HEINRICH SCHüTZ Christmas Storyand Holiday Favorites from Our First Half-Century

Friday, december 3, 8PmSt. Mark’s Lutheran Church, San Francisco1111 O’Farrell Street

Saturday, december 4, 8PmAll Saints’ Episcopal Church, Palo Alto555 Waverley Street

Sunday, december 5, 4PmSt. Mark’s Episcopal Church, Berkeley2300 Bancroft Way

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Soprano

Elizabeth ArnettHelen BrownGretel DreismannKate LuckyAnn McCownSarah WoottonKatja Zuske

Tenor

Tucker FisherJohn GaleHenry KahnStephanie RosenbaumPeter SargentLoren TayerleDavid Taylor Siegel

orcheSTra

Lars Johannesson and Alissa Roedig, recorder; John Thomas, alto sackbut; Becca Burrington, tenor sackbut; David Deitch, bassoon

Christine Meals and Rachel Hurwitz, violin; Elizabeth Reed, treble viol; Daniel Deitch, treble viol; Farley Pearce, cello

Cheryl Ann Fulton, harp; Yuko Tanaka, organ

alTo

Sally AhngerMichele BaroodyMelinda de JesúsHeather HadlockPatricia JennerjohnJulie ParsonnetSara TankeMargaret Wootton

BaSS

Matthew FormanCraig McCreightDave MillerSteve SiegelmanMike Weston

Our concert season is funded in part by grants from:

SVCreates, in partnership with the County of Santa Clara.

Vocal SoloiSTS

Caroline Jou Armitage, soprano · Paul Flight, tenor · Sepp Hammer, baritone

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Historia der Geburt Jesu Christi Heinrich Schütz (1585–1672)

Introduction Intermedium 1: The Angel to the Shepherds Intermedium 2: The Angel Intermedium 3: The Shepherds Intermedium 4: The Wise Men Intermedium 5: The High Priests Intermedium 6: Herod Intermedium 7: The Angel to Joseph Intermedium 8: The Angel to Joseph Conclusion

Paul Flight, Narrator · Caroline Jou Armitage, Angel · Sepp Hammer, Herod

inTermiSSion

Nun komm, der Heiden Heiland Samuel Scheidt (1587–1654)Weihnachten Felix Mendelssohn (1809–1847)

Laetentur caeli Mikołaj Zielenski (1560–1620)Lulajże Jesuniu arr. Maciej Małecki (b.1940)

Quaeramus cum pastoribus Giovanni Croce (1557–1609) Verbum caro factum est arr. Mike and Kay Jaffee

På krubbans strå Ivar Wideen (1871–1951)Hoe leyt dit kindeken Johannes Berckelaers (15?–16?)The Rose John Paynter (1931–2010)

The First Mercy Peter Warlock (1894–1930)Where Riches is Everlastingly Peter Warlock

Salve puerule Marc-Antoine Charpentier (1643–1704)

California BaCh SoCietyDeCemBer 2021 ConCertS

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Heinrich Schütz (1585–1772) is generally regarded as the most important German composer before Jo-hann Sebastian Bach and one of the most important composers of the 17th century.

Historia der Geburt Jesu Christi is a setting of the Gos-pel that is intended to be performed during a service instead of the Gospel reading. It is a late work, com-posed when Schütz was 75 years old, and it features the more austere musical style that Schutz adopted late in life. Schütz had travelled a lot throughout his life and had lived through the Thirty Years’ War; this contrib-uted to the “serenity of the composer’s late works.”

The music was probably first performed in a Christmas service at the court chapel of Johann Georg II, Elec-tor of Saxony, in Dresden in 1660. The text is almost exclusively taken from the Bible in the translation by Martin Luther, quoting both Luke and Matthew. The work is framed by a choral Introduction and Bes-chluss (conclusion).

It is scored for soloists and choir in up to six parts (SSATTB) and orchestra. The Evangelist is a ten-or singing secco recitative (following the patterns of speech rather than a strict rhythm), a tradition which Bach continued. Additionally, Schütz uses the “Italian dramatic recitative style” for these recitatives. Music historian Michael Zwiebach notes that this style “has unexpected twists that emphasize particular words, and it shifts tonal centers rapidly to reflect dramatic events.” The angel is sung by a soprano with two vio-lins (or treble viols), a trio of shepherds is accompa-nied by pastoral recorders, the words of the priests are set as a quartet. Herod is accompanied by trumpets

(or sackbuts), setting his worldly power apart from the “more potent, less showy, heavenly host.”

