Centre d'action Artistique Inc.
Sackville Festival of Early Music
20th Anniversary
September 13 to 15, 2024
Programme
Sackville is located on the unceded territory of the Mi’kmaq People who are the historic inhabitants, custodians, and dwellers on the land.
Board of Directors
Andrew Wilson, President
Michael Cumming, Secretary
Bill Costin, Treasurer
Melissa Grey, Director
Patrice Nicolas, Director
Joanna Manning, Director, Editing
David Rogosin, Director, Editing
Helen Tucker Director
Leadership
Shawn Bostick, General Manager
Christina Haldane, Co-Artistic Director
Alexander Dobson, Co-Artistic Director
Jimin Dobson, Co-Artistic Director
Emma Poulsen, Festival Intern​​​​
PO Box 6375 , Sackville, NB, E4L 1G6
(506) 878 3786
Instagram: @sfearlym
facebook.com/SackvilleFestivalofEarlyMusic/
A note from our President,
Andrew Wilson, ​
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This year, we celebrate the 20th anniversary season of the Sackville Early Music Festival. It has been a privilege and a joy to be involved in the festival for the last number of years and to see it moving from strength to strength.
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On Friday evening, the festival is delighted to welcome the esteemed Eybler Quartet, who will perform our first concert. Their programme draws on repertoire from the earliest days of string quartet composition, beginning with fascinating if less familiar offerings, and ending with Mozart’s famed “dissonance” quartet. Coincidentally, the Eybler Quartet, also celebrates their 20th anniversary this year, and so we wish them the very warmest of congratulations for reaching this milestone.
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On Sunday, we are pleased to welcome festival favourites Les Boréades de Montréal back to Sackville for a delightful program that focuses on three English composers from the 17th century: Matthew Locke, Henry Purcell and John Blow. On Saturday, our freshly minted “Ensemble SFEM” (consisting of our new co-artistic director team, violinist Jimin Dobson and vocalists Alex Dobson and Christina Haldane) will perform a selection of German sacred music from the mid 17th to early 18th century. They will be joined by two members of Les Boréades.
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This year, our longstanding artistic director Linda Pearse has taken a 12 month leave of absence, after ten years of incredible service to the festival. We are so grateful for all of Linda’s dedication, erudition, and creative vision; these have made the festival the renowned and jubilant success that it is today. Linda’s role is being covered in her absence by our new co-artistic director team, an accomplished and dynamic partnership of three.
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As we celebrate our 20th anniversary, we have much to be thankful for and lots of vibrant music-making to look forward to. As always, our commitment to the community extends into a series of outreach concerts and events, courtesy in large part this year of the Eybler Quartet. We are so very grateful to our donors, funders and supporters who have sustained us through the often-fickle granting process, not to mention pandemics and storms. To have lasted this long as a community festival and to continue to have such loyal audiences and strong supporters from our community is evidence of the impact that SFEM has had and continues to have. Our community continues to show the love and appreciation it has for early music; we are indeed very fortunate. As always, the greatest reward is in the opportunity for us all to gather around artists of the highest calibre and to celebrate the enlivening connections forged through excellence in music-making.
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I hope you enjoy our 20th anniversary season. Here’s to the next 20!
Eybler Quartet
Early String Quartets
Eybler Quartet
Patricia Ahern and Julia Wedman, violins
Patrick Jordan, viola
Margaret Gay, cello
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Programme
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Johann Baptist Vanhal (1739-1813)
String Quartet Op. 6 No. 4 in G major (1771)
I. Moderato
II. Andante
III. Presto
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Joseph Bologne, Le chevalier de Saint George (1745-1799)
String Quartet Op. 14 No. 3 in G major (1774)*
I.
II. Vivace
Joseph Haydn (1732-1809)
String Quartet Op. 20 no. 3 in G minor (1772)
I. Allegro con spiritoII.
II. Menuet Allegretto – Trio
III. Poco adagio
IV. Finale – Allegro di molto
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Intermission
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Wolfgang Amadè Mozart (1756-1791)
String Quartet in C major, K. 465 “Dissonance” (1785)
I. Adagio - Allegro
II. Andante cantabile
III. Menuetto Allegro – Trio
IV. Allegro molto
​
​*Special thanks to the Gesellschaft der Musikfreunde in Vienna for access to first edition parts of Joseph Bologne’s string quartets op. 14
​​
This program explores a wealth of voices from the earliest days of the
string quartet repertoire. From the infectiously upbeat work of Johann
Vanhal, one of the most popular and prolific composers in Vienna to the
toast of Parisian salon audiences, Joseph Bologne, Le Chevalier de Saint
Georges, we prepare a fresh context for the better known works on the
program.
