Philippe Sly bass-baritone | Michael McMahon fortepiano

This concert is generously supported by Zelie & Vincent Tan and Adèle Lafleur and Maurice & Tama Copithorne

Masaaki Suzuki music director | Joanne Lunn soprano

BACH COLLEGIUM JAPANBACH • HANDEL • VIVALDI

AT THE CHAN CENTRE

DEC09

2 | EMV Masterworks Series 2018/19 staff@earlymusic.bc.ca Bach Collegium Japan

Bach Collegium Japanearlymusic.bc.ca EMV Masterworks Series 2018/19 | 3

board of directorsChris Guzy

president

Fran Watters vice president

Spencer Corrigal cpa,catreasurer

Tony Knoxpast president

Ilia Korkhsecretary

Kathleen Bourchier Sherrill Grace

Melody Mason Tim Rendell cpa,ca

Johanna Shapira Ingrid Söchting

Vincent Tan÷

José Verstappen cmartistic director emeritus

÷

staffMatthew White

executive & artistic director

Nathan Lorchbusiness manager

Jocelyn Peircedevelopment coordinator

Laina Tanaharamarketing & volunteer coordinator

Jonathan Evansproduction coordinator

Jan Gatesevent photographer

Murray Paterson Marketing Group

marketing & media relations

Trevor Mangionand

The Chan Centre Box Office Staffemv ticket office: 604.822.2697

1254 West 7th Avenue, Vancouver BC, V6H 1B6

tel: 604.732.1610 fax: 604.732.1602

staff@earlymusic.bc.caearlymusic.bc.ca

partners

You can be in good company too!The corporate sponsors of Early Music Vancouver give back to their community through the support of our performances and education & outreach programmes. Their efforts make a meaningful difference for concertgoers and musicians alike.

Our wide range of activities offers unique sponsorship opportunities for both large and small companies to support us while also reaching their corporate goals. A range of sponsorship advantages is available, including logo recognition, complimentary tickets for your clients, employee discounts, and many other benefits tailored to your specific needs.

Call Jocelyn Peirce to discuss how our audience profile may fit with your company’s objectives: 604 732 1610.

Early Music Vancouver PARTNERS

We also gratefully acknowledge the generosity of our many donors and volunteers.

THANK YOU!

We acknowledge the support ofthe Province of British Columbia

THE DRANCE FAMILYEARLY MUSIC VANCOUVER FUND

board of directors

Chris Guzy president

Fran Watters vice president

Spencer Corrigal cpa,catreasurer

Tony Knoxpast president

Ilia Korkhsecretary

Sherrill GraceMelody Mason

Jesse ReadTim Rendell cpa,ca

Ingrid SöchtingVincent Tan

÷

José Verstappen cmartistic director emeritus

÷

staff

Matthew Whiteexecutive & artistic director

Nathan Lorchbusiness manager

Jocelyn Peircedevelopment coordinator

Laina Tanaharamarketing & volunteer coordinator

Jonathan Evansproduction coordinator

Jan Gatesevent photographer

Murray PattersonMarketing Group

marketing & media relations

Trevor Mangionand

The Chan Centre Box Office Staffemv ticket office: 604.822.2697

EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia.

pacificbaroque

orchestraalexander weimann

MUSIC director

THE BRENNAN SPANO FAMILY FOUNDATION

Early Music Vancouver gratefully acknowledges the assistance and support of:

GOVERNMENT SUPPORT

FOUNDATIONS

2018-19 PRODUCTION PARTNERS

production partners in victoria bc:

CORPORATE SUPPORT

Rosedale on RobsonSuite Hotel

VANCOUVER, BC Tony Knox Barrister & Solicitor, Arbitrator

1291 West 40th Avenue,Vancouver, B.C. V6M 1V3 Canadawww.knoxlex.com

Knox & Co. denotes D.A.Knox Law Corporation

Tel: 604 263 5766Cell: 604 374 7916Fax: 604 261 1868Email: tknox@knoxlex.com

4 | EMV Masterworks Series 2018/19 staff@earlymusic.bc.ca Bach Collegium Japan

programmethe artists

Pre-concert introduction at 2:15 with host Matthew White:

Masaaki Suzuki

generously supported by Zelie & Vincent Tan,

Maurice & Tama Copithorne and

Adèle Lafleur

Bach Collegium Japan directed by

Masaaki Suzuki

soloists:

Joanne Lunnsoprano

Masamitsu San’nomiyaoboe

Liliko Maedatraverso

Ryo Terakado violin

Emmanuel Balssacello

Masaaki Suzukiharpsichord

with the support of

Johann Sebastian Bach (1685-1750):Orchestral Suite No. 2 in B Minor bwv 1067 (1738-39)

1. Ouverture 2. Rondeau 3. Sarabande 4. Bourrées I & II 5. Polonaise & Double 6. Menuett 7. Badinerie

Antonio Vivaldi (1678-1741):Concerto in D Minor for Two Violins, Cello, Strings and Continuo from L’estro armonico Op. 3, No. 11 (1711)

1. Allegro 2. Adagio e spiccato 3. Allegro 4. Largo e spiccato 5. Allegro

Francesco Corti (1681-1732):Languet anima mea (1716)

1. Recitativo: Languet anima mea amore tuo 2. Aria: O vulnera, vita coelestis 3. Rectativo: Amoris tui jaculo 4. Aria: Tu lumen mentis es 5. Aria: Alleluia

Joanne Lunn soprano

INTERVAL

Bach Collegium Japan records for BIS

Bach Collegium Japan tours in North America are arranged by

International Arts Foundation16 West 36th Street, Suite 1205, New York, NY 10018

T: 212-581-5197 | F: 212-581-4029 | www.internationalartsfoundation.org

in association with

Chan Endowment Fund at the University of British Columbia

Bach Collegium Japanearlymusic.bc.ca EMV Masterworks Series 2018/19 | 5

THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING

DEVICE IS STRICTLY PROHIBITED

programme - continuedthe ensemble

Alessandro Marcello (1673-1747):Oboe Concerto in D Minor rv 454 (1725)

1. Andante e spiccato 2. Adagio 3. Presto

Masamitsu San’nomiya oboe

Georg Philipp Telemann (1681-1767):Quatuor No. 1 in D Major twv 43 from Nouveaux quatuors (Paris 1738)