Samuel Scheidt (1587–1654) was a German com-poser, organist, and teacher of the early Baroque era. Scheid composed in two principal categories: instru-mental music, including a large amount of keyboard music, mostly for organ; and sacred vocal music, some of which is a cappella and some of which uses a basso continuo or other instrumental accompaniment.

Nun komm, der Heiden Heiland is a motet for double choir, which was written around 1635. The chorale tune is an Advent hymn, and it is handed off to differ-ent vocal parts as the music progresses.

Felix Mendelssohn (1809–1847) enjoyed early suc-cess in Germany; he revived interest in the music of Johann Sebastian Bach, notably with his perfor-mance of the St. Matthew Passion in 1829. He was well received in his travels throughout Europe as a composer, conductor, and soloist; his ten visits to Brit-ain—during which many of his major works were pre-miered—formed an important part of his adult career. After a long period of relative neglect due to changing musical tastes and antisemitism in the late 19th and early 20th centuries, his creative originality has been re-discovered. He is now among the most popular composers of the Romantic era.

Weinachten is an eight-part motet from Mendelssohn’s series of motets (Sechs Sprücke, Op. 79) for the Chris-tian liturgical year. Mendelssohn composed these mo-tets during the mid-1840s for the Cathedral Choir of Berlin. This motet’s relative brevity, exuberance, lyri-

Program noteS

CALIFORNIA BACH SOCIETY AUDITIONSAuditions are held throughout the year when there is a need for additional singers. If you are interested in singing with us, please submit an online application at www.calbach.org/auditions and you will be notified when there is an opening for your voice part. If you are a student, check out our internship program at www.calbach.org/internship. For more information write info@calbach.org or call 650-485-1097.

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cism, and rich uncomplicated harmonic style are typi-cal of many of his sacred choral compositions.

Mikołaj Zielenski (1560–1620) was a Polish com-poser, organist, and Kapellmeister to the primate Ba-ranowski, Archbishop of Gniezno. This motet is from the Offertoria/Communes totius anni, which contains his only surviving compositions.

Lætentur cæli (The Heavens Rejoice) is written for two equal choirs in the Venetian Baroque style. The text (from Psalm 95) is used for the offertory for Christmas Eve Midnight Mass.

Maciej Małecki (b. 1940) is a Polish composer and pianist. He studied at the Frederic Chopin Academy of Music, in Warsaw, Poland, and the Eastman School of Music, in Rochester, New York.

Lulajże Jesuniu (Lullaby Little Jesus) This is the best-known Polish Christmas carol. A young and home-sick Frederic Chopin incorporated this melody into the middle section of his B minor Scherzo. Małecki’s arrangement was originally for voices, soprano soloist, and orchestra. We thank him for this special arrange-ment with piano accompaniment, which he graciously made for the California Bach Society.

Giovanni Croce (1557–1609) was an Italian compos-er of the Venetian School in the late Renaissance. He was particularly prominent as a madrigalist. Stylisti-cally, Croce was more influenced by Andrea Gabrieli than his nephew Giovanni Gabrieli; Croce preferred the emotional coolness, the Palestrina clarity, and the generally lighter character of Andrea’s music. Croce’s sacred music shows a development from the even-tex-

tured style of Palestrina to the more modern Venetian style of his day.

Quaeramus cum pastoribus, a double choir motet for Christmastide, features the typical “call and response” writing, but it does not adhere fully to that Venetian style, as sometimes a question-and-answer alternates between the two choirs (the typical Venetian treat-ment), and at other times each choir asks and answers the questions by itself. The two choirs separate and join, creating varied textures and sonorities. Sections of the motet are separated by the traditional “noe, noe” Christmas response.

Verbum caro factum est (The Word Was Made Flesh) was arranged by the noted Waverly Consort founders and leaders, Mike and Kay Jaffee, and featured on their 1999 CD The Christmas Story. The Consort was founded in 1964 to explore the sounds and styles of early musical repertoire. A review of this CD states: “One of the more interesting selections is the 14th century Italian lauda ‘Verbum caro factum est’. . .that shows just how able and artful this group is in preserving the music’s ancient-ness while making it alive and immediately appealing to modern listeners.” David Vernier, ClassicsToday.com

The lauda was the most important form of vernacu-lar sacred song in Italy in the late medieval era and Renaissance. It was often associated with Christmas, and so is in part equivalent to the English carol, French noël, Spanish villancico, and like these genres occupies a middle ground between folk and learned lyrics. After 1480 the singing of laude was extremely popular in Florence since the monk Savonarola (and others) had prohibited the dissemination of any other style of sacred vernacular music.