Joseph Bologne, was a French violinist, conductor, composer and soldier.
His historical significanc lies partly in his distinctive background as a
biracial and the first classical composer of African descent to attain
acclaim in European music. Among his works are many violin concertos,
string quartets, violin duets, sonatas and two symphonies.
Joseph Haydn’s Op. 20 quartets as a group were a landmark in the
development of what today we call the Classical style, and the third of the
group, in G minor is a stunningly expressive work.
Mozart’s incredible Dissonance quartet shows both his mastery of the
form and his debt to the older composer, through its dedication to Papa Haydon.
​
The Eybler Quartet came together in late 2004 to explore the works of
the first century and a half of the string quartet, with a healthy attention
to lesser known composers such as their namesake, Joseph Leopold Edler
von Eybler. The group brings a unique combination of talents and skills:
razor-sharp ensemble skills, technical prowess, expertise in period
instrument performance and an unquenchable passion for the repertoire.
​
​
Friday, September 13, 2024 7:30pm
Ensemble SFEM
German Reflective Baroque
Saturday, September 14, 2024 7:30pm
Ensemble SFEM
Christina Haldane, Soprano
Alexander Dobson, Baritone
Jimin Shin Dobson & Julie Rivest, Violins
Mélisande Corriveau, Cello/Gamba
Eric Milnes, Organ/Harpsichords
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Programme
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Kaspar Förster (1616-1673)
Sonata a 3 in F Major La Sidon
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Georg Friderich Handel 1685-1759)
Die ihr aus dunklen Grüften
from Nine German Arias HWV 208
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Johann Sebastian Bach (1685-1750)
Die Welt mit allen konigreichen
from Cantata BWV 59
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Dieterich Buxtehude (1637-1707)
Trio Sonata in A minor BuxWV 272
1st movement
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J.S. Bach
Wenn Kommst du mein Heil
from Cantata BWV 140
J.S. Bach (1685- 1750)
Komm süßes kreuze
from St. Matthew Passion BWV 244
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G.F. Handel (1685- 1750)
Singe, Seele, Gott zum Preise
from Nine German Arias HWV 206
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J.S. Bach (1685- 1750)
Komm mein Jesu und erquicke
from Cantata BWV 21
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J.S. Bach (1685- 1750)
Trio Sonata in G Major BWV 1039
Adagio; Allegro ma non tanto
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J.S. Bach (1685- 1750)
Betrachte meine seele
from St. John Passion BWV 245
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J.S. Bach (1685- 1750)
In den angenehmen Büschen
from Nine German Arias HWV 209
G.F. Handel
Virga Jesse floruit
from Magnificat BWV 243
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Matthias Weckmann (1616-1274)
Angelicus coeli chorus
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German Reflective Baroque
Tonight, SFEM’s co-artistic directors: Christina Haldane, Alexander Dobson, and Jimin Shin
Dobson are joined by three instrumentals to perform a selection of German sacred music from the
mid-17th to the early-8th century.
The programme opens with Sonata á 3, “La Sidon” by North-German/Baltic composer and
singer, Kaspar Förster (1616-1673), an influential figure in the Scandinavian musicscape of the
time. He was Kapellmeister in Copenhagen, and spent many years studying and working in Italy.