1. Prélude: Vivement 2. Tendrement 3. Vite 4. Gaiment 5. Modérément 6. Vite

Liliko Maeda transverse flute, Ryo Terakado violin,Emmanuel Balssa cello, Masaaki Suzuki harpsichord

George Frideric Handel (1685-1759):Silete venti hwv 242 (1724)

1. Symphonia & Recitative: Silete venti 2. Aria: Dulcis amor 3. Recitative: O fortuna anima 4. Aria: Date serta 5. Aria: Alleluja

Joanne Lunn soprano

Ryo Terakadoviolin

Mika Akihaviolin

Alana Youssefianviolin

Yukie Yamaguchiviolin

Evan Fewviola

Emmanuel Balssavioloncello

Seiji Nishizawadouble bass

Masamitsu San’nomiyaoboe / oboe d’amore

Go Araioboe

Liliko Maedatransverse flute

Yukiko Murakamibassoon

Please visit Bach Collegium Japan online for additional information about touring, recordings, and special projects.

FB: @bachcollegiumjapan | TW: @bach_collegium and @bach_collegiumE | W: bachcollegiumjapan.org

Bach Collegium Japan is managed worldwide (excluding North America) by:Hazard Chase, 25 City Road, Cambridge CB1 1DP, UK

hazardchase.co.uk

Bach Collegium Japan is managed in North America by:Frank Salomon Associates, 16 West 36th Street, Suite 1205, New York, NY 10018

www.franksalomon.com

Masaaki Suzuki is managed worldwide by:Hazard Chase, 25 City Road, Cambridge CB1 1DP, UK

hazardchase.co.uk

Joanne Lunn is managed worldwide by: Hazard Chase, 25 City Road, Cambridge CB1 1DP, UK

hazardchase.co.uk

bach collegium japan staff Moegi Takahashi

6 | EMV Masterworks Series 2018/19 staff@earlymusic.bc.ca Bach Collegium Japan

programme notes

With one exception, the diverse selection of music on today’s programme belonged to the library of Johann Sebastian Bach. Because after his death Bach’s library was divided among family members outside of official inheritance regulations, no catalogue of his personal collection survives. What we know today about the literature and music that interested, influenced, and inspired him is the result of 150 years of scholarship recovering autograph manuscripts; music copied by his wife his sons, and his nephews while they were a part of his household; work of composers whose music Carl Philipp Emanuel claims his father studied; and more. The reconstructed catalogue shows that, though Bach himself travelled very little, he collected, studied, and performed music from all over Europe, and kept himself well-abreast of musical trends.

The overture or orchestral suite was tremendously popular in early eighteenth-century Germany. Bach’s colleagues Telemann, Fasch, and Graupner each wrote about 100 of these pieces. By comparison, Bach showed less interest in the genre, but his four suites that we do have are masterful. His Orchestral Suite in B Minor, BWV 1067 marries French dances with the concerto-like brilliance of Italian composers

like Vivaldi. Likely, Bach wrote this piece during his time as kapellmeister to the Prince of Anhalt-Köthen as a suite for orchestra and solo violin or oboe. In the late 1730s, he revised it, choosing the fashionable traverse flute as solo instrument. According to C.P.E. Bach, the great French flautist Pierre-Gabriel Buffardin paid Bach a visit in Leipzig sometime after 1735. Buffardin had once taught Bach’s brother Johann Jakob and was, by the 1730s, employed at the court of the Elector of Saxony in Dresden. Perhaps Buffardin’s visit occasioned the revision of this suite and the addition of the Polonaise, one of the most beloved dances at the Saxon court.

Bach’s first encounter with Vivaldi’s music around 1713 dramatically changed his approach to musical structure and surface figuration in all his music for the rest of his life. Vivaldi’s mercurial, flamboyant, and idiomatic instrumental writing, and his use of the simple but effective ritornello form – alternating a refrain played by the full orchestra with fanciful episodic material performed by soloists – deeply impressed Bach, who immediately set out to internalize Vivaldi’s compositional techniques by transcribing some of his concertos for organ and harpsichord. Bach’s transcription of Vivaldi’s Concerto in D Minor, Op. 3, No. 77 is the oldest of Bach’s concerto arrangements, and the only one that survives in his own hand. It seems that Bach was introduced to Vivaldi’s music by Johann Ernst of Saxe-Weimar, the music-loving young son of his employer. Johann Ernst had made a study trip to the Netherlands, where he collected the newest printed music. Around the same time, the organ at the castle chapel in Weimar underwent restoration. One of Bach’s students, P.D. Kräuter, applied to his school board for extended leave to study in Weimar, since, he wrote “[The prince], who himself plays the violin incomparably, will return to Weimar from Holland after Easter and spend the summer here: I could then hear much fine Italian and French music, which would be particularly profitable to me in composing concertos and French Overtures… I know too that when the new organ in Weimar is ready, Herr Bach will play incomparable thing on it.”

Francesco Bartolomeo Conti’s offertory Languet anima mea was a part of Bach’s library by 1716. It must have been a favourite, because he performed it later in Cöthen and in Leipzig. Conti was the principle theorbo player at the Hapsburg court in Vienna, whose skill was so acclaimed that he was called “the first theorbist of the world”. He also distinguished himself as an opera composer. His flair for drama and vocal fireworks is also clear in his sacred music like this setting of ecstatic love poetry to Christ. Like Conti, Bach married a virtuoso soprano. Might their wives have performed Languet anima mea with them? In Cöthen, Bach was not responsible for church music, so he probably programmed this piece as chamber music, and who better to sing it than the court’s second-highest paid musician, Anna Magdalena.

Interested in joining our volunteer corps?Phone 604.732.1610 for details.

