royal” treatment, with interludes for three trumpets and 

timpani contrasting with the more earth-bound strophes 

of the chorale proper, the regal imagery providing fitting 

conclusion to the first cantata. 

Part two opens with the only exclusively instrumental 

movement of the entire work, an extended sinfonia cast in 

the form of a nativity pastorale (10) to serenade the infant 

Jesus. A similar movement appears in Handel’s oratorio 

Messiah, although Bach’s piece far exceeds that of his 

colleague in length, richness of scoring and musical complexity. 

The striking instrumentation of Bach’s pastorale 

includes a full complement of exotic oboes: two oboi 

20 21

d’amore, and two oboi da caccia, as well as flutes, strings 

and continuo. The regal aura of part one is replaced in the 

second cantata by a gentle pastoral atmosphere, underlined 

by the shift in tonality from D Major (in the first part) 

down a fifth into the more mellow key of G. 

The Evangelist then describes the shepherds abiding 

in the fields and the appearance of the angel unto them. 

The arias include a lightly scored, joyfully virtuosic piece 

for tenor and flute (15), exhorting the shepherds to haste 

to Bethlehem, and a beautiful slumber song, Schlafe, mein 

Liebster (19) for alto, accompanied by the wind and string 

orchestra of the opening sinfonia. Then appears the heavenly 

host, giving praise in a sprightly chorus, Ehre sei Gott 

(21). The second cantata, like the first, ends with a chorale 

based on the tune Vom Himmel hoch (23), again with a 

new text, this time a very different hymn of praise, with 

instrumental interludes echoing the pastoral melodies of 

the opening sinfonia. 

The third cantata deals with the arrival of the shepherds 

in Bethlehem. As in the first part, the prevailing key is 

D major, and the opening movement (24), reworked from 

the final chorus of bwv 214, originally offered in homage 

to the queen-consort of Augustus III, is a plea to Heaven 

to accept humanity’s poor and unworthy homage. Each 

half of the binary-form piece opens with a brief orchestral 

prelude, followed by the three upper voice parts (performed 

here by the soloists, although this is not specifically 

demanded in the score), and the movement then becomes 

a straightforward homophonic chorus, its overall brevity 

betraying its original position as the closing movement of 

bwv 214. The Evangelist then continues his narrative (25) 

describing the shepherds’ reaction to the appearance of the 

Angel. Their urgent resolve to go to Bethlehem is depicted 

in the following chorus (26), Lasset uns nun gehen, a turba 

or crowd chorus, a type which is commonly found in the 

St. Matthew and St. John passions. 

The importance of the Lord’s compassion and understanding 

in freeing mankind is explored in the following 

chorale (28) as well as the subsequent duet for soprano and 

bass (29), accompanied by two oboi d’amore and continuo 

(here bassoon and organ). After the shepherds arrive to 

worship the newborn infant, they spread word of what they 

have seen. The following magnificent through-composed 

aria for alto with violin obbigato, Schließe, mein Herze (31) 

is Mary’s own private meditation on the events in which 

she has played a central role, an expression of her resolve 

to eternally lock the memory of the wondrous events in 

her own heart. The narrative continues with the shepherds 

returning from Bethlehem, praising God for the glorious 

events which they have witnessed. The work ends with a 

repeat of the opening chorus, Herrscher des Himmels (24), 

its brevity and straightforward, homophonic texture illustrating 

the simple, earthly worship of the shepherds, while 

the trumpets, once again, symbolize distant heavenly glory. 

The fourth cantata deals with the christening of Jesus. 

The opening chorus (36) Fallt mit Danken, fallt mit Loben 

(adapted from bwv 213, Laßt uns sorgen, laßt uns wachen) 

features a pair of horns, and otherwise fairly restrained 

scoring (oboes and strings). The fourth cantata, like part 

one, features a beautiful arioso with chorale (Bach’s own 

tune, this time) for bass with distant heavenly sopranos 

(38/40), and a virtuoso tenor aria (41) with two obbligato 

violins. These are preceded by an “echo” aria, Flößt, mein 

Heiland (39) for soprano and oboe, taken over from 

bwv 213, a birthday cantata for the eleven-year old son 

of the Elector of Saxony, which confronts the youth with 

the choice of Hercules, between pleasure and virtue. The 

echo aria represents a type of “trope” or insertion between 

the two bass/soprano ariosi (nos. 38 and 40) which are, 

in fact two halves of a larger movement, the resulting 

triptych representing a form unique in Bach’s music. This 

tripartite structure is yet another example of the concern 

for architecture and musical symbolism which places 

Bach’s creation of the Christmas Oratorio far beyond mere 

opportunistic recycling of existing material. The fourth 

cantata ends with an extended chorale-prelude (42), its 

principal tune an original creation by Bach. This movement 

reintroduces the flavour of the opening chorus with 

the regal sound of the horns, this time providing interludes 

between the strophes of the chorale, and appearing for the 

second and final time in the Christmas Oratorio. 

The fifth cantata, Ehre sei dir, Gott gesungen deals with 

the adoration of the Magi. The scoring of the opening 

chorus (43), which once again symbolically contrasts 

the earthly nature of humanity with the glory of heaven, 

features two oboi d’amore and strings. The low tessitura 

of the wind instruments, symbolising the earth, contrasts 

with a “halo” of celestial strings. Moreover, the piece is 

written in the “natural” string key of A major, allowing 

the violins to achieve considerable brilliance and warmth 

through the frequent use of open strings. The Evangelist 

then continues the narrative (44) with the story of the 

wise men from the East looking for the infant Jesus. Their 

inquiries, expressed in a chorus (45) are interrupted by the 

alto: as a true believer she implores them to search within 

for the Saviour. The following chorale (46) and bass aria 

deal with turning darkness into light through Christian 

faith. The aria, Erleucht’ auch meine finstre Sinnen (47) is 

the most intimately scored piece in the entire oratorio 

– requiring, in addition to the bass soloist, only two 

instruments: oboe d’amore and continuo organ, the score 

uniquely eschewing reinforcement of the bass-line by an 

extra string or wind instrument. 

King Herod finally appears in the narrative (48). Challenged 

by the alto for his fear of Jesus (49), and exhorted 

instead to rejoice, he demands to know the whereabouts of 

the child. There follows a unique Aria terzetto (51) for soprano, 

tenor and alto with violin obbligato with continuo. 

In this piece the plea of the soprano and tenor voices for 

the arrival of the Christ are answered by interjections from 

the alto: Be silent! he is already here. In the final recitative 

(52) and chorale (53), the faithful human heart is exalted as 

a home worthy of the Christ. 