Förster’s intimate knowledge of the North Italian instrumental sonata is evident in this work; with
sections alternating between cheerful motifs, contrapuntal developments, sections of fluidity as in
the stylus fantasticus, changing tempi and time signatures. Furthermore, the return of the opening
music at the conclusion of this sonata creates an arch over the work and can be seen as a precursor
of the da capo form that was to become a fixed convention later in the Baroque, as in J S Bach 's
time. (1685-1750)
Litle is known about Dietrich Buxtehude's (1637-1707) early years, He is thought to
have been born in Helsingborg, where his father Hans Jensen Buxtehude was organist until
1642, before taking the position of organist at St. Olaf’s Church in Elsinore. There, the young
Buxtehude grew up in a cosmopolitan, cultural, and commercial environment, with a strong
German influence. It was probably during this time that his apprenticeship with Förster took place
in Copenhagen, 40, kilometers south of Elsinore. In 1668 the young virtuoso was invited to
Lübeck in 1668 to fill the coveted organist position at St. Mary’s church, where he quickly
established himself as one of the trend-setting composers of North Germany. Buxtehude often
brought together many musicians and singers to put on performances of his own music. These
included large-scale semi-theatrical oratorios in a concert series called Abendmusiken, in which
the young Bach also participated during his three-month visit
The the music of Bach is featured more than any other composer as we draw from his
wide canon of sacred music set to German and Latin text. Especially numerous are his sacred
Cantatas .During his years at St Thomas Church in Leipzig he wrote a cantata for each Sunday of
the year during his post; writing approximately 180 cantatas in the first three years of his tenure.
Included are arias from Cantatas 21, 59 and 140 as well as selections from three of his celebrated
major works: St. Matthew Passion, St. John Passion and the Magnificat.
Handel composed very little music with text in his native German tongue. The nine
German arias for soprano, violin, and basso continuo, of which we perform three tonight, were
written about 1725, probably the same time as his operas Giulio Cesare, Tamerlano, and
Rodelinda, allowing a glimpse into Handel’s personal faith and religious beliefs. In these works,
Handel creates a compelling synthesis of his Italian opera style and the heartfelt atmosphere of the
cantata texts by Barthold Heinrich Brockes, whose words Bach also drew upon for musical text
setting. The texts inspired Handel to write music of great intensity and melodic beauty, augmented
by an lmost operatic sense of declamation. The dotted obbligato figure in ‘Singe, Seele, Gott zum
Preise’ perhaps represents the words adornments; a particularly lovely moment is the singer’s
legato line at ‘wenn er Bäum’ und Feld’ over a pedal bass line, depicting the opening up of
flowers in spring meadows.
We conclude with Angelicus coeli chorus by Matthias Weckmann (1616-1674).another North
German composer of the 17th century. Weckmann started off as a choirboy in Dresden where he
met Heinrich Schütz and became his pupil, studying organ and singing. In 1637, he traveled with
his teacher Schütz for the first time to Copenhagen, and since then went back and forth between
Dresden and Denmark holding various organist jobs. Unlike Förster, Weckmann never went to
Italy but his compositional style was influenced by new tendencies coming from North Italy, as
well as the progressive qualities of Schütz's writing, with increasing chromaticism and
contrapuntal and motivic complexity. Weckmann became a close friend of Buxtehude, and he may
have met Förster. Surviving works by Weckmann are not numerous but of high quality, and in his vocal writing
he stands out as a composer with a strong sense of drama.​
​
En français
Pour ce récital, les trois co-directeurs artistiques du SFEM – la soprano
Christina Haldane, le baryton Alexander Dobson et le violoniste Jimin Shin
Dobson – vous présentent un aperçu de la musique sacrée allemande, allant du
milieu du XVIIe siècle au début du XVIIIe siècle. Ce programme explore des liens
fascinants entre différents compositeurs, notamment à travers des relations
maître-élève et des années de naissance concordantes.
Le concert s’ouvre avec la Sonate à 3, intitulée La Sidon, du chanteur et
compositeur Kaspar Förster (1616-1673), originaire d’Allemagne du Nord et de
la région baltique. Förster, figure influente du paysage musical scandinave en
tant que Kapellmeister à la cour de Copenhague, a passé une grande partie de
sa vie en Italie, où il a étudié et travaillé, tout en servant brièvement comme
capitaine dans l’armée vénitienne. Son œuvre révèle une profonde connaissance
de la sonate instrumentale italienne, avec des sections alternant motifs joyeux,
développements contrapuntiques et passages fluides dans le stylus fantasticus,
tout en intégrant des changements de tempo et de chiffres indicateurs. Le retour
du thème initial à la fin de la sonate crée une arche structurante, préfigurant la
forme da capo, qui deviendra plus tard une convention du baroque, notamment
chez J.S. Bach.
