Cantata Collective Program 12

December 1, 2019

Johann Sebastian Bach (1685-1750)

Wer nur den lieben Gott lässt walten, BWV 93

  • 1. Chorus: Wer nur den lieben Gott lässt walten
  • 2. Chorale and Recit: Was helfen uns die schweren Sorgen?
  • 3. Aria: Man halte nur ein wenig stille
  • 4. Aria-Duet: Er kennt die rechten Freudenstunden
  • 5. Chorale and Recit: Denk nicht in deiner Drangsalshitze
  • 6. Aria: Ich will auf den Herren schaun
  • 7. Chorale: Sing, bet und geh auf Gottes Wegen

Ich bin ein guter Hirt, BWV 85

  • 1. Aria: Ich bin ein guter Hirt
  • 2. Aria: Jesus ist ein guter Hirt
  • 3. Chorale: Der Herr ist mein getreuer Hirt
  • 4. Recit: Wenn die Mietlinge schlafen
  • 5. Aria: Seht, was die Liebe tut
  • 6. Chorale: Ist Gott mein Schutz und treuer Hirt
  • Tonia D'Amelio, soprano
  • Heidi Waterman, alto
  • Derek Chester, tenor
  • Harrison Hintzsche, bass
  • Marc Schachman & Michael Dupree, oboe
  • Kati Kyme & Lisa Weiss, violin
  • Anthony Martin, viola
  • William Skeen, cello
  • Kristin Zoernig, bass
  • Rod Gehrke, organ

Guest Artists

Tonia D'Amelio

Photo of Tonia D'Amelio

Called “extravagantly charismatic” by the San Francisco Chronicle and praised by Fanfare Magazine for her “rapt vulnerability”, soprano Tonia D’Amelio has sung with opera companies, orchestras, chamber ensembles, and vocal consorts across the U.S. and abroad.

A versatile singer with a repertoire spanning five centuries, Tonia has participated in several opera and concert premieres. She created the role of Celia Brooke in Allen Shearer’s Middlemarch in Spring for both the world premiere in San Francisco and the revival with Charlottesville Opera, and sang in the first performance of Ryan Brown’s oratorio Mortal Lessons at the 10th annual Switchboard Music Festival. Tonia also sang featured roles in the modern stage premieres of Rameau’s The Temple of Glory (1745) with Philharmonia Baroque Orchestra, and Pallavicino’s The Amazons (1679) with Ars Minerva.

Other favorite credits include Drusilla in Monteverdi’s L’Incoronazione di Poppea with West Edge Opera, cantata recitals with Los Angeles Baroque Players, Mendelssohn’s Lobgesang with Philharmonia Baroque Orchestra, and liturgical performances of Monteverdi’s Vespers of 1610, Mozart’s Requiem, and J.S. Bach’s St. John Passion, as well as guest artist stints at the William Byrd Festival in Portland, Oregon, and the Edington Festival of Music within the Liturgy in Wiltshire, U.K.

Heidi Waterman

Photo of Heidi Waterman

With a voice that has been praised for its’ “…rich, lustrous tone and gorgeous legato,” Heidi L. Waterman has enjoyed a wide-ranging career encompassing everything from film scores to early music to modern opera, and has performed as a soloist with nearly every major Bay Area ensemble including the San Francisco Symphony, San Francisco Opera, Philharmonia Baroque Orchestra and Chorale, and San Francisco Bach Choir. Recent highlights include Bach’s Christ lag in Todesbanden and Handel’s Dixit Dominus (Schola Cantorum), St. John Passion (S.F. Bach Choir), Purcell’s Te Deum and Jubilate (Philharmonia Baroque Orchestra and Chorale), Mendelssohn’s Elijah (Marin Oratorio and North Valley Chorale), and the (small but mighty) role of a Muse in Philharmonia Baroque’s magnificent production of Rameau’s opera Le Temple de la Gloire.

