Concert Program - Atlanta Baroque Orchestra

The Atlanta Baroque Orchestra
“Ich habe genug,” but
never enough Bach!
Daniel Pyle,
Resident Director
Arietha Lockhart, soprano
Brent Wissick, violoncello
Peter DeWitt & Michael Bauer, harpsichords
Sunday 14 March 2010
4:00 p.m.
Roswell Presbyterian Church
755 Mimosa Boulevard
Roswell, Georgia
PROGRAM
MUSIC OF JOHANN SEBASTIAN BACH
(1685–1750)
Concerto in F for Harpsichord, Two Recorders, and Strings
Allegro
Andante
Allegro assai
Daniel Pyle, harpsichord
Catherine Bull & Doug Leonard, recorders
BWV 1057
Suite in D minor for unaccompanied violoncello
Prelude
Allemande
Courante
Sarabande
Menuets I & II
Gigue
Brent Wissick, violoncello
BWV 1008
Concerto in C minor for Two Harpsichords and Strings
Allegro
Adagio
Allegro
Peter DeWitt & Daniel Pyle, harpsichords
BWV 1060
– Intermission –
Cantata “Ich habe genug” for Soprano, Flute, Strings, and Continuo
Aria
Recitative
Aria
Recitative
Aria
Arietha Lockhart, soprano
Catherine Bull, flute
Concerto in C for Three Harpsichords and Strings
Allegro
Adagio
Allegro assai
Daniel Pyle, Peter DeWitt, & Michael Bauer, harpsichords
The ABO gratefully acknowledges all the performers in this concert,
who are donating their services for the benefit of the Orchestra,
and Wheat Williams for copying parts and scores.
BWV 82a
BWV 1064
THE AT LANT A B AROQUE ORC HEST RA
Julie Andrijeski, Artistic Director
Violin
Gesa Kordes
Ute Marks
Ruth Johnsen
Cello
Brent Wissick
Violone
Martha Bishop
Viola
Elena Kraineva
Recorder
Catherine Bull
Douglas Leonard
Harpsichord
Daniel Pyle
Flute
Catherine Bull
Cant at a 82 “I ch habe ge nug”
Text and T ransl atio n
Aria (Flute, Violino I/II, Viola, Continuo)
Ich habe genug,
Ich habe den Heiland, das Hoffen der Frommen,
Auf meine begierigen Arme genommen;
Ich habe genung!
Ich hab ihn erblickt,
Mein Glaube hat Jesum ans Herze gedrückt;
Nun wünsch ich, noch heute mit Freuden
Von hinnen zu scheiden.
Ich habe genung!
I have enough,
I have taken the saviour, the hope of the righteous,
in my eager arms;
I have enough!
I have caught sight of him,
my faith has pressed Jesus to my heart;
now I wish this very day joyfully
to depart from here.
I have enough!
Recitative (continuo)
Ich habe genug.
Mein Trost ist nur allein,
Dass Jesus mein und ich sein eigen möchte sein.
Im Glauben halt ich ihn,
Da seh ich auch mit Simeon
Die Freude jenes Lebens schon.
Laßt uns mit diesem Manne ziehn!
Ach! möchte mich von meines Leibes Ketten
Der Herr erretten;
Ach! wäre doch mein Abschied hier,
Mit Freuden sagt ich, Welt, zu dir:
Ich habe genug.
I have enough.
This alone is my consolation,
that Jesus might be mine and I his own.
In faith I hold him
as I see also with Simeon
the joy of the life to come already.
Let us go along with this man!
Ah! how I wish that I might from the chains of the body
be delivered by the Lord;
Ah! how I wish my departure were here,
joyfully I would say to you, World:
I have enough.
Aria (Violino I/II, Viola, Continuo)
Schlummert ein, ihr matten Augen,
Fallet sanft und selig zu!
Welt, ich bleibe nicht mehr hier,
Hab ich doch kein Teil an dir,
Das der Seele könnte taugen.
Hier muss ich das Elend bauen,
Aber dort, dort werd ich schauen
Süßen Friede, stille Ruh.
Rest in sleep, you weary eyes,
close with peace and blessing!
World, I am staying here no longer,
I have indeed no part in you
that could benefit my soul.