Peu d’informations nous sont parvenues sur les premières années de Dietrich
Buxtehude (1637-1707). On pense qu’il est né à Helsingborg, où son père,
Hans Jensen Buxtehude, était organiste jusqu’en 1642, avant de devenir
organiste à l’église Saint-Olaf d’Elseneur. Le jeune Buxtehude grandit dans un
environnement cosmopolite, marqué par de fortes influences allemandes. C’est
probablement à cette époque qu’il aurait étudié avec Förster à Copenhague,
située à seulement 40 kilomètres d’Elseneur. Après plusieurs allers-retours entre
Helsingborg et Elseneur, il fut invité en 1668 à Lübeck, où il devint organiste à
l’église Sainte-Marie. Très vite, Buxtehude s’imposa comme l’un des
compositeurs les plus novateurs du Nord de l’Allemagne. Ses aptitudes sociales
et son esprit entrepreneurial lui permirent de rassembler plusieurs musiciens et
chanteurs pour des représentations de ses œuvres, notamment ses célèbres
Abendmusiken, des concerts auxquels Johann Sebastian Bach assista lors de sa
visite de trois mois en 1705.
L’histoire raconte que Johann Sebastian Bach (1685-1750), jeune et déterminé,
parcourut à pied les 400 kilomètres séparant Arnstadt de Lübeck pour rencontrer
et étudier la musique de Buxtehude. Les deux hommes s’entendirent si bien que
Bach aurait reçu une proposition de mariage avec la fille de Buxtehude,
accompagnée d’une offre pour le poste d’organiste à Lübeck. Une proposition
similaire aurait été faite à Georg Friedrich Haendel (1685-1759), également
invité à rencontrer Buxtehude, mais ni l’un ni l’autre n’acceptèrent.
Ce soir, l’œuvre de Bach est mise à l’honneur, avec un large éventail de sa
musique sacrée, composée sur des textes allemands et latins. Durant son poste
à l’église Saint-Thomas de Leipzig, Bach écrivit une cantate pour chaque
dimanche de l’année, produisant ainsi environ 180 cantates en trois ans. Nous
avons inclus des airs des cantates BWV 21, 59 et 140, ainsi que des extraits de
ses grandes œuvres : la Passion selon saint Matthieu, la Passion selon saint
Jean et le Magnificat.
Bien que Bach et Haendel soient tous deux nés en Allemagne en 1685, il est
surprenant qu’ils ne se soient jamais rencontrés. Ils ont mené des carrières
indépendantes tout en étant des maîtres du style baroque et du contrepoint, mais
leurs œuvres demeurent facilement distinguables. Alors que Bach se consacrait
principalement à la musique sacrée et aux œuvres d’église, Haendel était
davantage attiré par l’opéra italien, l’opéra anglais et la musique royale anglaise.
Curieusement, les deux compositeurs furent soignés par le même
ophtalmologiste, sans pour autant se croiser.
Contrairement à Bach, Haendel composa peu de musique en allemand. Ses neuf
Deutsche Arien pour soprano, violon et basse continue, écrites vers 1725, à la
même période que ses opéras Giulio Cesare, Tamerlano et Rodelinda, nous
offrent un aperçu de sa foi personnelle et de ses croyances religieuses. Ces
œuvres témoignent d’une fusion réussie entre son style opératique italien et la
sincérité émotive des textes de cantates de Barthold Heinrich Brockes, que Bach
utilisa également. Brockes inspira Haendel à écrire une musique d’une grande
intensité et beauté mélodique, avec un sens presque opératique de la
déclamation. Dans Singe, Seele, Gott zum Preise, la ligne legato du chanteur sur
« wenn er Bäum und Feld », accompagnée d’une basse pédale, évoque avec
charme l’éclosion des fleurs printanières.
Pour conclure ce programme, tous les interprètes se réuniront pour interpréter
Angelicus coeli chorus de Matthias Weckmann (1616-1674). Weckmann,
ancien élève de Heinrich Schütz à Dresde, n’a jamais voyagé en Italie, mais son
style fut influencé par les tendances italiennes du nord et par l’écriture
chromatique et contrapuntique de Schütz. Ami proche de Buxtehude, Weckmann
aurait probablement côtoyé Förster dans les mêmes cercles musicaux. Bien que
ses œuvres survivantes soient peu nombreuses, elles témoignent d’une qualité
exceptionnelle. Dans ses compositions vocales, Weckmann se distingue par un
sens aigu du drame et une maîtrise remarquable de l’expression musicale.