Our activities are made possible through the generous assistance of many volunteers

who offer their time. We would like to thank the following:

Pam Atnikov, Richard Cameron, Alexandra Charlton, Ron Costanzo, Donna Cohen, Catherine Crouch, Bill Dovhey, Sandy Dowling, David Dyck, Helen Elfert, Bev Ferguson, Elizabeth Ferguson, Jean-Pierre Fougeres, Gail Franko, Maureen Girvan, Stanley Greenspoon, Satoko Hashigasako, Martha Hazevoet, Delma Hemming, Margaret Hendren, Michiko Higgins-Kato, Maggie Holland, Richard Huber, Gigi Huxley, Gretchen Ingram, Ron Jobe, Gerald Joe, Susan Kaufman, Barb Knox, John Lawson, Adèle Lafleur, Susan Larkin, Marlene LeGates, Pat Lim, Christina MacLeod, Wanda Madokoro, Dolina McLay, Kathryn McMullen, Vania Mello, Fran Moore, Carole Nakonechny, Veronika Ong, Gina Page, Betty Lou Phillips, Selma Savage, Traudi Schneider, Jill Schroder, Alison Stockbrocks, Eleanor Third.

THANK YOU TO OUR VOLUNTEERS!

Bach Collegium Japanearlymusic.bc.ca EMV Masterworks Series 2018/19 | 7

Alessandro Marcello’s Oboe Concerto in D Minor, SD 935 may have been among the pieces that Johann Ernst of Saxe-Weimar acquired in the Netherlands. Bach transcribed it for harpsichord, exploring how to recreate orchestral crescendos on the harpsichord. Marcello was, like Bach, an avid collector of musical materials, creating a gallery of musical instruments which can still be seen in the Museo Nazonale degli strumenti Musicali in Rome. His diverse pursuits included painting, drawing, and writing poetry, besides his work as a diplomat, lawyer, and judge.

Like Bach’s Orchestral Suite in B Minor, Telemann’s Quatuor No. 1 in D Major was inspired by great French musicians, including flautist Michel Blavet and gamba player Jean-Baptiste Forqueray. Telemann met them on a trip to Paris and wrote this music, the epitome of the immediately appealing and elegant style galant, for them. Forqueray liked these quartets so much that he continued to programme and perform them for years. Publishing the Nouveaux quatuors was one of Telemann’s most ambitious printing projects. The publication sold by subscription to 287 subscribers including a “Mr. Bach de Leipzig”. Perhaps Bach ordered this fashionable music for the coffee house performances of his student ensemble, the Leipzig Collegium Musicum.

Handel’s Silete venti is the only piece on this programme that cannot be directly connected to Bach’s library, though Bach did own a copy of another of Handel’s cantatas for solo soprano, Armida Abbandonata, which he had copied for his Collegium Musicum. In fact, it is not impossible that Bach knew Silete venti, since none of the more than 500 programmes that he performed with the collegium survive, and we can only guess at what he and the students performed based on the fragments of his musical library that survive. Why Handel wrote this cantata, a meditation on the soul’s love for Jesus, is also unclear. It has no obvious liturgical function and is one of Handel’s most impressive solo works, certainly demanding a star singer. Like Conti’s Languet anima, it exploits all the drama of the theatre, beginning with rustling winds painted by the orchestra and suddenly interrupted by the soprano’s entrance, and an athletic alleluia finale.

Bach’s music lines the shelves of private and public music libraries around the world today and continues to provide comfort and inspiration 268 years after his death. This programme gives an acoustic window into Bach’s world; these were some of his favourite things.

– Christina Hutten

Interested in becoming our Treasurer?Early Music Vancouver (“EMV”) is looking for a new volunteer Treasurer to join our Board of Directors and guide EMV’s finances starting in late 2018 or early 2019.

EMV’s financials are in a very healthy state, setting a solid base for future growth. With continuing increases in his professional respon-sibilities elsewhere, however, our incumbent Treasurer has suggested that it may be timely to enlist a new Treasurer for EMV to ensure the organization’s continuing ability to deliver the inspiring musical experiences that our audiences have come to expect.

EMV has a dedicated Business Manager on Staff, therefore the primary role of the EMV Treasurer is to provide oversight and advice on the financial health of the organization rather than being involved in the day to day running of the society’s finances.

The successful candidate will be expected to attend and chair Finance Committee meetings (~8 times per year, in person or via tele-conference), report at Board meetings (also ~8 times per year) as well as take responsibility for presenting at our annual AGM. The Treasurer is also an integral member of the Board‘s Executive Committee and may be involved in ad hoc meetings with the Board Chair, Business Manager and Executive and Artistic Director.

We are looking for someone with an interest in classical music and a professional accounting designation (CPA). Priority will be given to individuals with a work history that includes time at a management or partner level in a public accounting firm and who has some experience with not-for-profit entities, management reporting and governance.

Serving as EMV’s Treasurer provides not-for-profit board experience with the satisfaction that comes with learning about the performing arts and musical education. Board members gain from a collegial and well-rounded network that includes a Board of diverse personali-ties with expertise in a variety of fields, and a highly qualified staff. As an added bonus there is the opportunity to meet, mix, and mingle with inspiring musicians, teachers, and instrument builders.

Early Music Vancouver is a Vancouver-based non-profit charitable organisation that presents and produces classical music in historical context. EMV‘s annual operating budget has grown by almost 50% over the last five years, and is currently $1.4 million and growing. With 30-35 concerts per year in Vancouver and the Pacific North West, it offers one of the most ambitious programs of its type in North America, featuring internationally-renowned local and guest artists. Following the recent acquisition of the Pacific Baroque Orchestra, it has risen to prominence as one of the most active non-profit presenting and producing organisations in Vancouver. More information can be found on the website: earlymusic.bc.ca

If you are interested in this position please contact EMV’s outgoing Treasurer, Spencer Corrigal, at s_corrigal@yahoo.ca

8 | EMV Masterworks Series 2018/19 staff@earlymusic.bc.ca Bach Collegium Japan

texts & translations

Francesco Conti: Languet anima mea Soprano solo, Oboe I & II, Violin I & II (4 players), Viola, Viloloncello, Violone, Bassoon, and Harpsichord

Recitativo Languet anima mea amore tuo, My soul desires your love, o benignissime jesu! Oh gracious Jesus! Aestuat et spiratet It pines and sighs in amore deficit. and languishes for love.

Aria O vulnera, vita coelestis, Oh wounds, heavenly life, Allegro Amantis trophea regnantis victory signs of the loving ruler, cor mihi aperite. open my heart. Transfligite pectus, Pierce my breast, confodite pectus, run me through, sic mori beatum me facit dilectus. thus the loved one lets me remain happy.