Derek Chester

Photo of Derek Chester

Praised by the New York Times for his "beautifully shaped and carefully nuanced singing," tenor Derek Chester is steadily making a name for himself in the world of classical singing. In demand as an interpreter of oratorio, Chester has appeared as soloist with such organizations as Boston Baroque, West Edge Opera, the Atlanta Baroque Orchestra, Ars Lyrica Houston, the Korean Broadcasting System Symphony, the Toronto Symphony, the Buffalo Philharmonic, the Colorado Symphony, Bach Collegium San Diego, and the American Bach Soloists. He holds degrees from University of Georgia and the Yale School of Music as a full scholarship recipient. After a year as a Fulbright Scholar in Germany, Chester competed his Doctorate in Music from the University of North Texas. As a well-regarded pedagogue Chester participated in the 2016 NATS Intern Program and has given master classes across the country. He currently serves as associate professor of voice and director of the early music consort at the University of Northern Colorado and continues his worldwide career as an interpreter of concert repertoire.

Harrison Hintzsche

Photo of Harrison Hintzsche

“Sonorous” (Opera News) American baritone, Harrison Hintzsche, is on the rise as an avid recitalist, concert singer, and ensemble musician. He has been praised for his warm lyric tone, musical subtlety, and dedication to text.

In January 2018, Harrison made his international debut at London’s Wigmore Hall in a collaborative art song recital with pianist and scholar Graham Johnson as a part of Johnson's recital series, "Franz Schubert: The Complete Songs," and was noted by Opera Today for displaying a “strong sense of narrative” and “gentle poignancy” in his interpretations of Schubert’s work. He placed first in the Edvard Grieg Society of Minnesota's 2018 Voice Competition, and was the first-ever recipient of the William H. Halverson Award, presented by the Edvard Greig Society of America for an outstanding performance of Grieg’s music. Other honors include receiving Honorable Mention at the 2018 Schubert Club Bruce P. Carlson Scholarship Competition, being a national anthem singer for Major League Soccer team Minnesota United FC, and singing the role of "The Archangel" in the premiere recording of Carol Barnett's Mortals & Angels: A Bluegrass Te Deum with conductor Philip Brunelle and the VocalEssence Ensemble Singers.

This past season’s performance highlights include Handel’s Alexander’s Feast and J.S. Bach’s cantatas 13 and 156 with conductor Masaaki Suzuki, J.S. Bach’s cantatas 19 and 149 with Scott Allen Jarrett, an all-Nordic art song recital entitled “Echos of Nostalgia” with pianist Mary J. Trotter, excerpts of Schubert’s Die Schöne Müllerin arranged for guitar and voice performed in Weill Recital Hall (Carnegie Hall), the role of “Pilgrim” in Vaughn Williams’ chamber opera The Shepherds of the Delectable Mountains, and the premiere performance of Pawel Łukaszewski’s oratorio Ascensio Domini with conductor David Hill.

A sought-after ensemble musician, Harrison has performed and soloed with a variety of vocal ensembles such as The VocalEssence Ensemble Singers (Philip Brunelle, G. Phillip Shoultz, III.), The Minnesota Chorale (Kathy Salzman Romey), the Internationale Bachakademie Stuttgart JSB Ensemble (Kathy Salzman Romey, Hans-Christoph Rademann), Bach Ensemble Helmuth Rilling, and MPLS (imPulse) (Samuel Grace).

Bach Cantata Translations

BWV 93 - "Wer nur den lieben Gott läßt walten"