NOT A SINGER? YOU CAN STILL JOIN THE CALIFORNIA BACH SOCIETY. . . .

Offer your time and talents as a volunteer to help CBS. Would you like to donate your time? Do you have a special talent we could use? We have a wide variety of tasks, and we can use your helping hands—at our concerts and throughout the year. Please give us a call at 650-485-1097 or email us at info@calbach.org.

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Paynter. “The music does try to suggest the suspension of time, such as one has with the opening of a flower: it grows yet it does not appear to move (hence the lack of harmonic movement). Such movement as there is em-phasizes the change in vocal colors rather than changes of harmony.” Near the middle, Paynter has the main choir (Choir I) ad lib. the durations of the words they sing to a G major chord while Choir II adds on “frag-mentary statements at the indication of the conductor” so as to create an effect of “bell-harmonics or the sym-pathetic reverberation of harmonics on strings.” Los Angeles Master Choir program notes, December 2016.

Peter Warlock (pseudonym of Philip Arnold He-seltine, 1894–1930) was a talented, troubled, and eccentric British composer and author. Early on, he was strongly influenced by Frederick Delius. He was almost entirely self-taught, and admired the music of Debussy, Liszt, and Bartok. His songs alternate be-tween the lyricism of Delius and a roistering spirit reminiscent of the first Elizabethan age. His personal-ity veered between extroverted, heavy-drinking jovial-ity, and neurotic introspection. And he has also been described as a supreme “carrolist” of the century, per-haps of all time.

The First Mercy (1926) was originally a solo song and an early collaboration between the composer and Bruce Blunt, with whom he would soon after write perhaps his best-known choral work, Bethlehem Down. Warlock arranged the carol for upper voices (SSA) and piano in 1927. It is a simple carol with mostly homo-phonic textures and some of Warlock’s characteristic harmonic twists, Where Riches Is Everlastingly is set for four-part chorus and organ. The text is from the early 16th century. Rhythmic and graceful, it alternates be-tween unison and part writing.

Marc-Antoine Charpentier (1643–1704) was a French composer of the Baroque era. Exceptionally prolific and versatile, Charpentier produced compo-sitions of the highest quality in several genres. His mastery in writing sacred vocal music, above all, was recognized and hailed by his contemporaries.

Ivar Widéen (1871–1951) was a Swedish organist and composer. Widéen was greatly inspired by the music of Richard Wagner, Edvard Grieg, and August Söderman. He had a prominent role in Swedish cho-ral music. He was principal conductor of the Småland Sångarförbund and led that choir at annual national choir festivals.

På krubbans strå (In the Manger Straw) is a sweet and understated setting of a hymn from the Swedish Psalm Book, addressing Jesus in the manger.

Johannes Berckelaers (15?–16?) was a Flemish com-poser working in Antwerp. The Cantiones natalitiae (Birth Songs) is a collection of settings of traditional Christmas carols by lesser-known church composers from Ghent, Antwerp, and Brussels. They are Flem-ish (and occasionally Latin) Christmas texts and tunes, most of which had existed since the Middle Ages and were widely popular in the sixteenth and seventeenth centuries throughout the Low Countries.

Hoe leyt dit kindeken is a four-part song from this col-lection, arranged in a simple verse form with the tune set in the top voice. It is believed that these songs were sung during the placing of the Christ Child figure in the manger during the Christmas service. Parents took their children into the church, with each child hav-ing a crib with a bell attached to it. When during the mass the priest began to rock the baby on the altar and sang Eia, eia, eia, all the children also rocked their cribs and sang Eia. This was accompanied by a lot of noise and bells ringing. The words Sus sus, na na na kindeken probably refers to this practice.

John Paynter (1931–2010)was raised in a working-class family in South London. He was a passionate ad-vocate for choral music and music education.

The Rose (1969), a setting of an anonymous text from the 15th century, was composed for a choir divided into two parts, with alto and baritone solos. “The gradual ‘unfolding’ of the music symbolizes the opening of the rose (and its closing during the final stanza),” writes

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A cornerstone of the Bay Area early music scene for 50 years, California Bach Society is a 30-voice cham-ber choir directed by Paul Flight. Known for finely wrought interpretations of Renaissance and Baroque music, the choir is often accompanied by leading peri-od instrumentalists or full Baroque orchestra. In 2018 we were awarded “Best Choral Group” and “Best Early Music/Baroque Ensemble” by San Francisco Classical Voice. Each year, we perform four concert sets in three venues: San Francisco, Palo Alto, and Berkeley.