Recitativo Amoris tui jaculo With the dart of your love vulnerasti cor meum, you have wounded my heart, o bone jesu. Oh dearest Jesus. languentem nunc ergo refice spiritum meum Refresh now my yearning spirit et novas ad auge amoris flammas, and once again kindle the flames of love, ut laeta queam canere. That I may preach the glad message.

Aria Tu lumen mentis es, You are the light of the spirit, Adagio tu cordis ardor, you are the glow of the heart, tu numen cordis es, you are the godhead of the heart, tu vocis clamor. The sound of the voice.

Tu lumen cordis es, You are the light of the heart, tu cordis amor the love of the heart.

Tu Deus meus es, You are my God, tu verus amor. you are true love.

Aria Alleluja! Alleluia!

© Carus Edition 35.401

Bach Collegium Japanearlymusic.bc.ca EMV Masterworks Series 2018/19 | 9

George Frideric Handel: Silete venti hwv 242 Soprano solo; Oboe I & II; Bassoon; Violin I & II; Viola; Basso continuo

Symphonia Largo—Allegro

Accompanied Recitative Silete venti, Silence, ye winds, Larghetto nolite murmurare frondes, Let your rustling leaves be still, Quia anima mea For my soul dulcedine requiescit. rests in joy.

Aria Dulcis amor, Jesu care, Sweet love, dear Jesus, Andante ma larghetto Quis non cupit te amare, Who does not wish to love you? Veni, veni transfige me. Come, come pierce me. Si tu feris non sunt clades, If you hit, you do not wound, Tuæ plagæ sunt suaves, Like carresses are your blows, Quia totus vivo in te. For within you do I exist.

Accompanied Recitative O fortunata anima, Oh happy soul, O jucundissimus triumphus, Oh most blissful victory, O fœlicissima lætitia. Oh supreme joy.

Aria Date serta, date flores Offer garlands, offer blossoms, Andante – Allegro – Andante Me coronent vestri honores, Crown me with your honours, Date palmas nobiles. Extend the regal palm frond. Surgant venti et beatæ Let the winds stir, Spirent almae fortunatæ And let the souls of the blessed ones Auras cœli fulgidas. Inhale heaven’s glorious atmosphere.

Aria Alleluja. Alleluia. Presto

© American Bach Soloists – Jeffrey Thomas

Pick up our colourful calendar/brochure in the lobby today – it includes full details about the 2018-2019 concert season.

earlymusic.bc.ca

10 | EMV Masterworks Series 2018/19 staff@earlymusic.bc.ca Bach Collegium Japan

the artists

Bach Collegium JapanBach Collegium Japan is an ensemble consisting of performers of original instruments and choir formed in 1990 by Masaaki Suzuki, the internationally renowned and highly reputed Bach performer, organist, harpsichordist, conductor and musicologist.

Bach Collegium Japan performs frequently in Japan and overseas with the aim of presenting ideal interpretations of Baroque music centring on the religious works of J.S. Bach. In 1995 the ensemble embarked on a project aimed at recording Bach’s complete church cantatas in chronological order. This project was eventually completed in February 2013 and has met with lavish praise in Japan and overseas as an internationally outstanding and exceptional achievement of the first order.

Bach Collegium Japan and Masaaki Suzuki were awarded the 45th Suntory Music Prize in 2014. This was also the year when they performed for the first time as far afield as New Zealand and Mexico. The activities of the ensemble are thus increasingly overstepping national borders to win the ensemble a high degree of international recognition.

Masaaki Suzuki Music Director

Since founding Bach Collegium Japan in 1990, Masaaki Suzuki has established himself as a leading authority on the works of Bach. He has remained their Music Director ever since, taking them regularly to major venues and festivals in Europe and the USA and building up an outstanding reputation for the expressive refinement and truth of his performances.

In addition to working with renowned period ensembles, such as Collegium Vocale Gent and Philharmonia Baroque, he is invited to conduct repertoire as diverse as Britten, Beethoven, Fauré, Mahler, Mendelssohn, Mozart and Stravinsky, with orchestras such as the Baltimore Symphony, Danish National Radio Symphony, Deutsches Symphonie Orchester Berlin, Leipzig Gewandhausorchester, New York Philharmonic and the San Francisco Symphony Orchestra amongst others. This season sees Suzuki debut with the Orchestra of the Age of Enlightenment on a European tour.

Suzuki’s impressive discography on the BIS label, featuring all Bach’s major choral works as well as complete works for harpsichord, has brought him many critical plaudits – the Times has written: “it would take an iron bar not to be moved by his crispness, sobriety and spiritual vigour”. 2014 marked the triumphant conclusion of Bach Collegium Japan’s epic recording of the complete Church Cantatas initiated in 1995 and comprising fifty-five volumes. This

major achievement has been recognised with a 2014 ECHO Klassik ‘Editorial Achievement of the Year’ award. In 2010, Suzuki and his ensemble were awarded both a German Record Critics’ Award (Preis der Deutschen Schallplattenkritik) and a Diapason d’Or de l’Année for their recording of Bach motets, which was also honoured in 2011 with a BBC Music Magazine Award. The ensemble has now embarked upon extending their repertoire with recent releases of Mozart’s Requiem and Mass in C minor; Suzuki recently released a disc of works by Stravinsky with the Tapiola Sinfonietta.

Recent highlights with Bach Collegium Japan include a visit to North America performing in cities such as Boston, Chicago, Los Angeles, New York and Washington, as well as a European tour including a weekend residency at the Barbican Centre, London, return visits to the Amsterdam Concertgebouw and Théâtre des Champs Elysées, Paris, and debut appearances at Dublin’s National Concert Hall, the Vienna Konzerthaus and the Mariinsky Theatre, St. Petersburg.

Masaaki Suzuki combines his conducting career with his work as organist and harpsichordist. Born in Kobe, he graduated from the Tokyo University of Fine Arts and Music with a degree in composition and organ performance and went on to study harpsichord and organ at the Sweelinck Conservatory in Amsterdam under Ton Koopman and Piet Kee. Founder and Professor Emeritus of the early music department at the Tokyo University of the Arts, he was on the choral conducting faculty at the Yale School of Music and Yale Institute of

Photo credit: Redpath

Masaaki Suzuki Joanne Lunn

Bach Collegium Japanearlymusic.bc.ca EMV Masterworks Series 2018/19 | 11

Sacred Music from 2009 until 2013, where he remains affiliated as the principal guest conductor of Yale Schola Cantorum. Regularly collaborating with Juilliard Historical Performance, this season sees them on a tour of New Zealand.