The sixth cantata, for the feast of the Epiphany, describes 

the rage of the enemies of Christ and the futility of 

their efforts in the face of God’s purpose. In the extended 

opening chorus (54) Herr, wenn die stolzen Feinde schnauben 

(reworked, as is most of part six, from a lost church 

cantata, bwv 248a), Bach illustrates the raging of God’s enemies 

through the use of an insistent, repeated note figure 

in the string accompaniment, while regal trumpets depict 

the strength of the Lord. The Evangelist then continues 

with the story of the dastardly King Herod, who appears in 

person (55), unctuously instructing the wise men to find 

the infant and to bring him word so that he may worship 

him also. However, he is promptly reviled in the following 

soprano recitative (56) who exclaims: “You traitor, seeking 

to destroy the Lord!”. In the following aria (57), Bach illustrates 

the ease with which God can deflate his enemies, 

and overturn the vanities and pretensions of mankind. The 

narrative continues with the wise men following the star 

to Bethlehem (58), worshiping the infant and then, having 

been warned in a dream by God about Herod’s true intentions 

to do harm to the child (60), departing to their own 

country, thus ignoring Herod’s order to bring him word of 

the child’s whereabouts. Stressing the joyous side of Christmas, 

the libretto never touches on such disturbing events 

as the Massacre of the Innocents, ordered by Herod in an 

attempt to eliminate Jesus’ threat to his own power. 

The tenor then sings a recitative and final aria, (61 & 62) 

Nun mögt ihr stolzen Feinde schrecken, accompanied by two 

oboi d’amore and continuo, in which the text dismisses 

the false might of God’s enemies. Their trembling in fear 

before God’s power is described pictorially by the quaking, 

oscillating figure in the upper parts. A four-part imitative 

recitative/arioso (63), in which the terrors of hell are overcome, 

is followed by a splendid extended chorale prelude 

with trumpets and full orchestra (64). The tune, Hans-Leo 

Hassler’s Herzlich tut mich verlangen, best known as the 

“passion” chorale due to its repeated use in the St. Matthew 

Passion was already heard in a straightforward four-part 

setting in part one (5). Here, the melody with its Easter and 

Advent associations appears resplendent in an elaborate 

setting with brilliant instrumental episodes, extolling the 

glory of God. 

©Peter Watchorn 

Dan Tepfer has created a kaleidoscopic 

experience with his solo album Goldberg 

Variations / Variations, the jazz pianist 

approaching J.S. Bach’s masterpiece – one of 

the classical canon’s most totemic works – as an inspiring 

font for creativity. Interspersed with his affectionate 

interpretation of the complete “Goldbergs” are his own 

improvised variations on Bach’s variations. No Jacques 

Loussier-style swinging of the classics, Tepfer’s variations 

are marked by a ruminative joy, spiced with contemporary 

dissonances and a deep feel for the source as timeless 

music beyond category. Goldberg Variations / Variations 

was released on CD and digitally by Sunnyside Records in 

the U.S. in 2011. It was also released in Europe in 2011 

via Sunnyside/Naïve. 

Although the Goldberg Variations are beloved now as an 

entrancing, virtually sacred work of art, Johann Sebastian 

Bach published the score – consisting of an “aria” and 

a set of 30 variations – in 1741 as a keyboard study, with 

the piece later nicknamed for the harpsichordist who 

might have been its first performer. From Glenn Gould to 

Pierre Hantaï, the modern world’s greatest classical artists 

have performed and recorded the “Goldbergs.” Investing 

himself totally in music he has known since childhood, 

Dan Tepfer recorded his Goldberg Variations / Variations 

completely solo, even engineering the late-night sessions 

himself for total immersion in the process. The result is 

both utterly individual and genuinely moving. 

Goldberg Variations / Variations is the 29-year-old, 

New York-based Tepfer’s sixth album as leader or coleader, 

following three heading a trio, one of solo piano 

improvisations, and another featuring duets with veteran 

saxophone luminary Lee Konitz. Known for his rare 

improvisational gift and a complex yet melodic approach 

to music-making, the prize-winning pianist has been 

hailed as “a player of exceptional poise” by The New York 

Times, while Downbeat extolled his “ability to disappear 

into the music as he’s making it.” 

For those who deem Bach’s music untouchable, they 

should remember Stravinsky’s rejoinder to those who 

criticized his transformation of Baroque compositions in 

Pulcinella as disrespectful: “You ‘respect,’ but I love,” he 


Goldberg Variations / Variations 

Saturday, January 5, 1pm 


Dan Tepfer, piano 

2007 Cole Porter Fellow in Jazz of the American Pianists Association 

said. As for Tepfer, he says: “What I’m doing is definitely 

loving. But instead of recording the Goldberg Variations 

and then writing lengthy liner notes about how I feel 

about them, I’m expressing how I feel about them in 

music, with my improvisations on Bach’s variations. 

One challenge was switching gears – playing this classical 

music that’s a real test for me and for so many pianists, 

then the next minute really improvising and being free.” 

With Bach using the same chord progression throughout 

the Goldberg Variations, his musical process wasn’t as 

different from jazz as it might seem. “That is really what 

we do in jazz, particularly when playing standards,” Tepfer 

explains. “We take the chord progression of a tune, and it’s 

often as simple as Bach’s Aria, and we make variations on 

it. Lee Konitz has been playing the same tunes his whole 

life. One of the amazing things about him is you’ll play the 

same song with him on tour night after night – say, ‘All the 

Things You Are’ – and it will be really different every night. 

So if you recorded all of those and put them end to end, it 

might sound like what Bach had done with the ‘Goldbergs,’ 

taking one simple piece of material and weaving all these 

different emotional states into it. With my improvisations, 

it was a case of, how much more diversity can I get out of 

this chord progression? And what’s really important to me 

as an improviser is to have a voice. So I’m reacting to Bach 

with my own tone, my own vocabulary.” 

Tepfer recorded the album alone – producing the 

sessions himself in the middle of the night – in the 

Yamaha Artist Services Salon in Manhattan, playing one 

of Yamaha’s new CFX hand-built concert grand pianos. 

“I think if Glenn Gould were recording the ‘Goldbergs’ 

with our technology today, he would’ve wanted to do it 

just as I did,” Tepfer says. “He loved to work late at night, 

basically alone in the studio with just the engineers in the 

booth that he had to have. In the situation that I had, 

I could work alone all night long if I wanted. I wasn’t 

trying to impress anyone, there wasn’t any pressure. 

There was just me, the piano and me listening to myself. 

I could take my time figuring things out. It was ideal.” 

Goldberg Variations / Variations will elicit surprise in 

many listeners that what might seem like a crazy idea 

works so beautifully. It might even help prompt some to 

reconsider concepts of genre – that music doesn’t necessarily 

have to be classical or jazz, that sometimes it can be 

just music. Mostly, Tepfer hopes listeners are moved by the 

album, “because I think the Goldberg Variations are one 

of the most profoundly affecting masterpieces,” he says. 

“From this tiny piece of material, Bach was able to express 

this incredible range of feeling, from a visceral delight to 

the most introspective sadness. And the fact that all the 

variations flow together and make this complete whole is 

a way for Bach to convey how all these different emotions 

are part of life and that they belong together. The contrast 

is what makes a complete life, and a complete work of art.” 

For more information on Dan Tepfer, please contact Matt 

Merewitz at Fully Altered Media: matt@fullyaltered.com 

Today’s program is based on Dan Tepfer’s 2011 

recording on the Sunnyside label. 