​​
Texts
Die hr aus dunklen Grüften
Die ihr aus dunklen Grüften
Den eitlen Mammon grabt,
Seht, was ihr hier in Lüften
Für reiche Schätze habt.
Sprecht nicht, es ist nur Farb und Schein,
Man zählt und schließt es nicht im Kasten ein.
Die Welt mit allen Königreiche
Die Welt mit allen Königreichen,
Die Welt mit aller Herrlichkeit
Kann dieser Herrlichkeit nicht gleichen,
Womit uns unser Gott erfreut:
Dass er in unsern Herzen throne
Und wie in einem Himmel wohnet.
Ach Gott, wie selig sind wir doch,
Wie selig warden wir erst noch,
Wenn wir nach dieser Zeit der Erden
Bei dir im Himmel wohnen warden.
Wenn kömmst du, mein Heil
seele
Wenn kömmst du, mein Heil?
jesus
Ich komme, dein Teil.
seele
Ich warte mit brennendem Öle.
seele; jesus
{Eröffne, Ich öffne} den Saal
Zum himmlischen Mahl
Seele
Komm, Jesu!
jesus
Ich komme; komm, liebliche Seele!
******
You who from dark crypts
Dig out vain mammon,
Behold what riches await you
Here in the open air.
Do not say: it’s merely light and colour.
It cannot be counted and locked up in the coffers.
******
The world with all its kingdoms,
The world with all its glory
Cannot be compared with this glory
with which our God makes us glad:
that his throne is within our hearts
and there he dwells as in heaven.
Ah God, how blessed we are now,
how blessed we shall then be
when after this time on earth
we shall live with you in heaven.
******
soul
When will you come, my salvation?
jesus
I am coming, your portion [bestowed by God].
soul
I wait with burning oil [in my lamp].
soul; jesus
{Open up, I open} the hall
For the heavenly meal;
soul
Come, Jesus.
jesus
I am coming; come, lovely Soul!
Komm, süßes Kreuze
Komm, süßes Kreuze, so will ich sagen,
Mein Jesu, gib es immer her!
Wird mein Leiden einst zu schwer,
So hilfst du mir es selber tragen.
Singe, Seele, Gott zum Preise
Singe, Seele, Gott zum Preise,
Der auf solche weise Weise
Alle Welt so herrlich schmückt.
Der uns durchs Gehör erquickt.
Der uns durchs Gesicht entzückt.
Wenn er Bäum‘und Feld beblümet,
Sei gepreiset, sei gerühmet!
Komm mein Jesu und erquicke
seele
Komm, mein Jesu, und erquicke,
Und erfreu mit deinem Blicke!
Diese Seele, die soll sterben,
Und nicht leben
Und in ihrer Unglückshöhle
Ganz verderben.
Ich muss stets in Kummer schweben,
Ja, ach ja, ich bin verloren.
Nein, ach nein, du hassest mich.
Ach, Jesu, durchsüsse mir
Seele und Herze.
Komm, mein Jesu, und erquicke
Mich mit deinem Gnadenblicke!
jesus
Ja, ich komme und erquicke
Dich mit meinem Gnadenblicke,
Deine Seele, die soll leben,
Und nicht sterben,
Heir aus dieser Wundenhöhle
Sollst du erben
Heil durch diesen Saft der Reben,
Nein, ach nein, du bist erkoren.
Ja, ach ja, ich liebe dich.
Entweichet, ihr Sorgen, verschwinde, du
Schmerze!
Ja, ich komme und erquicke
Dich mit meinem Gnadenblicke.
******
Come, sweet Cross, this I want to say:
My Jesus, give it always to me!
If my suffering becomes too heavy one day,
You yourself will help me bear it.
******
Sing, my soul, in praise of God,
Who in such a wise way
Decorates the whole world so splendidly.
Let Him who quickens our ears,
Let Him who charms our eyes,
When He brings trees and field into bloom,
Be praised and glorified!
******
soul
Come, my Jesus, and restore,
And gladden with your gaze,
This soul that shall die
And not live,
And in its misfortune-cavern
Entirely decay.
I must constantly hover in grief;
Yes, ah yes, I am lost [from salvation].
No, ah no, you hate me.
Ah, Jesus, fill me with sweetness
of soul and heart.