Founded in 1971, CBS has specialized in histori-cally informed performances since 1989. Since his appointment in 2006, Dr. Flight has attracted audi-ences and critics with his thoughtful and refreshing programming. Under his direction, the chorus has become well respected for bringing lesser-known mas-terworks to Bay Area stages and has garnered critical acclaim.

Leon Chisholm of San Francisco Classical Voice wrote: “In recent years, the California Bach Society has be-come a prospector of Baroque gold. Its concerts have brought forth exquisite, rarely heard works by forgot-ten masters from the lost frontier, to the delight of its audiences.” And another SFCV reviewer asserted that CBS “excels in the intricate polyphony of Bach’s choral writing.”

Our 50th anniversary season (2021-2022) celebrates the healing power of music with works by J.S. Bach, Claudio Monteverdi, and Heinrich Schütz, along with rarely performed gems from lesser-known composers. We will close this very special season with a gala per-formance of J.S. Bach’s St. John Passion.

Artistic Director Dr. Paul Flight—a noted choral con-ductor, teacher, and singer—is in his sixteenth season with the California Bach Society. A former member of such distinguished ensembles as the Waverly Con-sort, Theatre of Voices, Pomerium Musices, and the New York Collegium, he brings a wealth of expertise to CBS. Critics have praised Dr. Flight’s conducting acumen, stating: “Flight has made of the choral group a professional ensemble capable of every expressive nuance and glorious ensemble sound.” In addition, he is the artistic director of Schola Cantorum San Fran-cisco, a professional chamber choir, and the founding director of Berkeley-based Chora Nova. For nine years Dr. Flight was principal conductor of the Madison Early Music Festival, where he directed masterworks by Bach, Handel, Telemann, Vivaldi, Purcell, Dufay, and Guerrero. He has twice been a visiting professor of music at the University of California at Berkeley, di-recting the music department’s top choral ensembles. As a visiting professor at Mills College, he has lectured on opera, and music history and form. He conducted an operatic double-bill production of Gustav Holst’s Savitri and Darius Milhaud’s Les malheurs d’Orphée for Mills College. Dr. Flight received his doctorate from Indiana University, where he studied conducting with Robert Porco. He has recorded a program fea-turing the music of Giovanni Croce for Harmonia, a nationally syndicated radio show, and has appeared as a guest on KALW radio’s performing arts program My Favorite Things, as well as KALW’s Open Air.

Soprano Caroline Jou Armitage, proud CBS choris-ter from 2011–2017, is known to Bay Area audiences for her “absolutely beautiful” solo performances sung with “pitch-perfect clarity and affecting intensity” (San

BiograPhieS

Salve puerule (Hail, little boy) is the last movement of Charpentier’s Christmas cantata In Nativitem Domini nostri Jesu Christi. Each verse of this five-part setting is set apart by a charming instrumental ritornello.

Sources: Wikipedia, Los Angeles Master Choir, Clas-sicsToday.com, The Peter Warlock Society

—Patricia Jennerjohn

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SAN FRANCISCOCLASSICAL VOICESan Francisco Classical Voice is the go-to place for comprehensive coverage of music in the SF Bay Area and beyond.

sfcv.org

Music News Artist InterviewsCritical Reviews

Francisco Classical Voice). A frequent soloist with the California Bach Society, she has performed Handel’s Dixit Dominus, Bach’s Cantatas BWV 21 and 198, Bach’s Mass in G Major, Bach’s Mass in A Major, and Respighi’s Lauda per la Natività (role of Angel). Caro-line sang Handel opera arias and duets with contralto Karen Clark at the 2018 Berkeley Festival and Exhibi-tion and appeared as a soloist with the Amherst Early Music Festival. Her operatic roles include Laetitia in Menotti’s The Old Maid and the Thief, Lucy in Britten’s The Beggar’s Opera, the First Lady and Papagena from Mozart’s The Magic Flute, and Norina in scenes from Donizetti’s Don Pasquale. She was the featured soloist in a concert of opera arias and choruses with Chora Nova, where she sang arias from Purcell’s The Fairy Queen, Weber’s Der Freichütz, and Mascagni’s Caval-leria Rusticana. In March 2022, she will be perform-ing Webern’s Dehmel lieder with pianist Janis Mercer. Caroline currently studies voice with Karen Clark and harpsichord with Tamara Loring Greene.