Cantata for the Fifth Sunday after Trinity
1. Choral
Wer nur den lieben Gott läßt walten
Und hoffet auf ihn allezeit,
Den wird er wunderlich erhalten
In allem Kreuz und Traurigkeit.
Wer Gott, dem Allerhöchsten, traut,
Der hat auf keinen Sand gebaut.
("Wer nur den lieben Gott läßt walten," verse 1)
1. Chorale
Who only lets dear God rule
and hopes in Him at all times,
God will wondrously support
in every torment and sorrow.
Whoever trusts in God, the Almighty,
has not built upon sand.
2. Choral und Rezitativ B
  Was helfen uns die schweren Sorgen?
Sie drücken nur das Herz
Mit Zentnerpein, mit tausend Angst und Schmerz.
  Was hilft uns unser Weh und Ach?
Es bringt nur bittres Ungemach.
  Was hilft es, daß wir alle Morgen
Mit Seufzen von dem Schlaf aufstehn
Und mit beträntem Angesicht des Nachts zu Bette gehn?
  Wir machen unser Kreuz und Leid
Durch bange Traurigkeit nur größer.
Drum tut ein Christ viel besser,
Er trägt sein Kreuz mit christlicher Gelassenheit.
("Wer nur den lieben Gott läßt walten," verse 2)
2. Chorus and Recitative B
  What good are heavy worries?
They only press upon our hearts
with a hundredweight of pain, with a thousand fears and sorrows.
  What can our woe and sighing do?
They bring only bitter hardship.
  What help is it, that every morning
We get up from our sleep with sighs
and with tear-stained faces go to bed at night?
  We make our suffering and sorrow
through anxious melancholy only greater.
Therefore a Christian does much better,
he bears his cross with Christian resignation.
3. Arie T
   Man halte nur ein wenig stille,
Wenn sich die Kreuzesstunde naht,
  Denn unsres Gottes Gnadenwille
Verläßt uns nie mit Rat und Tat.
Gott, der die Auserwählten kennt,
Gott, der sich uns ein Vater nennt,
Wird endlich allen Kummer wenden
Und seinen Kindern Hilfe senden.
("Wer nur den lieben Gott läßt walten," verse 3)
3. Aria T
  Only hold oneself still a little,
if the hour of suffering approaches,
  for the gracious will of our God
will never forsake us with counsel and deed.
God, who knows his chosen ones,
God, who calls Himself our Father,
will turn aside all suffering in the end
and send His children help.
4. Arie (Duett) S A
Er kennt die rechten Freudenstunden,
Er weiß wohl, wenn es nützlich sei;
Wenn er uns nur hat treu erfunden
Und merket keine Heuchelei,
So kömmt Gott, eh wir uns versehn,
Und lässet uns viel Guts geschehn.
("Wer nur den lieben Gott läßt walten," verse 4)
4. Aria (Duet) S A
He knows the right time of joy,
He knows well, when it is necessary;
If only He has found us faithful
and detects no hypocrisy,
then God comes, before we are aware of Him,
and allows much good to befall us.
5. Choral und Rezitativ T
  Denk nicht in deiner Drangsalshitze,
Wenn Blitz und Donner kracht
Und die ein schwüles Wetter bange macht,
  Daß du von Gott verlassen seist.
Gott bleibt auch in der größten Not,
Ja gar bis in den Tod
Mit seiner Gnade bei den Seinen.
Du darfst nicht meinen,
  Daß dieser Gott im Schoße sitze,
Der täglich wie der reiche Mann,
In Lust und Freuden leben kann.
  Der sich mit stetem Glücke speist,
Bei lauter guten Tagen,
Muß oft zuletzt,
Nachdem er sich an eitler Lust ergötzt,
"Der Tod in Töpfen" sagen.
  Die Folgezeit verändert viel!
Hat Petrus gleich die ganze Nacht
Mit leerer Arbeit zugebracht
Und nichts gefangen:
Auf Jesu Wort kann er noch einen Zug erlangen.
Drum traue nur in Armut, Kreuz und Pein
Auf deines Jesu Güte
Mit gläubigem Gemüte;
Nach Regen gibt er Sonnenschein
  Und setzet jeglichem sein Ziel.
("Wer nur den lieben Gott läßt walten," verse 5)
5.Chorale and Recitative T
  Think not, in the heat of your despair,
When lightning and thunder crack
and threatening weather makes you anxious,
  that you are abandoned by God.
God is also there in the greatest need,
yes, even in death,
for His own with His grace.
You should not think,
  that God places in His lap
he who daily, like the rich man,
can live in happiness and joy.
  the one who feeds on constant happiness,
on good days alone,
for he must often after all,
after the enjoyment of a vain pleasure,
say "there is death in the pot."
  The coming time changes much!
Even though Peter labored the whole night
in vain and caught nothing:
At Jesus' word he could still achieve his goal.
Therefore only trust, during poverty, suffering, and pain,
in Your Jesus' goodness
with a faithful conscience;
after rain He will bring sunshine.
  and sets a destiny for each.