Reprinted with permission of the artist 

22 23 

Vincent Soyez

Festival Artists 

Dongmyung Ahn, violin 

Sinfonia New York. Co-Founder of Guido’s Ear; 

Joshua Rifkin’s Bach Ensemble; Clarion Music 

Society; Concert Royal; Early Music New York; New 

York Collegium; Sebastian Chamber Players; Bach Vespers at Holy 

Trinity; Director, Queens College Baroque Ensemble 

Adam Alexander, bass 

The Choir of Trinity Wall Street; NYCO; Encores! at 

New York City Center; soloist with NY Philharmonic; 

Roundabout; Des Moines Metro Opera; Recordings: 

Allegro with the Rodgers and Hammerstein Foundation (Sony); 

Israel in Egypt, and the complete Bach Motets (Musica Omnia) 

Ryland Angel, countertenor 

Our Lady II: Grammy-nominated® artist with over 

40 recordings; English National Opera; Opéra National 

de Paris; Gran Teatre del Liceu; New York City Opera; 

Opera Theatre of St. Louis; Boston Baroque, Handel and Haydn; 

St. Paul Chamber Orchestra; Boston Early Music Festival; Spoleto 

Festival 

Melissa Attebury, mezzo-soprano 

The Choir of Trinity Wall Street; Clarion Music 

Society; Anchorage Opera; Dayton Opera; Opera 

Columbus; Metropolitan Opera Chorus; New York 

Philharmonic; Berkshire Choral Festival; Spire; Vox Vocal 

Ensemble; Conductor, Trinity Youth Chorus melissaattebury.com 

Beverly Au, bass viol 

Parthenia; Bach Vespers at Holy Trinity; NY’s 

Ensemble for Early Music; Carnegie Hall 

Neighborhood Concerts; The American Classical 

Orchestra; Broadway’s The Tempest (Patrick Stewart); TV and 

film: Looking For Richard (Al Pacino) parthenia.org 

Elizabeth Baber, soprano 

The Choir of Trinity Wall Street; Ex Umbris; 

Hesperus; Parthenia; Guido’s Ear; A Vivaldi Festival! 

with Voices of Ascension; Grammy-nominated® 

ensemble Pomerium; guest artist with New York Polyphony; 

vocal coach for the New York Continuo Collective 

Julianne Baird, soprano 

Parthenia; Cleveland Orchestra; Philadelphia 

Orchestra; The New York Philharmonic; over 125 

recordings on Decca; Deutsche Gramophone; Dorian; 

Newport Classics; Distinguished Professor of Music at Rutgers 

University rilearts.com 

Nathan Botts, trumpet 

Trinity Baroque Orchestra; Sinfonia New York; 

Messiah at Saint Thomas Church 5th Ave; American 

Classical Orchestra; American Bach Soloists; 

Tempesta di Mare; Tafelmusik; Paragon Ragtime Orchestra, 

The Declassified. Over 30 recordings on New World Records, 

Capitol, Musica Omnia, Chandos 

Mischa Bouvier, bass 

TENET; The Knights; Princeton Glee Club; Saint 

Thomas Choir of Men and Boys; American Bach 

Soloists; Catacoustic Consort; Mimesis Ensemble; 

Anonymous 4; Boston POPS; Boston Symphony Orchestra; 

Mark Morris Dance Group; Sting; Five Boroughs Music Festival; 

Bridge Records Sumeida’s Song 

Luthien Brackett, alto 

The Choir of Trinity Wall Street; TENET; Gotham 

Chamber Opera, Music in the Somerset Hills and 

Spoleto Festival U.S.A.; soloist with Israel Philharmonic 

Orchestra, Works and Process, Five Boroughs Festival and 

the 4 x 4 Festival of Baroque Music. Recordings: Naxos, Musica 

Omnia, MSR Classic,and Old Hall 

Sarah Brailey, soprano 


Society; Soloist with Boulder Bach Festival; Mark 

Morris Dance Company at Celebrate Brooklyn!; 

American Classical Orchestra; New York Virtuoso Singers; 

American Opera Projects; Bach Choir at Holy Trinity; Kielbasa 

Harmonika sarahbrailey.com 

Anne Briggs, flute 

Trinity Baroque Orchestra; Fulbright year abroad; 

20 yrs. regular extra at NY Philharmonic; recording 

Musical Offering on baroque flute; Bach B minor 

Mass flute solos in Carnegie; a lifetime of working with 

wonderful musicians. 

Julie Brye, oboe 

Trinity Baroque Orchestra; Tempesta di Mare; 

Rebel; Holy Trinity Bach Vespers; Tafelmusik; Opera 

Atelier; Arion; Amor Artis; Kansas City Symphony; 

KC Chamber Orchestra; National Philharmonic, Santiago, Chile 

(Eng. horn); recordings: SONY, Naxos, Newport, CBC, Chandos, 

Augsburg Fortress 

Dashon Burton, bass-baritone 

The Choir of Trinity Wall Street; First prize in 

Oratorio from the 49th International Vocal 

Competition in ‘s-Hertogenbosch, the Netherlands; 

First Place, 2012 Oratorio Society of New York Competition and 

the Bach Choir of Bethlehem's Competition for Young American 

Singers. Performances with Philharmonia Baroque; Charlotte 

Symphony; Le Concert Lorrain; Bach Choir of Bethlehem; Yale 

Schola Cantorum; Cantus; Saint Paul Chamber Orchestra; 

Minnesota Orchestra; Boston Pops; New Music New Haven. 

Founding member, Roomful of Teeth 

Martha Cluver, soprano 

The Choir of Trinity Wall Street; Deutsches 

Symphonie-Orchester Berlin; Janácek Philharmonic; 

Prague Modern; Remix Ensemble; Antioch; Clarion 

Music Society; Voices of Ascension; ACME; Alarm Will Sound; 

Axiom; Dogs of Desire; NEXUS; Roomful of Teeth; Signal; So 

Percussion; Zorn Vocal Quintet; Bachelor’s degree in Viola 

Performance, Eastman School of Music 

Dann Coakwell, tenor 

The Choir of Trinity Wall Street; Evangelist in J.S. 

Bach’s St. Matthew Passion; world premieres of Paul 

Crabtree’s The Ghost Train and David Evan Thomas’ 

First Apostle; Carnegie debut, Andrey in Prokofiev’s Dalyekie 

Morya (Distant Seas); featured soloist on the Grammy-nominated® 

album Conspirare: A Company of Voices (2009); Yale University 

School of Music; Yale Institute of Sacred Music danncoakwell.com 

Lianne Coble, soprano 

Clarion Music Society; Metropolitan Opera Chorus; 

Musica Sacra; Soloist with Apollo’s Fire; St. Thomas 

Fifth Avenue; Dallas Bach Society; Concert Royal; 

Carnegie Hall MidAmerica Productions; Grand Rapids 

Symphony; Buffalo Philharmonic; Syracuse Symphony 

Alexandra Cook, horn 

Trinity Baroque Orchestra; Vox Nova; Orchestra of 

St. Lukes; Orpheus Chamber Orchestra; New York 

City Opera; Brooklyn Philharmonic; American 

Composers Orchestra; Riverside Symphony; Northeastern 

Pennsylvania Philharmonic; New Haven Symphony; Orchestra 

of New England; Broadway: Gypsy, Secret Garden, The Who’s 

Tommy, King and I, Titanic and is currently a member of the 

Lion King Orchestra 

Sara Cyrus, horn 

Trinity Baroque Orchestra; Natural horn: 

Venice Baroque; American Classical Orchestra; 

Philharmonia Baroque; REBEL; Artek; Mercury; 

Texas Camerata. Modern horn: Philadelphia Orchestra; 