Here I have to cause misery to myself
but there, there I shall behold
sweet peace, calm rest.
Recitative (continuo)
Mein Gott! wann kömmt das schöne: Nun!
Da ich im Friede fahren werde
Und in dem Sande kühler Erde
Und dort bei dir im Schoße ruhn?
Der Abschied ist gemacht,
Welt, gute Nacht!
My God! When will come that beautiful: Now!
when I shall go in peace
and in the sand of the cool earth
And there in your bosom rest?
I have said my farewells,
World, goodnight!
Aria (Flute, Violino I/II, Viola, Continuo)
Ich freue mich auf meinen Tod,
Ach, hätt er sich schon eingefunden.
Da entkomm ich aller Not,
Die mich noch auf der Welt gebunden.
I rejoice in my death,
Ah! how I wish it had taken place already.
Then I shall escape from all the distress
that still binds me in the world.
English Translation by Francis Browne (©August 2008)
The Atlanta Baroque Orchestra was founded under the leadership of Lyle Nordstrom, along with founding-members
Catherine Bull, Jeanne Johnson, Daniel Pyle, and Eckhart Richter, who felt the need for a permanent, professional,
historical-instrument orchestra in the Southeast. The unique, transparent sheen of “early” instruments, coupled with their
capability of a delightful variety of articulations, allows voices and instruments to blend into a unified, yet clear, sound that is
very difficult to achieve with “modern” instruments. Since its founding in 1997, the ABO has been applauded for its freshness
and verve, and for its delightful, convincing performances of a wide range of earlier works.
The Orchestra received initial generous support from the Atlanta Early Music Alliance and a variety of individuals, and has
also depended on donations of time and money from the musicians themselves. The ABO is a not-for-profit corporation based
in Atlanta, and is 501(c)3 (tax-exempt). Contributions, which are tax-deductible, are greatly appreciated and are central to the
survival of a venture such as this. If you would like to support the ABO and its future programming, please send checks made
out to “The Atlanta Baroque Orchestra,” 303 Augusta Avenue SE, Atlanta, GA 30315. There is also a great opportunity
for friends of the arts in the community to serve on the Atlanta Baroque Orchestra board. Please visit our website at
www.atlantabaroque.org for more information on the ABO.
Daniel Pyle, in addition to being Resident Director and keyboardist of the Atlanta Baroque Orchestra, teaches at
Clayton State University and is organist/music-director for the Church of Our Saviour in Atlanta. He has appeared as
organ-soloist with the Albany (GA) Symphony Orchestra, playing Poulenc’s Organ Concerto, and the Saint-Saëns Organ
Symphony, and as harpsichord-soloist with the Columbus (GA) Symphony Orchestra, the Alabama Symphony Orchestra
performing all of Bach’s Brandenburg Concertos, and with Orchestra Atlanta in Roswell. His CD “The Maiden’s
Songe: Virginal Music on the Lautenwerk” was released in 1998 on the Gasparo label.
As a chamber-musician, he has played with the ensemble Harmonie Universelle in Paris, Amsterdam, the Utrecht Early
Music Festival, London’s St. Martin-in-the-Fields and other venues, and throughout the American Southeast and MidWest, including the 1992 Piccolo Spoleto Festival and the Boston Early Music Festival. Their American performances have
been heard many times on NPR’s Performance Today.
He studied organ and harpsichord at the University of Alabama and the Eastman School of Music, and in Amsterdam with
Gustav Leonhardt and Hans van Nieuwkoop, and at the Accademia Musicale Chigiana in the class of Kenneth Gilbert.
Since returning to this country he has also taught at the University of Kansas and at Louisiana State University.
