Cantata Collective Program 10

September 29, 2019

Johann Sebastian Bach (1685-1750)

Nun komm, der Heiden Heiland, BWV 61

  • 1. Ouverture: Nun komm, der Heiden Heiland
  • 2. Recit: Der Heiland ist gekommen
  • 3. Aria: Komm, Jesu, komm zu deiner Kirche
  • 4. Recit: Siehe, ich stehe vor der Tür und klopfe an
  • 5. Aria: Öffne dich, mein ganzes Herze
  • 6. Chorale: Amen, amen

Aus der Tiefen rufe ich, Herr, zu dir, BWV 131

  • 1. Chorus: Aus der tiefen rufe ich, Herr, zu dir
  • 2. Arioso and Chorale: So du willt, Herr, Sünde zurechnen
  • 3. Chorus: Ich harre des Herrn, meine Seele harret
  • 4. Aria and Choral: Meine seele wartet auf den Herrn
  • 5. Chorus: Israel hoffe auf den Herrn
  • Christine Brandes, soprano
  • Dan Cromeenes, alto
  • Brian Thorsett, tenor
  • Nikolas Nackley, bass
  • Marc Schachman, oboe
  • Kati Kyme & Lisa Weiss, violin
  • Anthony Martin, viola
  • William Skeen, cello
  • Kristin Zoernig, bass
  • Henry Lebedinsky, organ

Guest Artists

Christine Brandes

Photo of Christine_Brandes

Noted for her radiant, crystalline voice and superb musicianship, soprano Christine Brandes brings her committed artistry to a repertoire ranging from 17th century to newly composed works, performing at many of the world’s most distinguished festivals and concert series in programs spanning from recitals and chamber music to oratorio and opera.

She has sung for the following opera houses: San Francisco, Seattle, Washington National, Houston Grand, Minnesota, San Diego, New York City Opera, Philadelphia, Glimmerglass, Portland, Arizona, Opera de Nancy in principle roles ranging from Handel and Mozart, through Verdi to Bolcom and Britten.

Christine recently appeared with the Boston Symphony Chamber Players in György Kurtág’s Scenes from a Novel and with the Indianapolis Symphony Orchestra conducted by Carlo Rizzi in Debussy’s La Damoiselle élue and has sung Mahler’s Second Symphony with the Sacramento Philharmonic and Handel’s Israel in Egypt at Carnegie Hall with the New York Choral Society. She also gave a recital at King's College Chapel, Cambridge with organist, Jonathan Dimmock.

Ms. Brandes has given a series of important premieres including an Eric Moe commission entitled Of Color Braided All Desire with the Brentano String Quartet as part of the South Mountain Concert Series with further performances in New York City at the 92nd Street Y, and Jennifer Higdon’s In the Shadow of Sirius, based on poetry of former American Poet Laureate, W.S. Merwin with the Cypress String Quartet at the Herbst Theatre in San Francisco.

She has sung with the following orchestras: Cleveland, Chicago, New York Philharmonic, Philadelphia, Los Angeles, San Francisco, Houston, Atlanta, Detroit, Seattle, Minnesota, National Symphony, with such distinguished conductors as Simon Rattle, Pierre Boulez, Esa-Pekka Salonen, Frühbeck de Burgos, Robert Spano, Wolfgang Sawallisch and Alan Gilbert.

Dan Cromeenes

Photo of Dan Cromeenes

Dan Cromeenes, countertenor, is a versatile musician who has performed professionally as a countertenor soloist, choral singer, and collaborative pianist. A southern California native, he first moved to San Francisco to perform with the ensemble Chanticleer, and has since flourished in the Bay Area’s music scene. He was featured singing lute songs for Oakland Ballet in Graham Lustig’s Consort and is a frequent soloist for Bay Area early music performances, including Pergolesi’s Stabat Mater and Purcell’s Come Ye Sons of Art with Marin Baroque. He performed as soloist for the 2014 American Bach Soloists Festival & Academy, including Bach’s Mass in B minor. He received much acclaim for his performance of Bach’s St. John Passion with the Santa Clara Chorale and San Jose Chamber Orchestra. Dan is a regular vocalist in the elite ensembles Clerestory, American Bach Choir, Philharmonia Baroque Chorale, Bach Collegium San Diego, and Oregon Bach Festival Chorus. In addition to his singing, several of his choral arrangements have been performed by Clerestory. Active as a private vocal coach, he enjoys sharing what he has learned about singing and Baroque ornamentation. When not onstage or behind a piano, Dan can usually be found either on a hike in the mountains or at home baking gourmet goodies.