Minnesota Orchestra; Dallas Symphony; Orchestra of St. Luke’s; 

Great Performers at Lincoln Center; Broadway shows 

Owen Dalby, violin 

Trinity Baroque Orchestra; Frequent soloist and 

chamber musician at Lincoln Center; Carnegie Hall; 

2010 alumnus of Carnegie Hall’s “The Academy;” 

principal 2nd violin, Princeton Symphony Orchestra; Orchestra of 

St Luke’s; Metropolis Ensemble; co-founder of The Declassified 

thedeclassified.org 

Jordan de Souza, harpsichord 

Trinity Baroque Orchestra; Artistic Director and 

Principal Conductor, Ottawa Choral Society; 

Faculty, McGill University; Conductor, The Church 

of St. Andrew and St. Paul; Assistant Conductor, Canadian 

Opera Company 

Scott Dispensa, baritone 

Clarion Music Society; Metropolitan Opera chorus; 

founding member of New York Polyphony; Early Music 

New York; TENET; Vox; graduate of Westminster Choir 

College and The Juilliard School 

Eric Dudley, tenor 

The Choir of Trinity Wall Street; Roomful of Teeth; 

Ekmeles; Seraphic Fire; soloist with Trinity Baroque; 

American Symphony Orchestra; Bard Summerscape; 

guest conductor with Cincinnati and Princeton symphony 

orchestras; Arcko Symphonic Ensemble, Melbourne; International 

Contemporary Ensemble ericdudley.net 

Paul Dwyer, cello 

Trinity Baroque Orchestra; Chamber music with 

Menahem Pressler, David Halen; soloist with 

Springfield, Fort Collins, Oberlin and Michigan 

Symphony Orchestras; World Premieres at Carnegie Hall; 

Recordings: Solo Cello Premieres (Block M Records) 

Daniel Elyar, viola 

Trinity Baroque Orchestra; Green Mountain 

Project; Tafelmusik; the Utrecht Baroque Consort; 

Teatro Lirico; Concerto Palatino; the Boston Early 

Music Festival Orchestra; Ensemble REBEL; NYSEMA; Tempesta 

di Mare; Clarion Players and Choir (NYC); contractor and 

manager of the Philadelphia Bach Festival; Settlement Music 

School in Philadelphia (full-time faculty) 

Steven Fox, conductor 

Artistic Director, Clarion Music Society; Founder, 

Musica Antiqua St. Petersburg; Handel and Haydn 

Society; Juilliard415; Charleston Symphony 

Orchestra; La Fundación Excelentia in Madrid; served as Acting 

Director of Music at Trinity Wall Street (’09-10); Associate of the 

Royal Academy of Music; teaching credits include Dartmouth 

College, The Juilliard School, and Yale University 

clarionsociety.org 

Andrew Fuchs, tenor 

Clarion Music Society; DMA, Stony Brook University 

(2013); Tanglewood Music Center; SongFest; Boston 

Early Music Festival; Amherst Early Music Festival; 

Seagle Music Colony 

Jolle Greenleaf, soprano 

Artistic Director, TENET; Artistic Director, Green 

Mountain Project; Freelance singer for many 

performances throughout the US, most especially 

those featuring Renaissance and Baroque music. 

Christine Gummere, cello 

Artistic Director and co-founder, Sinfonia; Principal 

cellist for Concert Royal; Concordia; String Fever; 

principal cellist for Riverside Symphony 

Steven Hauck, actor 

Sinfonia New York; Steven Hauck Broadway: Irena’s 

Vow; TV/Film: Oldboy (2013, Spike Lee); Gossip Girl; 

30 Rock; Boardwalk Empire B.A. in Speech and 

Theater from Trinity University in San Antonio; Master of Fine 

Arts degree from the Professional Theater Training Program at 

the University of Delaware 

Hank Heijink, lute 

TENET; Lute, theorbo, guitar with Amsterdam 

Baroque Orchestra; European Union Baroque 

Orchestra; Mark Morris Dance Group; Orchestre 

d’Auvergne; recordings include TENET’s A Feast for the Senses; 

Green Mountain Project’s Vespers of 1610; performance degree 

from The Hague’s Royal Conservatory 

Matthew Hensrud, tenor 

The Choir of Trinity Wall Street; Clarion Ensemble; 

TENET; The St. Thomas Choir of Men and Boys. 

Recordings: A Dutch Christmas (Early Music New 

York); A Night at the Old Marketplace by Frank London; Michael 

Gordon’s Van Gogh Opera; an upcoming recording of Democracy 

by Barry Seroff; Israel in Egypt; the complete Bach Motets (Musica 

Omnia) matthewhensrud.net 

Christopher Herbert, baritone 

The Choir of Trinity Wall Street; New York 

Polyphony; solo performances with Boston Pops; 

Brooklyn Philharmonic; Opera Theatre Saint Louis; 

Lake George; Opera Vivente; Central City Opera 

christopherdylanherbert.com 

Timothy Hodges, tenor 


Soceity; soloist with Spoleto Festival Orchestra; 

Garden State Philharmonic; Princeton Glee 

Club; Carmel Bach Festival Chorale Fuma Sacra 

Marika Holmquist, violin 

Concertmaster, artistic co-director, Sinfonia 

New York; Artistic co-director and concertmaster 

of Cambridge Concentus (MA); concertmaster of 

Buxtehude Consort in Philadelphia; and co-concertmaster of 

Arcadia in Toronto 

Monica Huggett, violin 

Artist-in-Residence and Artistic Advisor, Julliard 

Historic Performance program; Artistic Director of 

the Portland (Oregon) Baroque Orchestra and the 

Irish Baroque Orchestra; co-founder, the Amsterdam Baroque 

Orchestra (with Ton Koopman); founder, Sonnerie (London); 

Academy of Ancient Music; English Concert; nominated for a 

Grammy award ®; Diapason d’Or for Ensemble Sonnerie’s J.S. 

Bach’s Orchestral Suites for a Young Prince 

Mellissa Hughes, soprano 

The Choir of Trinity Wall Street; Sinfonia New York; 

Clarion Music Society; Brooklyn Philharmonic; New 

York City Opera; the St. Lawrence String Quartet; 

JACK Quartet; Alarm Will Sound; Victoire; Newspeak 

Claire Jolivet, violin 

Trinity Baroque Orchestra; The Dodd String 

Quartet; Repast; Sinfonia New York “Art and Ecstasy 

of the Chaconne”; Concert Royal; concertmaster of 

Opera Lafayette (Washington, DC); Opera Fuoco, Paris, France; 

Recordings on Deutsche Harmonia Mundi, ASV-Gaudeamus, 

Naxos, Musica Omnia 

Linda Lee Jones, soprano 

The Choir of Trinity Wall Street; Musica Sacra; 

New York Choral Artists; Mostly Mozart Festival; 

Carmel Bach Festival; Western Wind Vocal Ensemble; 

soloist appearances include: Symphony Chorus of New Orleans; 

Louisiana Vocal Arts Chorale; Masterwork Chorus of NJ; Argento 

Chamber Ensemble; Bachelor of Music, Loyola University; Master 

of Music, Westminster Choir College of Rider University 

R.J. Kelley, horn 

Trinity Baroque Orchestra; Mostly Mozart Festival 

Orchestra; New York City Opera; Orchestra of St. 