In 2012 Suzuki was awarded with the Leipzig Bach Medal and in 2013 the Royal Academy of Music Bach Prize. In April 2001, he was decorated with ‘Das Verdienstkreuz am Bande des Verdienstordens der Bundesrepublik’ from Germany.

Joanne Lunn sopranoJoanne Lunn studied at the Royal College of Music in London, where she was awarded the prestigious Tagore Gold Medal.

Joanne’s operatic engagements have included her ENO debut in Steven Pimlott’s production of Monteverdi’s L’Incoronazione di Poppea conducted by Harry Christophers, the role of Helena in Britten’s A Midsummer Night’s Dream in Venice conducted by Sir John Eliot Gardiner and directed by David Pountney, a tour of Purcell’s Dido and Aeneas in Spain and semi-staged productions of Monteverdi’s Orfeo in Paris and for the Beijing International Music Festival (directed by Sir Jonathan Miller).

In concert, Joanne has performed in Bach’s St Matthew Passion with the Orchestra of the Age of Enlightenment conducted by Sir Roger Norrington, with the Rotterdam Philharmonic Orchestra and with the LSO at the Barbican Hall. She has appeared as soloist in Messiah in the Halle Handel Festival, at St. Mark’s Venice, and with Bach Collegium Japan (Suzuki) and with the Mozarteum Orchester in Salzburg, as well as in Handel’s L’Allegro and Haydn’s Heiligmesse, Harmoniemesse and Paukenmesse with the Monteverdi Choir and Sir John Eliot Gardiner. Her busy concert schedule has also featured Bach’s Magnificat at the BBC Proms with the Academy of Ancient Music, and with Bach Collegium Japan, Rutter’s Requiem with the Royal Liverpool Philharmonic Orchestra conducted by the composer, Haydn’s The Seasons with the Huddersfield Choral Society, Fauré’s Requiem in Toulouse directed by Marc Minkowski, Bach Mass in B Minor with Bach Collegium Japan conducted by Masaaki Suzuki, with the Academy of Ancient Music in Alzenau and with Les Musiciens du Louvre and Minkowski, for the Akademie der alte Musik, and at the Sage, Gateshead. She has appeared in Mozart’s Mass in C Minor for the City of London Sinfonia and Melbourne Symphony Orchestra, Mozart Requiem in Moscow and at the Mariinsky Concert Hall, St Petersburg, Purcell’s The Blessed Virgin’s Expostulation and The Fairy Queen in Salzburg, Easter Oratorio with the BBC National Orchestra and Chorus of Wales under Nicholas Kraemer, Nelson Mass for the Ulster Orchestra, Rutter Mass of the Children at St Paul’s Cathedral

and at Symphony Hall, Birmingham, Harmoniemesse for Scottish Chamber Orchestra, L’Allegro, Il Penseroso ed il Moderato at the Handel Festival in Göttingen, The Creation at Cadogan Hall and Zelenka’s Missa Votiva for Musik Podium Stuttgart, Mozart Exsultate Jubilate, Mahler 4th Symphony at the Tchaikovsky Concert Hall, Moscow. Further concert performances have ranged from Saul with Cappella Amsterdam and with the Estonian Philharmonic Chamber Choir, to the first performances of J.C. Bach’s Mailänder Vesperpsalmen with Concerto Köln at the Frauenkirche, Dresden, Bach Cantatas with Le Concert Lorrain, Belinda Dido & Aeneas in Warsaw, Israel in Egypt with Düsseldorfer Symphoniker, St John Passion with Les Musiciens du Louvre (Minkowski) and Graun’s Der Tod Jesu with Collegium Vocale. She also appeared at the Niedersächsische Musiktage with Bach Collegium Japan in programmes of Bach Cantatas, and also in Christmas Oratorio at the Tonhalle, Zürich (Suzuki), concerts with Bachakademie Stuttgart and Tafelmusik (Toronto), a tour of L’Allegro, Il Penseroso ed il Moderato with Rudolf Lutz, Bach Cantatas with Ensemble Pygmalion (Raphaël Pichon), a US tour with Bach Collegium Japan, Messiah with Tafelmusik (Toronto), Israel in Egypt and St John Passion with Concerto Copenhagen.

Joanne features as a soloist on many CD recordings. Her discography includes Vivaldi’s Laudate Pueri with The King’s Consort (Hyperion), Haydn Masses with Sir John Eliot Gardiner and the Monteverdi Choir (Philips), John Rutter’s Mass of the Children with the City of London Sinfonia conducted by the composer (Collegium), Sir John Eliot Gardiner’s Bach Cantatas cycle recorded during the Bach Pilgrimage in 2000 (Deutsche Grammophon/Soli Deo Gloria), Bach’s Easter Oratorio with Frieder Bernius and the Stuttgart Kammerchor (Carus), Bach Motets with The Hilliard Ensemble (ECM), Messiah with the RPO and John Rutter, Bach Wedding Cantata BWV 202 with Bach Collegium Japan (BIS), and Bach St John Passion with the Dunedin Consort (Linn), which was nominated for a Gramophone award.

Recent engagements include Dafne Apollo e Dafne with Concerto Copenhagen at the Copenhagen Opera Festival, Monteverdi Vespers with the Dunedin Consort, Bach Secular Cantatas and Mass in B Minor with Bach Collegium Japan, Messiah with the Hallé Orchestra and also with Bournemouth Symphony and Christmas Oratorio with Le Concert Lorrain. Engagements in 2017/2018 include Chandos Anthems with the Dunedin Consort, The Creation with Leeds Festival Chorus, a European tour of Brockes Passion with Ensemble Pygmalion, Mozart Mass in C Minor with Tafelmusik in Toronto, Bach Cantatas at the Wiener Konzerthaus, appearances in concert with Bachfest Leipzig, recitals in Florence, Schloss Elmau and at the Musikfest Eichstätt, Creation with Warsaw Philharmonic, Messiah with Tafelmusik in Toronto, Bach Cantatas with Le Concert Lorrain and St John Passion with Holland Baroque Society.