Sepp Hammer’s voice has been described as show-ing “warm baritone gravity” (The Boston Globe). His concert engagements in recent seasons include the role of Jesus in Bach’s St. Matthew Passion with California Bach Society, Eupolemus in Handel’s Judas Maccabae-us with Philharmonia Baroque, Bach’s Schwingt freudig euch empor with Cantata Collective, Zelenka’s Gloria with Chora Nova, Vaughan Williams’ Five Mystical Songs with Contra Costa Chorale, and, with various ensembles, Charpentier Messe des Morts, Schütz Sym-phoniae Sacrae, Bach Magnificat, Bach B Minor Mass, Haydn Lord Nelson Mass, Schubert Mass in G Major, Brahms Requiem, Fauré Requiem, and Duruflé Requi-em. On the opera stage, Sepp’s roles include Aeneas in Dido and Aeneas, the title role in Don Giovanni, Count Almaviva in Le Nozze di Figaro, the Speaker in The Magic Flute, and John Proctor in The Crucible. Sepp holds a master’s degree in vocal performance from New England Conservatory and is a member of the Philharmonia Baroque Chorale. n

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TExTS & TRANSLATIONS

hiSToria der GeBurT JeSu chriSTi

IntroduktionDie Geburt unsers Herren Jesu Christi, wie uns die beschrieben wird von den heiligen Evangelisten. Amen.

EvangelistEs begab sich aber zu der selbigen Zeit, daß ein Gebot von dem Kaiser Augustus ausging, daß alle Welt geschätzet Würde, und diese Schätzung war die erste und geschah zu der Zeit, da Cyrenius Landpfleger in Syrien war, und jedermann ging, daß er sich schätzen ließe, ein jeglicher in seine Stadt. Da macht sich auch auf Joseph aus Galiläa, aus der Stadt Nazareth, in das jüdische Land zu der Stadt Davids, die da heißet Bethlehem, darum daß er von dem Hause und Geschlechte Davids war, auf daß er sich schätzen ließe mit Maria, seinem vertrauten Weibe, die war schwanger. Und als sie daselbst waren, kam die Zeit, daß gebären sollte, und sie gebar ihren ersten Sohn und wikkelt ihn in Windeln und legte ihn in eine Krippe, denn sie hatten sonst keinen Raumin der Hergerge. Und es waren Hirten in der selbigen Gegend auf dem Felde, die hüteten des Nachts ihre Herde, und siehe, des Herren Engel trat zu ihnen, und di Klarheit des Herren leuchtet um sie, und sie fürchteten sich sehr. Und der Engel sprach zu ihnen:

Der Engel zu den HirtenFürchtet euch nicht, siehe, ich verkündige euch große Freude,

The chriSTmaS STory

The birth of our lord Jesus Christ, As written for us By the holy Evangelists. Amen

In those days a decree went outfrom Caesar Augustus, that all the world should be taxed. (This was the first census, that took place while Quirinius was governor of Syria.) And everyone went to be registered each to his own city. So Joseph went up from Galilee, Out of the city of Nazareth,to Judea, to the city of David, which was called Bethlehem, because he was of the house and line of David.

He went there to register with Mary, his espoused wife, who was with child.While they were there, the time came for the baby to be born,

and she gave birth to her firstborn, a son,and wrapped him in swaddling clothesand placed him in a manger, because there was no room in the inn.

And there were shepherds abiding in the fields, keeping watch over their flocks at night.And lo, an angel of the Lord appeared to them, and the glory of the Lord shone around them, and they were terrified.

But the angel said to them:

The Angel to the Shepherds“Do not be afraid, for behold, I bring you good news that will cause great joy

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for all the people. Today a Savior has been born to you,Who is Christ the Lord,In the city of David. This will be a sign to you: You will find the babe wrapped in swaddling clothesand lying in a manger.”

And suddenly there was with the angel a multitude of the heavenly host, praising God and saying:

The Angel“Glory to God in the highest,And on earth peace,Good will toward men.”

And when the angel went back to heaven, the Shepherds said to each other:

The Shepherds“Let us go now to Bethlehem,And see this thing which has been told to us, And what God had done for us.”

So they hurried off and found Mary and Joseph, and the baby, who was lying in the manger.