Luke’s; The New York Philharmonic; toured with 

Branford Marsalis, Orpheus, Duke Ellington Orchestra; 

appearance on “Saturday Night Live” principal horn of 

Philharmonia Baroque Orchestra; over 50 recordings to his credit, 

his recent recording of Schoenberg’s reduction of Mahler’s Das 

Lied von der Erde was nominated for a Grammy Award® 

James Kennerley, composer and organ 

Our Lady II: Conductor, organist, singer, coach, and 

educator; Organist and Music Director at the Church 

of Saint Mary the Virgin, Times Square, since 2008; 

soloist at many of the most prestigious U.S. and U.K. concert halls; 

Harrow School, Cambridge University (where he was Organ 

Scholar at Jesus College), Saint Paul’s Cathedral, London 

Marguerite Krull, alto 

The Choir of Trinity Wall Street; Principle roles w/ 

Chicago Lyric Opera, New York City Opera, 

Washington Opera; Teatro Colon (Argentina); soloist 

with NY Philharmonic; National Symphony, Bach Choir of 

Bethlehem; Recordings: Grety’s Le Magnifique (Naxos), Martin y 

Soler’s La Capricciosa Corretta (Naïve), Elena Ruehr’s Averno 

(Avie) MargueriteKrull.com 

Kris Kwapis, trumpet 

Trinity Baroque Orchestra; Portland Baroque 

Orchestra; Boston Early Music Festival; Vancouver 

Early Music; professor at Indiana University; 

Recordings: Biber Missa Christi Resurgentis (Kleos); Israel in Egypt 

(Musica Omnia) 

Daniel S. Lee, violin 

Trinity Baroque Orchestra: Violin/violino piccolo; 

audience prize, 2012 EMA Baroque Performance 

Competition; finalist, 2011 York International Early 

Music Competition; leader, Sebastian Chamber Players; faculty, 

Connecticut College danielslee.com 

Lawrence Lipnik, tenor viol 

Parthenia; Anonymous 4; Waverly Consort; founding 

member of Parthenia and Lionheart (Billboard top 20 

John the Revelator); contributor to the Cambridge 

Companion to Shakespeare and Contemporary Dramatists 

parthenia.org 

Renée Anne Louprette, organ 

Organist and Associate Director of Music and the 

Arts at Trinity Wall Street; Pwwrevious Associate 

Director of Music at the Church of St. Ignatius Loyola 

(2005-11); appearances at Alice Tully, Avery Fisher, Carnegie, 

Merkin Concert Halls; international recitalist; Adjunct Professor of 

Organ at the John J. Cali School of Music, Montclair State 

University reneeannelouprette.com 

Drew Michael Martin, tenor 

Clarion Music Society; Church of the Ascension; 

Temple Emanu-El; New York Choral Artists; Voices of 

Ascension; Musica Sacra; Sacred Music in a Sacred 

Space; Melodious Accord; and the Gregg Smith Singers; Recordings: 

John Adams “Transmigration” with NYPHIL(Grammy); Voices of 

Ascension “Song to the Stars” (Grammy®-nominated) 

Thomas McCargar: bass 

The Choir of Trinity Wall Street; Member of 

Chanticleer (2005-2006); Grammy® Nomination 

(A Seraphic Fire Christmas); Pomerium; Musica 

Sacra; VOX Vocal Ensemble 

Jason McStoots: tenor 

TENET; Career highlights: BEMF Chamber Operas 

and Festival Operas, Boston Lyric Opera, Bach 

Ensemble, Pacific MusicWorks. Recordings: Psyche, 

Venus and Adonis, Acteon (CDO); Blue Heron and Cut Circle 

Robert Mealy, violin 

Trinity Baroque Orchestra, Concertmaster; Director 

of Historical Performance, The Juilliard School; 

TENET; Professor, Yale School of Music; leader of 

Boston Early Music Festival Orchestra (04-); Concertmaster 

Trinity Baroque Orchestra; director of 17c ensemble Quicksilver; 

80 CDs on most major labels, concertmaster with NY Collegium; 

Early Music NY; ARTEK; Clarion Music Society; Mark Morris 

Dance Group; Boston Early Music Festival 

Andrew Megill, conductor 

Sinfonia New York; Cleveland Orchestra; National 

Symphony; New York Philharmonic; Mark Morris 

Dance Company; Spoleto; Artistic Director, Fuma 

Sacra; Music Director and Conductor, Masterworks Chorus; 

Associate Conductor, Carmel Bach Festival; recordings include 

Haydn masses for Naxos; collaborated with Judy Collins and 

Ridley Scott; Associate Professor, Westminster Choir College 

Oliver Mercer, tenor 

Clarion Music Society; Opera Theatre Company of 

Ireland; Bampton Classical; Bach’s Mass in B minor 

with Kent Tritle at St. John the Divine; Apollo’s Fire; 

Handel’s Messiah performances this season in Dublin, Ireland; 

and Charleston, South Carolina; Glyndebourne Festival Opera; 

Master’s Degree, Florida State University; Choral Scholar, Trinity 

College Cambridge 

Scott Metcalfe, guest director and violin 

TENET; Music and artistic director, Blue Heron; 

Music director, Green Mountain Project; co-director, 

Center for Early Music Studies, Boston University 

Glenn Miller, basso profundo 

Clarion Music Society; Over 100 performances of 

Rachmaninoff Vespers including performance with 

Robert Shaw Festival Singers; Choir of Men and 

Boys of St. Thomas Church; Choir of St. Paul’s Cathedral 

(London); Conspirare (Texas); Santa Fe Desert Chorale; 

soloist with Atlanta and St. Louis Symphonies 

24 25

Kyle Miller, viola 

Our Lady II: Juilliard School’s Historical Performance 

program; Juilliard Baroque; Juilliard415; Quodlibet 

ensemble; Sebastian Chamber Players; ACRONYM’s 

debut recording of Johann Christoph Pezel’s sonatas 

Sandra Miller, flute 

Trinity Baroque Orchestra; American Bach Soloists; 

American Classical Orchestra; Clarion Music Society; 

Handel and Haydn Society; Sinfonia New York; 

Tafelmusik; The New York Collegium; founding member and 

Associate Director of Concert Royal, toured U.S., Brazil, Canada, 

England, Germany, and Mexico; Winner of the Concert Artists 

Guild Competition; the Erwin Bodky Competition for Early Music; 

solo recitalist’s fellowship from the National Endowment for the 

Arts; faculty member at The Juilliard School since 2009 

Rosamund Morley, treble viol 

Parthenia; Waverly Consort; The Yale Schola 

Cantorum; ARTEK; The Boston Camerata; Sequentia; 

founding member of My Lord Chamberlain’s Consort 

parthenia.org 

Gene Murrow, author 

Founder and Executive Director of Gotham Early 

Music Scene (GEMS); Degrees from Columbia; 

Harvard; studies at The Juilliard School; two terms 

as President of the American Recorder Society; founding member, 

Early Music America; panelist for New York City’s Department of 

Cultural Affairs gemsny.org 

Neil Netherly, bass 

Clarion Music Society; The Cathedral Church of 

Saint John the Divine; Metropolitan Opera 

Supplemental Chorus; Marble Collegiate; Musica 

Sacra, NY Philharmonic; Soloist: Collegiate Choral; Baton Rouge 

Opera; Sarasota Opera 

Johanna Novom, violin 

Trinity Baroque Orchestra; Associate Concertmaster 

of Apollo’s Fire; First prize winner in ABS’ 