Brian Thorsett

Photo of Brian Thorsett

Hailed as “a strikingly gifted tenor, with a deeply moving, unblemished voice” (sfmusicjournal.com), tenor Brian Thorsett excels in opera, oratorio and recital across the world. Since taking to the stage, he has been seen and heard in over 100 diverse operatic roles and fosters a stylistically diversified concert repertoire of over 250 works. Upcoming operas include Mozart’s Magic Flute and Britten’s Turn of the Screw. Future concert highlights include Evangelist and soloist in both Bach’s St. John Passion as well as multiple cantatas across the US, Einhorn Voices of Light, Britten’s Ballad of Heroes, Handel’s Messiah and Alexander’s Feast, and a rare tenor-turn in Barber’s Knoxville.

An avid recitalist, Brian is closely associated with expanding the vocal-chamber genre; upcoming projects include the premiere of Edgar Girtain Four Folk Songs (tenor and cello), Eric Choate ...and fall, David Conte Ogden Nash Settings. He will be featured on recitals in San Francisco, Sausalito, Berkeley, Washington DC, Atlanta, Gloucester, London and Paris in the coming seasons. Brian has also been heard in commercials and movies as the voice for SoundIron’s library Voice of Rapture: Tenor. He has recorded for Albany, Roven, Edition Lilac among several labels. He is currently Assistant Professor of voice and Virginia Tech.

Nikolas Nackley

Photo of Nik Nackley

In demand on the concert and operatic stage throughout West Coast and beyond, Nikolas Nackley has been heralded by the San Francisco Chronicle as “sonorous and heroic” and praised by the Boston Globe for his his ability to “continually impress with his beautiful voice and acting.” Recent credits include the title role in Il ritorno d’Ulisse in patria, the Badger and Parson in The Cunning Little Vixen and Palante in Agrippina. He has been a featured artist with orchestras and opera companies including the Los Angeles Philharmonic, Berkeley Symphony Orchestra, Philharmonia Baroque Orchestra, the Handel and Haydn Society, Boston Lyric Opera, and West Edge Opera, working with such conductors as Sir Roger Norrington, Harry Christophers, Pablo Heras Casado, Craig Smith, Gustavo Dudamel, John Harbison and Joana Carneiro in works ranging from the sixteenth to twenty-first centuries.

Equally regarded for his work in academia and as a vocal clinician, Nikolas is on the faculty at the School of Music at San Francisco State University where he directs the chamber singers, teaches lyric diction, vocal pedagogy and opera workshop. Recently he directed Die Fledermaus at San Francisco State University, conducted the UC Berkeley Symphony Orchestra and University Chorus in Fauré’s Requiem and Vivaldi’s Gloria at Hertz Hall. He will direct Mozart’s La Finta Giardiniera at SF State in Spring 2018. Nikolas is also on the faculty of the University of California, Berkeley, where he is director of the vocal studies program as well as director of the University Chorus.

Bach Cantata Translations

BWV 61 - "Nun komm, der Heiden Heiland" I

 

Cantata for the First Sunday in Advent
1. Chor
Nun komm, der Heiden Heiland,
Der Jungfrauen Kind erkannt,
Des sich wundert alle Welt,
Gott solch Geburt ihm bestellt.
("Nun komm, der Heiden Heiland," verse 1)
1. Chorus
Now come, Savior of the heathens,
known as the Virgin's child,
over whom the whole world marvels,
that God had ordained such a birth for Him.
2. Rezitativ T
Der Heiland ist gekommen,
Hat unser armes Fleisch und Blut
An sich genommen
Und nimmet uns zu Blutsverwandten an.
O allerhöchstes Gut,
Was hast du nicht an uns getan?
Was tust du nicht
Noch täglich an den Deinen?
Du kömmst und läßt dein Licht
Mit vollem Segen scheinen.
2. Recitative T
The Savior has come,
has taken our poor flesh and blood
upon Himself
and claims us as blood-brothers.
O Highest Good,
what have You not done for us?
What do You not do
still daily for Your own?
You come and allow Your light
to shine full of blessing.
3. Arie T
Komm, Jesu, komm zu deiner Kirche
Und gib ein selig neues Jahr!
  Befördre deines Namens Ehre,
  Erhalte die gesunde Lehre
  Und segne Kanzel und Altar!
3. Aria T
Come, Jesus, come to Your church
and grant a blessed new year!
  Support the honor of Your name,
  uphold the sound teachings
  and bless the chancel and altar!
4. Rezitativ B
Siehe, ich stehe vor der Tür und klopfe an. So jemand meine Stimme hören wird und die Tür auftun, zu dem werde ich eingehen und das Abendmahl mit ihm halten und er mit mir. (Revelation 3:20)
4. Recitative B
Behold, I stand at the door and knock. Anyone that hears My voice and opens the door, to him I will enter and keep the evening meal with him and he with Me.
5. Arie S
Öffne dich, mein ganzes Herze,
Jesus kömmt und ziehet ein.
  Bin ich gleich nur Staub und Erde,
  Will er mich doch nicht verschmähn,
  Seine Lust an mir zu sehn,
  Daß ich seine Wohnung werde.
  O wie selig werd ich sein!
5. Aria S
Open yourself, my whole heart,
Jesus comes and enters in.
Even though I am only dust and earth,
  yet He does not scorn
  to reveal His joy to me,
  so that I may be His dwelling.
  O how happy will I be!
6. Choral
Amen, amen!
Komm, du schöne Freudenkrone, bleib nicht lange!
Deiner wart ich mit Verlangen.
("Wie schön leuchtet der Morgenstern," verse 7 refrain)
6. Chorale
Amen! Amen!
Come, you lovely crown of joy, do not delay,
I await you with longing.
Erdmann Neumeister 1714; "Nun komm, der Heiden Heiland," verse 1: Martin Luther 1524 (mov't. 1); Revelation 3:20 (mov't. 3); "Wie schön leuchtet der Morgenstern," verse 7 refrain: Philipp Nicolai 1599 (mov't. 6)
©Pamela Dellal