Come, my Jesus, and restore
Me with your gaze of grace.
jesus
Yes, I come and restore
You with my gaze of grace;
Your soul, it shall live
And not die;
Here, out of this wound-cavity [in my rib],
You shall inherit
Healing/salvation through [my blood,] this juice
of the grape;
No, ah no, you are chosen [for salvation].
Yes, ah yes, I love you.
Escape, you worries; disappear, you pain.
Yes, I come and restpre
You with my gaze of grace.
Betrachte meine Seele
Betrachte, meine Seele,
mit ängstlichem Vergnügen,
Mit bittrer Lust und halb beklemmtem Herzen,
Dein höchstes Gut in Jesu Schmerzen,
Wie dir auf Dornen, so ihn stechen,
Die Himmelsschlüsselblumen blühn!
Du kannst viel süße Frucht
von seiner Wermut brechen
Drum sieh ohn Unterlass auf ihn!
In den angenehmen Büschen
In den angenehmen Büschen,
Wo sich Licht und Schatten mischen,
Suchet sich in stiller Lust,
Aug’ und Herze zu erfrischen.
Dann erhebt sich in der Brust
Mein zufriedenes Gemüte,
Und lobsingt des Schöpfers Güte.
Virga Jesse floruit
Virga Jesse floruit,
Emmanuel noster apparuit;
Induit carnem hominus,
Fit puer delectabilis;
Alleluia.
Angelicus coeli chorus
Angelicus coeli chorus
pastoribus apparuit.
Est nobis, inquit parvulus,
Praesepio reconditus.
Bethlae, Davids oppido,
natus Michea praescio
est Jesus Christus
dominus salvator vester unicus.
Quare gaudetis merito,
divina est haec unio:
caro, sanguis, homo, deus,
vobis est frater omnibus.
Betrachte meine Seele
Betrachte, meine Seele,
mit ängstlichem Vergnügen,
Mit bittrer Lust und halb beklemmtem Herzen,
Dein höchstes Gut in Jesu Schmerzen,
Wie dir auf Dornen, so ihn stechen,
Die Himmelsschlüsselblumen blühn!
Du kannst viel süße Frucht
von seiner Wermut brechen
Drum sieh ohn Unterlass auf ihn!
In den angenehmen Büschen
In den angenehmen Büschen,
Wo sich Licht und Schatten mischen,
Suchet sich in stiller Lust,
Aug’ und Herze zu erfrischen.
Dann erhebt sich in der Brust
Mein zufriedenes Gemüte,
Und lobsingt des Schöpfers Güte.
Virga Jesse floruit
Virga Jesse floruit,
Emmanuel noster apparuit;
Induit carnem hominus,
Fit puer delectabilis;
Alleluia.
Angelicus coeli chorus
Angelicus coeli chorus
pastoribus apparuit.
Est nobis, inquit parvulus,
Praesepio reconditus.
Bethlae, Davids oppido,
natus Michea praescio
est Jesus Christus
dominus salvator vester unicus.
Quare gaudetis merito,
divina est haec unio:
caro, sanguis, homo, deus,
vobis est frater omnibus.
******
Contemplate, my soul,
with anxious pleasure,
With bitter joy and half-constricted heart,
Your highest Good in Jesus’ suffering,
How for you, out of the thorns that pierce Him,
The tiny ‘keys of Heaven’ bloom!
You can pluck much sweet fruit
From his wormwood;
Therefore gaze without pause upon Him!
******
In these pleasant bushes,
Where light and shade intermingle,
Our eyes and hearts strive to refresh
Themselves in silent joy.
Then rises in the chest
My happy mind,
And praises the Creator’s goodness.
******
The rod of Jesse [God’s messiah] has blossomed,
Our Immanuel [God-with-us] has appeared;
He [God] has [in Jesus] put on human flesh,
He has been created a delightful child.
Hallelujah.
******
The heavenly choir of angels
appeared to the shepherds.
They sang to us that there is
a child lying in a manger.
In Bethlehem, the city of David,
According to Micah’s prophecy,
ye shall find Jesus the Christ,
your only Lord and Saviour.
Rejoice ye in this merit,
for this union is divine;
flesh, blood, man and God,
He is a brother to ye all.