International Young Artists’ Competition; Masters in 

Historical Performance from Oberlin; former fellow of the Yale 

Baroque Ensemble; performs with period ensembles 

internationally 

Kristin Olson, oboe, oboe da caccia 


Artistic Director of SacroProfano and Grand 

Harmonie; featured performer at Les Arts Florissants 

Recontre Musicales festival; soloist with La Orquesta Sinfonica 

Sinaloa de las Artes 

Tarik O’Regan, composer 

Two GRAMMY® nominations; two British Composer 

Awards; third album on the Harmonia Mundi 

label, Acallam na Senórach (Paul Hillier, 2011); Heart 

of Darkness at the Royal Opera House, London; Raï, for the Dutch 

National Ballet; Chaâbi, commissioned by the Australian Chamber 

Orchestra; Universities of Oxford and Cambridge 

Nacole Palmer, soprano 

Clarion Music Society; Messiah with the NY Oratorio 

Society (Carnegie debut); Bach’s Christmas Oratorio; 

Seraphic Fire of Miami; Ulster Choral Society; The 

Choir of Trinity Wall Street; 4x4 Baroque Music Festival; roles 

include Cleopatra (Giulio Cesare), Pamina (Die Zauberflote), La 

Contessa (Le nozze di Figaro), and Kitty Hart in scenes from Dead 

Man Walking 

Sherezade Panthaki, soprano 


Society; New York Philharmonic debut (2013, Suzuki) 

Houston Symphony: Orchestra of St. Luke’s; 

Philharmonia Baroque; Radio Kamer Filharmonie; Phyllis Curtin 

Career Entry Prize; Yale School of Music and the Yale Institute of 

Sacred Music sherezadepanthaki.com 

Jessica Petrus, soprano 

Clarion Music Society; The Church of the Advent of 

Beacon Hill; Etherea; soloist with San Diego Bach 

Collegium (Handel: Messiah); New Music New Haven 

(NMNH); Staunton Music Festival. Recordings: Hymn To The 

Dawn (Delos) jessicapetrus.com 

Molly Quinn, soprano 

The Choir of Trinity Wall Street; TENET; Clarion 

Music Society; Seraphic Fire; Ecstatic Music Festival 

at Merkin Hall; New York Summer Mahler; 

Cincinnati College Conservatory of Music 

Katie Rietman, violoncello 

Trinity Baroque Orchestra; Performed as a baroque 

cellist in 19 countries; discography of over 40 

recordings; Clarion Music Society; Rebel; St. 

Thomas Boys’ Choir; the Grand Tour; Caramoor; Five Boroughs 

Music Festival; The New York Viola Society 

Cynthia Roberts, violin 

Our Lady II: Trinity Baroque Orchestra; Served as 

concertmaster for Apollo’s Fire; Concert Royal; Les 

Arts Florissants; the New York Collegium; Musica 

Angelica; also performed with American Bach Soloists; Clarion 

Music Society; Hammer Clavier Trio; London Classical Players; 

Smithsonian Chamber Players; Tafelmusik; Taverner Players, and is 

a principal player in the Carmel Bach Festival; Analekta, BMG/ 

Deutsche, Harmonia Mundi, Eclectra and Sony 

Gonzalo X. Ruiz, oboe and author 

Trinity Baroque Orchestra; Faculty of The Juilliard 

School; The English Concert; Wiener Akademie; 

Philharmonia; Boston Early Music Festival; nominated 

for a Grammy Award® for his reconstructions of Bach’s Orchestral 

Suites; expert in historical reed making techniques, examples at the 

Metropolitan Museum of Art; modern oboe principal of the Buenos 

Aires Philharmonic; New Century Chamber Orchestra; solo oboist at 

the Carmel Bach Festival 

Theresa Salomon, violin 

Trinity Baroque Orchestra; American Classical 

Orchestra; Ostrava Days for New Music; Festival 

Presence, Paris; Gulbenkian Festival; Musikalischer 

Sommer Ostfriesland; teaching at Montclair University; 

Radio Performance Today; WWFM; solo recital Weill Hall; 

Trinity Concert Series 

Marc Schachman, oboe 

Trinity Baroque Orchestra; Founder, Aulos Ensemble. 

Philharmonia Baroque Orchestra; American Classical 

Orchestra; Boston Baroque; Handel & Haydn Society; 

Faculty; Boston University. Recordings: Centaur, Sony, Decca, MHS 

Andrew Schwartz, bassoon 

Trinity Baroque Orchestra; Metropolitan Opera 

Orchestra; New York City Opera; New York 

CityBallet; Orchestra of St. Lukes; Orpeheus; New 

York Pops; principal bassoon w/ Handel & Hadyn Society; Boston 

Baroque; The American Classical Orchestra; Philharmonia 

Baroque; Tafelmusic; principal bassoon of the Royal Drottningholm 

Court Theatre Orchestra in Stockholm Sweden for fourteen 

summers 

Ezra Seltzer, cello 

Our Lady II: Trinity Baroque Orchestra; Performed 

as cellist of Boulder Bach Festival; Musica Angelica; 

Orchester Wiener Akademie; co-Founder and 

Principal Cellist of the Sebastians; Yale University; Juilliard 

Historical Performance program 

Aaron Sheehan, tenor 

TENET; Grammy-nominated®; Aston Magna 

Festival; American Bach Soloists; Bach Collegium, San 

Diego; Baltimore Handel Choir; Boston Baroque; 

Boston Cecilia; Folger Consort; Handel and Haydn Society 

Geoffrey Silver, tenor 


Society; Boy chorister at Westminster Abbey; 

Cambridge University; Director of Music at Christ 

Church Greenwich; created record label, Acis Productions; 

performed as a soloist in Great Britain with the BBC; St. John’s 

Smith Square; Wigmore Hall; Carmel Bach Festival; Alice Tully 

Hall; founding tenor of New York Polyphony 

Priscilla Smith, oboe 


Philharmonia Baroque; Portland Baroque; Musica 

Angelica; Handel and Haydn Society; Juilliard 

Baroque; Orchester Wiener Akademie; Piffaro; Ex Umbris; 

Hesperus; The Waverly Consort; Early Music New York; Temple 

University; The Juilliard School 

Avi Stein, harpsichord and organ 

Trinity Baroque Orchestra; TENET; Baroque 

Orchestra of Los Angeles; Boston Early Music 

Festival Orchestra; Seattle Symphony; Indianapolis 

Symphony; Director of the 4x4 Festival; Music Director, St. 