Arietha Lockhart has appeared as soloist with the Atlanta Symphony Orchestra Chamber Chorus in Carnegie Hall, the
“Christmas with Robert Shaw” concerts of the Atlanta Symphony Orchestra and Chorus, the Robert Shaw Chamber
Singers and Festival singers and as a recitalist at Spivey Hall and Carnegie Hall, as well as, various churches and civic
organizations. However, Arietha Lockhart’s largest audience never saw her -- for it was she who provided the haunting ethereal
voice of the battered white butterfly in the worldwide broadcast of the 1996 Olympic Games Opening Ceremony in Atlanta,
GA. Arietha's awards include: 1st place jury and audience choice, the Meistersinger Competition, Graz, Austria. 2nd place,
the Classical Singer Competition (Classical Singer Magazine); National Opera Association Competition’s Legacy Award
Professional division; 2nd Place, The Center for Contemporary Opera International Competition-Prize; a New York debut
recital at Weill Recital Hall at Carnegie Hall in 2002; the Friedrich Shorr Memorial Prize in Voice, National
Association of Teachers of Singing Association Artist Awards for the State of Georgia; The Leontyne Price Vocal Arts
Competition; The Encouragement Award form the Licia Albanese-Pucinni Foundation Competition; 3rd place in The
Oratorio Society of New York competition.
Brent Wissick is the Zachary Taylor Smith Distinguished Term Professor in the Department of Music at UNCCH, where he has taught cello, viola da gamba and chamber music since 1982. A member of Ensemble Chanterelle and
principal cellist of the Atlanta Baroque Orchestra, he is also a frequent guest with American Bach Soloists, Folger Consort,
Boston Early Music Festival, Concert Royal, Dallas Bach Society, Vancouver Early Music Festival and Collegio di
Musica Sacra in Poland. With these ensembles he has recorded for the Centaur, Albany, Koch, Radio Bremen, Bard and
Dux labels as well as in the soundtrack for the Touchstone film "Casanova". His online video article titled "The Cello Music
of Bononcini" can be viewed in the peer-reviewed Journal of Seventeenth-Century Music" and several of his teaching videos
are posted on the website of the Viola da Gamba Society of America. He served as president of that society from 2000
through 2004 and chaired its international Pan-Pacific Gamba Gathering in Hawaii during the summer of 2007.
His current research and performance interests include the cello music of Benjamin Britten, Chopin’s cello music on period
instruments and French gamba music. A graduate of the Crane School of Music at Potsdam College in NY and of Penn
State (MM cello, 1978), he also studied with John Hsu at Cornell University and was an NEH Fellow at Harvard in
the 1993 Beethoven Quartet Seminar. He has taught at the College of St Scholastica in Minnesota (1978-82), Chautauqua
Institution and the 1997 Aston Magna Academy at Yale; and has presented lectures, master classes and recitals at schools,
colleges and workshops throughout North America, Europe, Asia and Australia.
Dr. Peter DeWi tt, Professor of Music, is University Organist and Coordinator of Music Theory at Shorter
University in Rome, GA. From Spring 2000 to 2002, he was President of the Southeastern Historical Keyboard Society.
He has performed on harpsichord, piano, and organ - as soloist and ensemble player - throughout the Southeastern U.S. and
Europe. In Fall 2000, he presented the complete four volumes of Clavierübung by Bach in five consecutive recitals in several
venues.
He is a founding member of the early music ensemble Consortium Collinum and the Roman Renaissance Singers. His
compositions, principally for organ and for church choirs, have been performed throughout the southeast. His students have
been national finalists in MTNA competitions three times in the last seven years, and winner in 2001.
Michael Bauer is a Professor of Organ and Church Music at the University of Kansas, where he developed a new
doctoral program in church music. In 1995 Bauer held a Keeler Family Intra-University Professorship at KU, which
enabled him to work in the art history and architecture departments. He currently serves as Organist/Minister of Arts at St.
John's Lutheran Church in Bennington. For twelve years, Bauer performed regularly on harpsichord as a member of the
Oread Baroque Ensemble, with whom he released a CD of French music entitled La Magnifique. With his wife, Marie,
he released a CD of the organ works of Petr Eben on the Calcante label. They have also served together as contributing
authors for the book Leading the Congregation's Song, published by Augsburg. In addition, Bauer has written a chapter for
the book A Tribute to Petr Eben published by the British Dvorak Society. He has published in a number of journals,
including CrossAccent, L'Orgue, and Reformed Worship. He is in demand as an organ recitalist, having played extensively
in Switzerland, Poland, and America, and he lectures widely on topics concerning the relationship between religion and the
arts. His bachelors and masters degrees were obtained at the University of Alabama, while his doctorate is from the University
of Cincinnati's College - Conservatory of Music. On both his masters and doctoral degrees he completed double majors in
organ and choral conducting. Following his doctoral work, Bauer spent two years in Geneva Switzerland, where he earned the
Certificat de Perfectionnement from the Conservatoire de Musique.