BWV 131 - "Aus der Tiefen rufe ich, Herr, zu dir"

 

Cantata for Various Church Occasions
1. Chor
Aus der Tiefen rufe ich, Herr, zu dir.
Herr, höre meine Stimme, laß deine Ohren merken auf die Stimme meines Flehens!
(Psalm 130: 1-2)
1. Chorus
Out of the depths I call, Lord, to You.
Lord, hear my voice, let Your ears take note of the sound of my pleas!
2. Arioso B und Choral S
So du willt, Herr, Sünde zurechnen, Herr, wer wird bestehen?
  Erbarm dich mein in solcher Last,
  Nimm sie aus meinem Herzen,
  Die weil du sie gebüßet hast
  Am Holz mit Todesschmerzen,

Denn bei dir ist die Vergebung, daß man dich fürchte.
  Auf daß ich nicht mit großem Weh
  In meinen Sünden untergeh,
  Noch ewiglich verzage.

(Psalm 130: 3-4)
("Herr Jesu Christ, du höchstes Gut," verse 2)
2. Arioso B and Chorale S
If thus You choose, Lord, to account for sins, Lord, who could remain?
  Have mercy on me burdened so,
  take them out of my heart,
  since you have atoned for them
  on the wood with deathly agonies,

For forgiveness is with You, so that You might be held in awe.
  so that, for great woe
  I might not perish in my sins,
  nor eternally despair.
3. Chor
Ich harre des Herrn, meine Seele harret, und ich hoffe auf sein Wort.
(Psalm 130: 5)
3. Chorus
I await the Lord, my soul waits, and I hope in His word.
4. Arie T und Choral A
Meine Seele wartet auf den Herrn von einer Morgenwache bis zu der andern.
(Psalm 130: 6)


Und weil ich denn in meinem Sinn,
Wie ich zuvor geklaget,
Auch ein betrübter Sünder bin,
Den sein Gewissen naget,
Und wollte gern im Blute dein
Von Sünden abgewaschen sein
Wie David und Manasse.
("Herr Jesu Christ, du höchstes Gut," verse 5)
4. Aria T and Chorale A
My soul waits for the Lord from one morning watch to the other.

And since in my mind,
as I lamented before,
I am also a troubled sinner,
whose conscience gnaws him,
and would gladly, in Your blood
be washed clean of sin,
like David and Manassah.
5. Chor
Israel hoffe auf den Herrn; denn bei dem Herrn ist die Gnade und viel Erlösung bei ihm.
Und er wird Israel erlösen aus allen seinen Sünden.
(Psalm 130: 7-8)
5. Chorus
Israel hopes in the Lord; for mercy is with the Lord and much redemption.
And He will redeem Israel from all its sins.
Possibly compiled by Georg Christian Eilmar; Psalm 130 (mov'ts. 1-5); "Herr Jesu Christ, du höchstes Gut," Bartholomäus Ringwaldt 1588 (verse 2, mov't. 2; verse 5, mov't. 4)
©Pamela Dellal
Texts and Translations courtesy of Pamela Dellal, Emmanuel Music