Matthew & St. Timothy Episcopal Church (New York); Yale 

University faculty 

Lara St. John, violin 

Our Lady II: Soloist with orchestras of Cleveland, 

Philadelphia, San Francisco, Seattle, Toronto, 

Montreal, Vancouver, Boston Pops, Royal 

Philharmonic Orchestra, NDR Symphony, Zurich Chamber 

Orchestra, Tokyo Symphony, and the orchestras of Brisbane, 

Adelaide and Auckland; creator, Ancalagon label larastjohn.com 

Daniel Swenberg, theorbo 

TENET; Apollo’s Fire; Artek; Catacoustic Ensemble; 

Ensemble Viscera; Four Nations Ensemble; the Green 

Mountain Project; Mr. Jones & the Engines of 

Destruction; Rebel; New York City Opera; Opera Atelier/ 

Tafelmusik; The Metropolitan Opera; awards Belgian American 

Educational Foundation; Fulbright Scholar 

Dan Tepfer, piano 

Jazz piano performances range from solo piano to full 

orchestra; solo disc Twelve Improvisations in Twelve 

Keys (2009); Before the Storm (2005); Oxygen (2007); 

Five Pedals Deep (2010, on Sunnyside w/ bassist Thomas Morgan 

and drummer Ted Poor); Duos With Lee (2009); 2007 Cole Porter 

Fellow in Jazz of the American Pianists Association 

Lisa Terry, bass viol 

Parthenia; Dryden Ensemble; BaroQue Across the 

River; Lyra Consort; founding member of ARTEK; 

New York Philharmonic; New York City Opera; 

Juilliard Opera Orchestra; Opera Lafayette, Orchestra of St. Luke’s; 

and Concert Royal parthenia.org 

John Thiessen, trumpet 

Trinity Baroque Orchestra; American Bach Soloists; 

Boston Early Music Festival; Early Music Vancouver; 

Juilliard Baroque; Philharmonia Baroque; San 

Francisco Symphony; Academy of Ancient Music; Amsterdam 

Baroque Orchestra; English Baroque Soloists; Tafelmusik; Taverner 

Players; faculty: Juilliard Historical Performance program, 

American Bach Soloists’ Academy; recordings on Analekta, BMG, 

CBC, Denon, Deutsche Harmonia Mundi, EMI, London Decca, 

Sony Classical, Vivarte, and Telarc 

Sumner Thompson, tenor 

TENET; Boston Early Music Festival; Contemporary 

Opera Denmark; Apollo’s Fire; Concerto Palatino; Les 

Boreades de Montréal; Les Voix Baroques; Pacific 

Baroque Orchestra; Tafelmusik; The King’s Noyse; Mercury 

Baroque; symphonies of Charlotte, Memphis, and Phoenix; 

Carmel Bach Festival 

Anne Trout, baroque bass, violone 

Trinity Baroque Orchestra; REBEL; Vivaldi Project; 

Handel & Haydn Society under Christopher 

Hogwood; Boston Early Music Festival Orchestra 

under Roger Norrington; American Classical Orchestra; Boston 

Bach Ensemble; Philharmonia Baroque; Emmanuel Music; 

Tafelmusik; Concert Royale; performances in Esterhazy Palace 

(Eisenstadt, Austria), Royal Albert Hall (London), Pamphili Palace 

(Rome), Library of Congress, Carnegie Hall, and Symphony Hall 

(Boston). Recordings: Musica Omnia, Sony Classical, Centaur, 

Naxos, London L’Oiseau-lyre, Dorian, Haenssler 

Jessica Troy, viola 

Trinity Baroque Orchestra; Mark Morris Dance 

Group Music Ensemble; toured US, UK, Japan, Israel, 

Australia and performed with Yo-Yo Ma; Orchestra of 

St. Luke’s, Brooklyn; Westchester Philharmonics; principal violist 

of Opera Lafayette; recorded for Lou Reed; performed on screen 

with David Byrne; featured on Marlboro Music Festival’s 50th 

anniversary CD 

Tricia van Oers, recorder 

Trinity Baroque Orchestra; Teacher and Performer’s 

Degrees from Rotterdam Conservatory, the 

Netherlands; Performer Diploma with high 

achievement in Early Music Performance from Early Music 

Institute at I.U.; freelance performer and private coaching; recitals 

in Europe and U.S.; teaches at workshops and recorder societies 

across the U.S. 


Director of Music and the Arts, Trinity Wall Street; 

Music Director of the Grammy®-winning 

Washington Chorus; former faculty: Massachusetts 

Institute of Technology, Boston University School of Theology and 

School for the Arts, McGill University Faculty of Music (Schulich 

School); appearances with the Philadelphia, Montreal, San Diego, 

Pittsburg Symphonies; the Boston Pops; Glimmerglass Opera; 

Hawaii Opera Theater; New York City Opera; Spoleto Festival 

USA; Tanglewood Music Center. Composition catalogue: E.C. 

Schirmer. Recordings: ATMA Classique, Chandos, Naxos, Musica 

Omnia, Erato, Dorian 

Virginia Warnken, mezzo-soprano 

Clarion Music Society; Carmel Bach Festival; The 

Choir of Trinity Wall Street; TENET; Musica Sacra; 

Oratorio Society of New York; Green Mountain 

Project; Yale Schola Cantorum; Vox Vocal Ensemble; Roomful of 

Teeth; premiered works by Louis Andriessen, Caleb Burhans, 

Merrill Garbus of tUnE-yArDs, Judd Greenstein, and Steve Reich 

Peter Watchorn, author 

Co-Founder and President of the Board of Musica 

Omnia label; America’s premier Early Music prize; 

Erwin Bodky Memorial Award; distinguished 

forty-year career in the field of Historically Informed Performance; 

student of the Viennese harpsichordist Isolde and wrote her official 

biography, Isolde Ahlgrimm, Vienna & the Early Music Revival 

(Ashgate Publishing, London); Doctor of Musical Arts degree 

(Boston University) 

Charles Weaver, lute, theorbo 

TENET; ARTEK; Repast; Ensemble Viscera; Folger 

Consort; Hesperus; Orchestra of St. Luke’s; Parthenia; 

Piffaro; Yale Early Opera Initiative; Yale Schola 

Cantorum; Assistant Music Director of the Amherst Early Music 

Festival’s Theater Project; New York Continuo Collective (faculty) 

Beth Wenstrom, violin 

Our Lady II: Wayward Sisters, winner: Early Music 

America/Naxos Competition; Les Rencontre 

Musicales en Vendee; soloist and Concertmaster, 

Juilliard415; co-concertmaster of New York Baroque Incorporated; 

Apollo’s Fire; Brandywine Baroque; Early Music New York; Sarasa 

Chamber Music Ensemble; Trinity Baroque Orchestra 

Geoffrey Williams, countertenor 


Society; Early Music New York; Vox Vocal Ensemble; 

Grammy®-winning ensemble eighth blackbird; 

Westminster Choir College; Washington National Cathedral 

Choir; Gentleman of the Choir of Men and Boys at Saint Thomas 

Church geoffreydwilliams.com 

Steven Caldicott Wilson, tenor 

The Choir of Trinity Wall Street; Saint Thomas Choir 

of Men and Boys; Church of Saint Luke in the Fields; 

The Choir of Trinity Wall Street; The Masterwork 

Chorus (Carnegie Hall); Clarion Music Society; Chatham Baroque; 

United States Air Force Band Singing Sergeants (2001-2005 Yale 

University Voice Masters program in early music) scwtenor.com 

Jacques Lee Wood, cello 

Trinity Baroque Orchestra; Program Coordinator, 

Yale Early Music Program; DMA Candidate, Yale 

University; Swiss Global Artist; jacquesleewood.com 

Jonathan Woody, bass 


Society; Antioch Chamber Ensemble; Ensemble VIII, 

The Santa Fe Desert Chorale. Recordings: Israel in 

Egypt (Musica Omnia), Volpone (Wolf Trap Recordings, 

Grammy-Nominated), Armide (Naxos) 