6. Arie S
Ich will auf den Herren schaun
Und stets meinem Gott vertraun.
Er ist der rechte Wundermann.
Der die Reichen arm und bloß
Und die Armen reich und groß
Nach seinem Willen machen kann.
("Wer nur den lieben Gott läßt walten," verse 6)

6. Recitative S
I will look upon the Lord
and always trust my God.
He is the true miracle-worker.
He who can make the rich poor and bare
and the poor rich and great
after His will.
7. Choral
Sing, bet und geh auf Gottes Wegen,
Verricht das Deine nur getreu
Und trau des Himmels reichem Segen,
So wird er bei dir werden neu;
Denn welcher seine Zuversicht
Auf Gott setzt, den verläßt er nicht.
("Wer nur den lieben Gott läßt walten," verse 7)
7. Chorale
Sing, pray and walk in God's ways,
just carry out your ways faithfully
and trust in heaven's rich blessing,
then it will be renewed in you;
for whoever places his confidence
in God, God will never abandon.
"Wer nur den lieben Gott läßt walten," Georg Neumark 1657 (mov'ts. 1,4,7, source for others)  
©Pamela Dellal

BWV 85 - "Ich bin ein guter Hirt"

Cantata for Misericordias Domini
1. Arie B
Ich bin ein guter Hirt, ein guter Hirt läßt sein Leben für die Schafe.
(John 10:12)
1. Aria B
I am a Good Shepherd; a good shepherd gives up his life for his sheep.
2. Arie A
Jesus ist ein guter Hirt;
Denn er hat bereits sein Leben
Für die Schafe hingegeben,
Die ihm niemand rauben wird.
Jesus ist ein guter Hirt.
2. Aria A
Jesus is a good shepherd;
for He has already given His life
for His sheep,
so that no one will steal them from Him.
Jesus is a good shepherd.
3. Choral S
Der Herr ist mein getreuer Hirt,
Dem ich mich ganz vertraue,
Zur Weid er mich, sein Schäflein, führt
Auf schöner grünen Aue,
Zum frischen Wasser leit er mich,
Mein Seel zu laben kräftiglich
Durch selig Wort der Gnaden.
("Der Herr ist mein getreuer Hirt," verse 1)
3. Chorale S
The Lord is my faithful shepherd,
to whom I entrust myself totally,
He leads me, His lamb, to pasture
in a lovely green meadow,
He leads me to fresh water,
to refresh my soul powerfully
through the blessed word of grace.
4. Rezitativ T
Wenn die Mietlinge schlafen,
Da wachtet dieser Hirt bei seinen Schafen,
So daß ein jedes in gewünschter Ruh
Die Trift und Weide kann genießen,
In welcher Lebensströme fließen.
Denn sucht der Höllenwolf gleich einzudringen,
Die Schafe zu verschlingen,
So hält ihm dieser Hirt doch seinen Rachen zu.
4. Recitative T
When the hired servants sleep,
then this Shepherd watches over His sheep,
so that each in desired peace
can enjoy grazing and pasture,
through which flows the stream of life.
For the wolf of hell seeks forcibly
to devour the sheep,
yet this Shepherd keeps his fury at bay.
5. Arie T
Seht, was die Liebe tut.
  Mein Jesus hält in guter Hut
  Die Seinen feste eingeschlossen
  Und hat am Kreuzesstamm vergossen
  Für sie sein teures Blut.
5. Aria T
Behold what love does.
  My Jesus keeps His own
  tightly closed in good keeping
  and has poured out on the trunk of the Cross
  His precious blood for them.
6. Choral
Ist Gott mein Schutz und treuer Hirt,
Kein Unglück mich berühren wird:
Weicht, alle meine Feinde,
Die ihr mir stiftet Angst und Pein,
Es wird zu eurem Schaden sein,
Ich habe Gott zum Freunde.
("Ist Gott mein Schild und Helfersmann," verse 4)
6. Chorale
If God is my Protector and faithful Shepherd,
no misfortune will disturb me:
away, all my enemies,
you who cause fear and pain,
it will be to your own harm,
since I have God as my friend.
John 10:12; "Der Herr ist mein getreuer Hirt," verse 1: Cornelius Becker 1598 (mov't. 3); "Ist Gott mein Schild und Helfersmann," verse 4: Ernst Christop Homburg 1658 (mov't. 6)
©Pamela Dellal
Texts and Translations courtesy of Pamela Dellal, Emmanuel Music