Les Boréades de Montréal
Private Musick
Sunday, September 15, 2024 3:00pm
Les Boréades de Montréal
Francis Colpron flûtes à bec
Julie Rivest violon
Mélisande Corriveau viole de gambe
Dorothéa Ventura clavecin
​​​
Programme
Matthew Locke (v.1621-1677)
Fantaisie de la Suite no 5 en sol mineur, jouée aux flûte à bec
soprano, violon, viole de gambe et basse continue (Consort of
Four Parts, manus., v.1660)
​
​
Matthew Locke (v.1621-1677)
Suite no 2 en sol majeur
jouée aux flûte à bec soprano, violon et
basse continue (Compositions for Broken and whole Consorts,
manus., s.d.)
I. Fantazie
II. Courante
III. Ayre
IV. Saraband
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Henry Purcell (1659-1695)​​
Chaconne
Fantazie - Courante - Ayre - SarabandSonate à 4 no 6 en [si] mineur, Z. 807, jouée aux flûte à bec alto,
violon, viole de gambe et basse continue
(Sonatas of Four Parts,Londres, 1697)
Anonyme
A Division on a Ground pour flûte à bec alto et basse continue
(The Division Flute, Londres, 1706)
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John Blow (1649-1708)
Sonate à 4 en la majeur, jouée aux flûte à bec soprano, violon,
viole de gambe et basse continue (manus., s.d.)
I. Largo
II. Larghetto
III. Allegro
IV. Adagio
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Henry Purcell
Sonate à 3 no 7 en mi mineur, Z. 796, jouée aux flûte à bec ténor,
violon et basse continue (Sonatas of III Parts, Londres, 1683)
I. Sonnata
II. Canzona
III. Largo
IV. Grave
V. Vivace
VI. Adagio
John Blow
Sonate à 4 en sol majeur, jouée aux flûte à bec soprano, violon,
viole de gambe et basse continue (manus., s.d.)
I. Largo
II. Larghetto
III. Allegro
IV. Adagio
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Henry Purcell
A Ground en ré mineur pour clavecin, Z.D 222 (in A Choice
Collection of Lessons, Londres, 1696)
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Matthew Locke
Fantaisie de la Suite no 2 en ré mineur, jouée aux flûte à bec
soprano, violon, viole de gambe et basse continue
(Consorts of Four Parts, manus., v.1655)
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Après la riche période dite «élisabéthaine», qui se poursuit
assez avant dans le XVII e siècle, les formes, genres et usages
italiens et français font leur entrée dans la musique anglaise. La
sonate remplace l’ancien consort de violes, la basse continue
devient indispensable, le violon connaît ses premiers virtuoses,
venus il est vrai de l’étranger, tandis que Charles II met sur pied
un orchestre de 24 cordes pour jouer diverses danses à la
manière française. Le «â€¯Merry Monarch » entretient également
une private musick, ensemble de chambre qui joue pour son
agrément. Mais malgré ces fortes influences, la musique anglaise
de ce second XVII e siècle montre un tour, une expression et une
audace harmonique qui n’appartiennent qu’à elle.
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Today's programme brings together three well-known English composers of the post
Civil War period in Britain, who share many similarities. Each were choristors,
coming from an early musical background, held prestigious royal and religious
appointments and two were buried in Westminster Abbey. Blow was buried in the
north choir aisle in 1708, near the door which at that time led to the organ. Purcell
was buried adjacent to the organ in Westminster Abbey. Locke wrote church music
to English and Latin texts, but it is as a composer of instrumental music that he is
chiefly remembered. In 1700 Blow was appointed to the position of composer of the
Chapel Royal, the top ranking job for a composer in England at the time.There is
hardly a department of music, as known in his day, to which Purcell did not
contribute with true distinction. His anthems are given their place in the great
music of the church, there are enough fine orchestral movements in his works for
the theatre to establish him in this field; his fantasies and sonatas entitle him to
honour in the history of chamber music; his one true opera. Dido and Aeneas, is an
enduring masterpiece
Specializing in the Baroque repertoire, the ensemble Les Boréades de Montreal, was
founded in 1991 by Francis Colpron. Les Boréades has chosen as its approach a
faithful interpretation, both by respecting the rules of ancient practice and by
using period instruments. Critics and audiences in Canada and abroad have
unanimously praised the verve, spontaneity as well as the theatrical, expressive and
elegant playing of the ensemble, qualities that testify to an intimate understanding
of the spirit of the Baroque.
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