Trinity Music and the Arts Staff 

Julian Wachner, Director 

Renée Anne Louprette, Associate Director and Organist 

Melissa Attebury, Artistic Administrator 

Marilyn Haskel, Program Manager, 

Liturgical Arts & New Initiatives 

Adam Alexander, Program Coordinator 

Thomas McCargar, Choral Contractor 

John Thiessen, Orchestral Contractor 

Jonathan Woody, Eric Brenner, Music Librarians 

Raymond Bailey, Luthien Brackett, Wesley Chinn 

& Anne Damassa, Music Education Outreach Staff 

Kelvin Chan, John Mennell, Melanie Russell, Geoffrey Silver, 

Administrative Assistants 

Janice Mayer, Copy Editor 

Communication and Marketing Staff: 

Linda Hanick, Chief Communications Officer and Vice President, 

Comunications & Marketing 

Nathan Brockman, Director of Communications 

John Ryan Brooks, Constituent Database Manager 

Kathryn Formisano, Manager, Trinity Gift Shops 

Lynn Goswick, Project Manager 

Kara Holmes, Audience Development Associate 

Max Maddock, Senior Copywriter 

James Melchiorre, Video Producer 

Leah Reddy, Multimedia Producer 

Jeremy Sierra, Managing Editor 

Creative Services Staff: 

Rea Ackerman, Director 

Colleen Cody, Senior Designer 

Ty Cumbie, Program Designer 

Robyn Eldridge, Project Manager 

Will Garcia, Pressman 

Rita Lopez, Project Coordinator 

Antonio Pardini, Manager Print Production 

Marc Tremitiere, Senior Designer 

TV/New Media Staff: 

William Jarrett, Director, TV Production and Operations 

Joshua Deeter, Webcast and Production Coordinator 

Tom Durack, Audio Engineer 

Anthony Indelicato, Video Editor 

Lenny Manchess, Chief Audio Engineer 

Michael McGuinnes, Production Supervisor and Technician 

Luke Mess, Part-time Audio Engineer 

Rich Lamb, Part-time Audio Engineer 

Dean Wiltshire, Webcasting and Field Engineer 

Gotham Early Music Scene: 

Gene Murrow, Executive Director 

Paul Ross, Operations 

Wendy Redlinger, GEMS Live!, Senior Artist Representative 

Naomi Morse, Assistant Manager 

Special thanks to: 

The Rev. Dr. James Cooper, Rector of Trinity Church 

The Rev. Canon Anne Mallonee, Vicar of Trinity Church 

The Wardens and Vestry of Trinity Church. 

Dianne Peterson, Executive Director of the Washington Chorus 

Hugh Kaylor, Personal Manager of Dr. Wachner 

Thomas Leslie, Executive Assistant to Dr. Wachner 

26 27

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 these events 

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 event, keep in mind 

that the Choir sings Sundays at Trinity’s 9am and 11:15am worship 

services, in addition to Compline on Sundays at 8pm (St. Paul's 

Chapel), and at many other events. 

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 

leo sorel 

About Trinity Church and St. Paul’s Chapel 


• Part of New York City since 1697 

• Burial site of Alexander Hamilton 

• Home of the renowned Trinity Choir 


• Survivor of the Great Fire of 1776 

• Host to George Washington on his inaugural day 

• Home to September 11 rescue workers 

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 at 8:30am, Laying on of Hands for Healing following 

the 12:05pm Eucharist, and Evensong at 5:15pm. 

St. Paul’s Chapel | Broadway and Fulton Street 

Sunday: Holy Eucharist 8am and 10am, Compline 8pm 

Daily: Prayers for Peace 12:30pm 

Worship on the Web 

Trinity's Sunday and weekday services are webcast live at 

trinitywallstreet.org 

Weekday Music 

• Concerts at One – Thursdays, Trinity Church 

• Bach at One – Mondays, St. Paul’s Chapel 

• Pipes at One – Wednesdays, St. Paul’s Chapel 


leAH REDDY 

Trinity Wall Street Spring 2013 Programming Highlights 

The Choir of Trinity Wall Street on stage with Mick Jagger and the Rolling Stones at the Barclays Center 

TENEbrae 

Sundays during Lent: 

February 17, February 24, March 3, March 10 

and March 17, 5pm 

(Trinity Church, Broadway at Wall Street) 

Friday, March 8, 7pm 

(St. Ignatious of Antioch, 552 West End Avenue 

at 87th Street, New York, NY) 

TENET in collaboration with Trinity Wall Street; 

Jolle Greenleaf, artistic director 


St. Matthew Passion 

Sunday, March 24, 5pm 


J. S. Bach: St. Matthew Passion, bwv 244 


& the Choir of Trinity Wall Street 


Tickets: gemsny.org 

Stravinsky Festival: The Complete Sacred Works 

Friday, April 26, 7pm 


The Flood 

Abraham and Isaac 

Threni 

Introitus 

Saturday, April 27, 7pm 


A Sermon, a Narrative and a Prayer 

Elegy for J.F.K. 

In Memoriam Dylan Thomas 

Requiem Canticles 

Canticum Sacrum 

Sunday, April 28, 3pm 


Anthem 

Cantata 

Bach/Stravinsky: Canonic Variations 

“Vom himmel hoch” 

Mass 

Symphony of Psalms 

NOVUS NY & the Choir of Trinity Wall Street; 

The Trinity Youth Chorus (April 28 only) 


Tickets: gemsny.org 

Concerts at One 

Thursdays | 1pm 

Trinity Church (Broadway at Wall Street) 

Trinity’s long-running concert series presents 

music ranging from opera to jazz. 

February 7-May 23, 2013 

Bach at One 

Mondays | 1pm 

St. Paul’s Chapel (Broadway and Fulton Street) 

The Choir of Trinity Wall Street and Trinity 

Baroque Orchestra perform the cantatas of 

Johann Sebastian Bach. 

March 18-May 20, 2013 

Pipes at One 

Wednesdays | 1pm 

St. Paul’s Chapel (Broadway and Fulton Street) 

Free organ concerts 

February 6-May 22, 2013 

Please visit trinitywallstreet.org for a complete 

listing of performances and worship services, 

including Compline by Candlelight and 

Choral Eucharists. 

Newly released CDs On Sale 

G.F. Handel’s Israel in Egypt 

(Grammy®-nominated) 

Performed by the Choir of 

Trinity Wall Street and the 


Averno by Elena Ruehr 

Performed by the Choir of 

Trinity Wall Street and Novus NY 

J.S. Bach Complete Motets 

Performed by the Choir of Trinity Wall 

Street and the Trinity Baroque Orchestra 

29

Epiphany 

Lessons 

& Carols 

Sunday, January 6, 2013, 4pm 


Broadway at Wall Street 

Candlelight procession to 


Broadway and Fulton Street 

Festival Party, 6pm 

Compline, 8pm 

30 

Leah Reddy 

Trinity Wall Street 

74 Trinity Place 

New York, NY 10006 


212.602.0800

Twelfth Night Festival - Gotham Early Music Scene

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