BACH COLLEGIUM JAPAN RECORDINGS FOR SALE IN THE LOBBY

12 | EMV Masterworks Series 2018/19 staff@earlymusic.bc.ca Bach Collegium Japan

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Bach Collegium Japanearlymusic.bc.ca EMV Masterworks Series 2018/19 | 13

ARTS UMBRELLA DANCE COMPANY

MIXEDNUTSMIXEDNUTSMIXEDNUTSDEC 14–16

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C H O R A L M U S I C F O R T H E H O L I DAY S E A S O N

SATURDAY DECEMBER 22, 20182:00PM | Holy Rosary Cathedral

7:30PM | Queens Avenue ChurchTickets: vancouvercantatasingers.com

CHRISTMAS REPRISE XVI

Jonathan Quick Director The Gallery Singers

invite you to celebrate Christmas with traditional favourites and

contemporary carols. Featured are two Noels anciens, and Jonathan

Quick’s original composition, “Angels from Heaven Came”

3pm, Sunday, December 16th

Adults $18/ Students with valid ID $9/ Children 12 and under Free www.gallerysingers.ca

CHRISTMA

Gallery SingerSSherbrooke Mennonite 7155 Sherbrooke St., Van.

14 | EMV Masterworks Series 2018/19 staff@earlymusic.bc.ca Bach Collegium Japan

EARLY MUSIC VANCOUVER

Leave a Legacy

Help us give the gift of Early Music to future generations

You can ensure the continued health and vibrancy of Early Music in Vancouver through one of the most powerful tools in your possession – your estate plan. Legacy gifts are an expression of your values, wishes and hopes for the future.

There are different ways in which you can make a legacy gift. Each type has different benefits for you and your family.

Examples:

• A Bequest in your Will – naming the Vancouver Society for Early Music as a beneficiary

• Naming the Vancouver Society for Early Music as a beneficiary of a Life Insurance Policy or RRSP

• Creating or contributing to an Endowment Fund

If you have already included Early Music Vancouver in your estate plan or would like more information on possibilities for legacy gifts, please contact our Business Manager Nathan Lorch at 604.732.1610 or nathan@earlymusic.bc.ca for more information.

To ensure that your particular needs are met and that your exact wishes are honoured, we recommend that you consult your legal and/or financial advisors.

Planned gifts can create excellent tax advantages; ask your financial advisor to help determine the most advantageous plan for you.

Thank you for your support!

Full Legal name: Vancouver Society for Early MusicCharitable Number: 10816 7776 RR0001

Early Music Vancouver1254 West 7th Avenue, Vancouver BC, V6H 1B6

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BRING EMV HOME!

Host an EMV Guest MusicianDo you have a guest room that often sits empty?

Do you enjoy well-educated, articulate houseguests from across the country and the world?

Do you like Classical music?

Would you like to get the ‘inside scoop’ about performing from a professional musician?

If your answer to any of these questions is ‘yes’, then I invite you to consider joining the growing number of EMV supporters who house visiting guest musicians.

Get to know some of the wonderful musicians that come to Vancouver to bring you great music.

Host only when it is convenient for you; all you need to provide is a private room.

For more information please contact Jonathan Evans, Production Manager,

Early Music Vancouver:specialprojects@earlymusic.bc.ca or 604.732.1610, extension 2004

Special thanks to the following for hosting our guest musicians:

Jill Davidson, Tony Dawson, Martha Hazevoet, Delma Hemming, Michiko Higgins-Kato, Barry Honda & Valerie Weeks, Judy Killam, Tony & Margie Knox, Evan & Janice Kreider, Marlene LeGates & Al Dreher, Deborah Roitberg & Jack Amar, Judy Storr, Nick & Olivia Swindale, John Tulip, Alex Waterhouse-Hayward, Alexander Weimann & Chloe Meyers, Marc White & Joey Schibild, Penny Williams, Jane & Michael Woolnoughs.

Bach Collegium Japanearlymusic.bc.ca EMV Masterworks Series 2018/19 | 15

These listings include donations received prior to October 25, 2018

Benefactors ($50,000+): The Drance Family *. Presenters ($10,000+): Elaine Adair * | Gail & Bryan Atkins * | Vic & Joan Baker * | The Mary & Gordon Christopher Foundation * | Helen & Frank Elfert * | Sharon Kahn * | Janette McMillan

& Douglas Graves | Ralph Spitzer & Hisako Kurotaki * | José Verstappen *. Sponsors ($5,000 - $9,999): RPC Family Foundation | Chris Guzy & Mari Csemi * | Agnes Hohn * | Dorothy Jantzen * | Tony & Margie Knox * | In Memory of Peter Wood * | The Lloyd

Carr-Harris Foundation * | David W McMurtry * | The Nemetz Foundation * | Dr Katherine E Paton * | Zelie & Vincent Tan * | Birgit Westergaard & Norman Gladstone * | Bruce Munro Wright *.

Co-Sponsors ($2,500 - $4,999): The Brennan-Spano Family Foundation | The Estate of Gunnar Brosamler | Meredith & Pat Cashion | Mark De Silva | Ernst & Young LLP | Marianne Gibson * | The Hamber Foundation * | The John & Leni Honsaker Fund * | J Evan & Janice Kreider * | The McLean Foundation | Yvonne McLean * | Jo & Bob Tharalson * | Bruno Wall & Jane Macdonald * | Eric Wyness | ONE Anonymous Co-Sponsor..

Supporters ($1,000 - $2,499): Hugh Anton | Colleen & Martin Barlow | Marti Barregar * | Spencer Corrigal | Charles & Lucile Flavelle Family Fund * | Heather Franklyn * | Dr Val Geddes * | Ursula Graf * | The Hamber Foundation * | Delma Hemming * | Elsie & Audrey Jang Fund * | Brian Jones | Melody Mason * | Lucie McNeill * | Margaret O’Brien * | Dr Robert S Rothwell * | Ingrid Söchting * | Anona Thorne & Takao Tanabe * | Mark Tindle & Leslie Cliff | Dr Carol Tsuyuki * | Fran Watters | Lorna Yeates | Gordon W. Young * | Three Anonymous Supporters.