Catherine Bull is principal flutist with the Atlanta Baroque Orchestra and the flute instructor at the Georgia Institute of
Technology. In 1993-94, she was artist-in-residence in Moultrie GA through the NEA’s Chamber Music in Rural
Communities Program; before that she was for several years a flute teacher in the national music-school system in the
Netherlands. Her performances, on both modern and baroque flutes, have been broadcast several times on NPR. In 2002 she
was the first musician to receive a grant from the King Baudouin Foundation for extended study and performance in Belgium.
She holds the Bachelor of Music degree from the Univ. of North Carolina at Chapel Hill (with honors, in modern flute), a
Master of Music degree from the New England Conservatory (in Early Music), and a Master of Music degree from the
University of Alabama (on modern flute). She continued her studies for several years in the Netherlands with Wilbert
Hazelzet; she also performed in masterclasses for Frans Brüggen and Bart Kuijken. She has also continued her studies on
modern flute with Peter Lloyd (former principal flute of the London Symphony Orchestra); she holds a diploma from the
class of Severino Gazzelloni at the Accademia Musicale Chigiana, and has been a student in William Bennett's summer
courses in England. In the coming year she will be performing in Turkey, and will be the soloist in Ernst Bloch’s Suite
Modale for solo flute and string orchestra.
Douglas Leonard is Professor of Mathematics at Auburn University. He has been playing recorder and baroque flute for
over forty years, and has studied for several years with Catherine Bull, and at the Oberlin Baroque Performance Institute; he
has also performed on transverse flute with the ABO. When Leonard is not teaching mathematics, he directs the American
Recorder Society chapters in Montgomery and Birmingham, Alabama, and is a keen grower of cacti and other succulents.
Support for ABO is provided by
Embellish A Melody!
Bach Club ($1.000 +)
Cathy Callaway Adams
Dr. & Mrs. David Bright
Peter & Pat DeWitt
Federal Home Loan Bank of Atlanta
an anonymous donor
Douglas A. Leonard
Daniel Pyle & Catherine Bull
Lois Z. Pyle
Donald E. Snyder
Russell Williamson
Vivaldi Club ($250-499)
Mr. & Mrs. Jeffery A. Freeman
Mr. & Mrs. Gerald Hickman
Virginia Ware Killorin
Dr. & Mrs. Eckhart Richter
Telemann Club ($100-249)
Stratton H. Bull
Janis Gay
Dr. Alan Goodman
Dymples E. Hammer
Virginia Ware Killorin
Gayle Lloyd
North Side Women’s Club
Rich & Caroline Nuckolls
Rebecca M. Pyle
Eric Wilke
Melinda Wharton
Susan Wagner
Handel Club ($500-999)
Anne P. Halliwell
Dr. John Gamwell
Dr. & Mrs. William P. Marks, Jr.
John & Zoe Pilgrim
Dr. George Riordan & Karen Clarke
The Atlanta Baroque Orchestra would like to thank the following persons and establishments
for contributing their time, talents, and energy in regard to the details of ABO concerts.
Atlanta Early Music Alliance (AEMA)
Cathy Adams & The Federal Home Loan Bank
of Atlanta
Peter and Pat DeWitt
Roswell Presbyterian Church:
Bruce Graham
Daniel Pyle & Catherine Bull
Eckhart & Rosemary Richter
Russell Williamson
Valerie Prebys Arsenault
Sid & Linda Stapleton
Susan Wagner
Linda Bernard & RyeType Design
Wheat Williams
The ABO would also like to acknowledge the several thousand dollars worth of rehearsal time that has been graciously
given to the orchestra by its members. These concerts could not be given without their enthusiasm and support.
ABO Board of Directors
President: Cathy Adams
Treasurer: Peter DeWitt
Daniel Pyle, Resident Director
Alan Goodman
Melanie Punter
Come to our Next Concert:
Sunday 13 February 2011, 4:00 pm
inaugural concert by
our new Artistic Director,
Julie Andrijeski
music by Telemann, Handel,
& Tavener
(in memoriam Irma Lee Shepherd)
Visit our web-site
at
www.atlantabaroque.org
and on FaceBook