Patrons ($500 - $999):|Alan & Elizabeth Bell * | Andrea Bertram | Buntain Insurance * | Christina Burridge | Andrew J A Campbell * | Lorene De Silva | Lorea DeClercq & Michael Winters | Virginia Evans * | Martin Ferera | Jane Flick & Robert Heidbreder * | Nancy & David Fraser | Michael Fuhrmann | Andrew Fyson | Andrew Gay | Patrick Gilligan-Hackett * | In memory of Barbara Godard | Sherrill Grace | Ronald Hagler * | Winifred Hall | Martha Hazevoet * | Diana Herbst | Heather & Bill Holmes | Joseph & Jeanette Jones | Harold Knutson * | Michael Kobald * | Paula Kremer | David Layton & Zoe Druick | Evelyn Leaf * | John C. Leighton * | Ursula Litzcke | Susanne Lloyd * | Graeme & Paddy Macleod * | Marta & Nicolas Maftei * | Bill Markvoort | Barbara Moon | Geoffrey Newman | Hans-Karl & Irene Piltz * | Pam Ratner & Joy Johnson * | Tim & Janet Rendell | Peter & Kay Richards | Peter & Elfriede Rohloff | Elaine Sawyer, in memory of John, a true Handelfreak * | John Schreiner * | Johanna Shapira | Karen Shuster * | James & Jean Simpson * | Fumiko Suzuki | Tom & Margaret Taylor | Gwyneth & Roy Westwick * | Michael Stevenson & Jan Whitford | Dr. James Whittaker *  | Karen Wilson * | Jane & Michael Woolnough * | In Memory of Rosemary Wright | Two Anonymous Patrons.

Friends ($100 - $499): Jill Bain | Patricia & Robert Baird * | Sarah Ballantyne * | Janet Becker | In Memory of Becky | Richard Beecher | Jeremy Berkman & Sheila McDonald * | Richard Bevis | Patricia Birch | Joost Blom | Janine Bond * | Valerie Boser & Patrick Tivy | Norma Boutillier | Gary & Natalie Boychuk | Jane Bracken & Fred Stockholder | Donna Brendon | Nonie Brennan | Gordon Briggs | Mary Brown * | Karl Brunner * | Pille Bunnell | Lawrence & Maggie Burr | Jessica Campbell | David Chercover * | In Memory of Chloe | Marylin Clark * | Peter & Hilde Colenbrander | Gillian & Mike Collins * | Michael Collins * | Tama Copithorne * | Ron Costanzo * | Cull Family Fund * | Tony Dawson | Dr Gaelan de Wolf * | Marc Destrubé & Anna Goren * | Beatrice Donald | Carolyn Eckel * | Josine Eikelenboom * | Patricia Evans | David Fallis & Alison Mackay * | Keith Farquhar & Koji Ito * | In memory of Eve Farson * | Marguerite Fauquenoy & Bernard Saint-Jacques * | Alex Fisher & Lisa Slouffman * | Irene Fritschi-Nelin | Hannah & Ian Gay | Arlene Gladstone * | Paul Gravett & Mark Hand * | Gordon & Kathleen Gray * | Dr Beverley Green * | Elizabeth Guilbride * | Penelope & Lyman Gurney * | Mark Halpern | Elizabeth & Keith Hamel * | Dr. Evelyn J. Harden * | Don Harder * | Norbert & Jutta Haunerland | William M Hay * | Beth & Robert Helsley | The Henkelman Family * | Sally Hermansen | William Herzer * | Ada Ho & Doug Vance * | Barry Honda & Valerie Weeks * | Ralph Huenemann & Deirdre Roberts * | Ron Jobe | France-Emmanuelle Joly | Valerie Jones | Patrick Jordan * | Dr. Stanislava Jurenka * | Lars & Anne Kaario * | Lynn Kagan * | Hanna & Anne Kassis * | Susan Kessler * | Judy Killam * | Dalton Kremer | Peter Kwok * | Nicholas Lamm * | M. C. Lansdorp | Janet & Derwyn Lea | David Lemon * | Cindy Leung * | Audrey Lieberman | Leslie Loving * | Janet Lowcock | E. J. Makortoff * | Catherine Manning * | Emil Marek | Glenys McDonald * | James McDowell | Ray McGinnis | William McKellin | Peter Mercer | Bill Meyerhoff | Christi Meyers | Michael Millard | Jocelyn Morlock, In Memory of Nikolai Korndorf | Alfred & Jennifer Muma * | Sarah Munro | Peter & Roma Nemetz | Sharon Newman | Christine Nicolas | Julie Ovenell | Stephen Partridge * | Elizabeth Paterson * | JoAnn Perry | Randall Peterman & Judith Anderson | David Phillips & Margo Metcalfe * | Anne Piternick * | Jocelyn Pritchard * | Dr Patricia Rebbeck | Rhona Rosen * | Selma Savage * | Allan Sawchuk | Erna Schaefer | Iris Schindel | Verna Semotuk * | in honour of Verna Semotuk | Shirley Sexsmith | Leah Skretkowicz | Colleen Smith | Alison Stockbrocks | David & Eileen Tamblin * | Takeshi & Izumi Tanahara | Lynne Taylor * | Kathy Thomas | Douglas Todd * | Ron Toews * | Grant Tomlinson * | Trevor & Rebecca Tunnacliffe * | Vancouver Viols * | Urban Impact Recycling * | Rika Uto | David & Susan Van Blarcom | Elinor & Theodora Vassar | Nicholas Voss * | Barbara M Walker * | James Walsh * | Heddi & Tony Walter | Norma Wasty | Jim Wearing * | Joella Werlin | C & H Williams * | Elizabeth Wilson & Lauri Burgess | Audrey Winch * | Martha Wintemute | Fred Withers | Elizabeth Wolrige | Nancy Wong * | Dale & Ted Wormeli * | William J Worrall * | Reece Wrightman * | Elizabeth H. Yip | Colin Young | Beth Young | Jennifer & Kenneth Yule | Twenty-one Anonymous Friends.

Donors ($25 - $99):  Dr Frank Anderson  | Yvonne Bachmann  | Denise Ball  | G.  Pat Blunden *  | Janet Brynjolfsson *  | Norma Chatwin *  | Vivien & Patrick Clarke  | Abe Cohen  | Bette Cosar *  | In memory of Daniel Craig  | Greg Cross *  | Shelagh Davies *  | Judith Davis *  | Jacqueline Day  | Jan-Steyn de Beer  | Maureen Douglas  | In Memory of Henry Elder  | Ruth Enns *  | Missy Follwell  | Judith Forst  | Kenneth Friedman *  | Nancy Garrett *  | Jolle Greenleaf  | Ian Hampton & Susan Round *  | Elizabeth Hunter *  | Susan Jung Kemeny *  | Robyn Kruger  | Yolande LaFleur *  | A donation in memory of Edgar Latimer  | In memory of Irene Leviton  | Susan Lomax  | Ketty & Alex Magil  | Reva Malkin *  | A donation in honour of the Markova Family  | Anne Mathisen  | Ulrike McCrum *  | Colleen Midmore  | Colin Miles *  | Marie Nagy  | Henry Numan  | Celia O’Neill  | Danielle Papineau  | Anna Pappalardo  | Hannelore Pinder *  | Thomas Querner *  | S.  Reuter *  | Martha Roth  | Carole Ruth *  | David Ryeburn *  | Valerie Shackleton *  | Juliet H.  Simon *  | Kathryn Simonsen  | Cheryl Steinhauer *  | The Stenberg Family *  | Nicki Stieda  | Mr.  Ronald Sutherland *  | Teresa Vandertuin  | Eva Wilson  | Nine Anonymous Donors. 

Early Music Vancouver gratefully acknowledges our many contributors & donors, who play a vital role in supporting the well-being of our organisation, and ensuring our continuing success. Thank you!

* A Special Thank-You to our Loyal Long-Time DonorsThe names in these listings which are marked with an asterisk [*] indicate donors who have supported Early Music Vancouver annually for five years or more. Their loyal and ongoing generosity has been especially valued, and has helped ensure that we can plan our annual projects & seasons with confidence and with a solid sense of security. Thank you!

early music vancouver | donors and supporters

We also gratefully acknowledhe the select group of donors that, in addition to their annual donations, has generously contributed to Early Music Vancouver’s Endowment Fund – which is administered by the Vancouver Foundation, and which currently stands at over 1.8 million dollars. Interest from this Fund will continue to support our performances & activities in perpetuity.

early music vancouver | endowment fund donors

($100,000+): The Drance Family Early Music Vancouver Fund. ($20,000+): Vic & Joan Baker | Ralph Spitzer & Hisako Kurotaki | José Verstappen | 2 Anonymous Donors. ($5,000+): A donation in memory of Tom Blom | Frank & Helen Elfert | The Nemetz Foundation | Dr Katherine E Paton | Marcia Sipes | A donation in memory of Peter Wood. ($2,500+): The RPC Family Foundation | Maurice & Tama Copithorne | Tony & Margie Knox | James C. & Wendy Russell | Anona Thorne & Takao Tanabe. ($1,000+): A donation in memory of Mrs Betty Drance | Heather Franklyn | Marianne Gibson | Patrick Gilligan-Hackett | Martha Hazevoet | Dorothy Jantzen |

Ottie Lockey & Eve Zaremba | Susanne Lloyd | Greg Louis | Glenys McDonald | Dr Robert S Rothwell | Karen Shuster | Zelie & Vincent Tan | Lorna Weir | Four Anonymous Donors.

(up to $1,000): Evelyn Anderson | Alan & Elizabeth Bell | Meo Beo | Jeffrey Black & Mary Chapman | L & C Bosman | A donation in memory of C Y Chiu | Mary Christopher | Gillian & Mike Collins | A donation in memory of Basil Stuart-Stubbs | Judith Davis | Jane Flick & Robert Heidbreder | Dr Val Geddes | Margot Guthrie | Mark Halpern | Linda Johnston | Peter Kwok | Elizabeth Lamberton | Rob Mayhew | Janette McMillan & Douglas Graves | Benjamin Milne | Alberto Mondani | Alfred & Jennifer Muma | Barbara Murray | Judith & Greg Phanidis | Connie Piper | Pam Ratner & Joy Johnson | Joan Rike | Elfriede & Peter Rohloff | David Ryeburn | Jo & Bob Tharalson | John Tulip | James Walsh | Fran Watters | Glenys Webster & Paul Luchkow | Five Anonymous Donors.

Suggested donation $20 at the door | earlymusic.bc.ca

BUXTEHUDE – MEMBRA JESU NOSTRI

Wednesday March 8, 2019 at 7:30pm (Pre-concert talk at 6:45pm) | Christ Church Cathedral

This concert features one of the greatest masterworks of 17th-century music, Dieterich Buxtehude’s Membra Jesu Nostri, and other early baroque works from Germany for choir, soloists, and instruments.

The Keio University Ensemble from Tokyo, directed by Nozomi Sato, joins local soloists, members of EMV and UBC’s Baroque Mentorship Orchestra, Cappella Borealis, and conductor Alexander Weimann for a rich and varied programme of music from the German Baroque.

This concert is generously supported by Keio University, Design the Future Fund

and Hakuju Institute for Health Science, Co. Ltd. and Maurice & Tama Copithorne

NEW MUSIC FOR OLD INSTRUMENTS – THOMAS TALLIS AND MISSA CHARLES DARWIN

Wednesday January 16, 2019 at 7:30pm (Pre-concert talk at 6:45pm) | Christ Church Cathedral

Tickets from $36 | earlymusic.bc.ca | 604.822.2697

New York PolyphonyNew York Polyphony is one of the foremost vocal chamber ensembles active today. The four men, “singers of superb musicianship and vocal allure”, (The New Yorker) give vibrant, modern voice to repertoire ranging from Gregorian chant to cutting-edge compositions.

Their dedication to innovative programming, as well as a focus on rare and rediscovered Renaissance and medieval works, has not only earned New York Polyphony two grammy nominations and wide acclaim, but also helped to move early music into the classical mainstream.

This concert is part of the VSO’s New Music Festival

Generously supported by George Laverock and Jane Coop.