When they had seen him, they spread the news of what they had been told, and all who heard itwere amazed at what the shepherds said to them.

But Mary treasured up all these things and pondered them in her heart. The shepherds returned, glorifying God for all the things they had heard and seen, which were just as they had been told.

die allem Volk widerfahren wird. Denn euch ist heute der Heiland geborn,welcher ist Christus, der Herrin der Stadt David. Und das habt zum Zeichen: ihr werdet finden das Kind in Windeln gewikkeltund in einer Krippen liegen.

EvangelistUnd alsbald war da bei dem Engel die Menge der himmlishen Heerscharen, die lobeten Gott und sprachen:

Der Engel Ehre sei Gott in der Höhe,Friede auf Erden,Und den Menschen ein Wohlgefallen.

EvangelistUnd da die Engel von ihnen gen Himmel fuhren, sprachen di Hirten untereinander:

Die HirtenLaßet uns nun gehen gen Bethlehem,Und die Geschichte sehen,Die da geschehen istUnd der Herr uns kund getan hat.

EvangelistUnd sie kamen eilend und fanden beide, Maria und Joseph, dazu das Kind in der Krippe liegen; da sie es aber gesehen hatten, breiteten sie das Wort aus, welches zu ihnen von diesem Kinde gesaget war, und alle, vor die es kam, verwunderten sich der Rede, die ihnen die Hirten gesaget hatten.Maria aber behielt alle diese Wort’ und beweget sie in ihrem Herzen. Und die Hirten kehreten wieder um, preiseten und lobeten Gott um alles, das sie gesehen und gehöret hatten, wie den zu ihnen gesaget war.

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On the eighth day, when it was time to circumcise the child, he was named Jesus, the name the angel had given him before he was conceived.

After Jesus was born in Bethlehem in Judea, during the time of King Herod, Magi from the east came to Jerusalem and asked:

The Wise Men“Where is the newborn King of the Jews? For we have seen his star in the East and have come to worship him.”

When King Herod heard this, he was disturbed, and all Jerusalem with him. He called together all the chief priests and scribes of the people, and demanded of them where the Christ was to be born. And they said to him:

The High Priests and Scribes“In Bethlehem, in the land of Judea, thus was written by the prophets:And you, Bethlehem of Judea, you are not the least among the kingdoms of Judah. For from you will come the leader who over my people Israel shall be the Lord.”

Then Herod called the Magi secretly and found out from them exactly when the star had appeared.

He sent them to Bethlehem and said,

Herod“Go and search diligently for the young child,

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Und da acht Tage um waren, daß das Kind beschnitten würde, da ward sein Name genennet Jesus, welcher genennet war von dem Engel, ehe den er im Mutterleibe empfangen ward.

Da nun Jesus geboren war zu Bethlehem im jüdischen Lande zur Zeit des Königes Herodes, siehe, da kamen die Weisen aus Morgenlande gen Jerusalem und sprachen:

Die Weisen“Wo ist der neugeborne König der Juden?Wir haben seinen Stern gesehen im Morgenlande,Und sind kommen ihn anzubeten.”

EvangelistDa das der König Herodes hörete, erschrak er und mit ihm das ganze Jerusalem, ‘und ließ versammeln alle Hohenpriester und Schriftgelehrten unter dem Volk und erforschete von ihnen, wo Christus sollte geboren warden, und sie sagten ihn:

Hohepriester und Schriftgelehrte“Zu Bethlehem im jüdischen Lande,Den also steht geschrieben durch den Propheten:Und du Bethlehem im jüdischen Lande, Du bist mit nichten die kleineste unter den Fürsten Juda.Denn aus dir soll mir kommen der Herzog,Über mein Volk IsraelEin Herr sei.”

EvangelistDa berief Herodes die Weisen Heimlich und erlernete mit Fleiß von ihnen wenn der Stern erschienen wäre, und weisete sie gen Bethlehem und sprach:

Herodes“Ziehet hin, und forschet fleißig nach dem Kindlein,

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und wenn ihr’s findet, so saget mir es wieder, daß ich auch komme und es anbete.”

EvangelistAls sie nun den König gehöret hatten, zogen sie hin, und siehe, der Stern, den sie im Morgenlande gesehen hatten, ging vor ihnen hin, bis daß er kam und stand obenüber, da das Kindlein war, da sie den Stern sahen wurden sie hoch erfreuet und gingen in das Haus und fanden das Kindlein mit Maria, seiner Mutter, und fielen nieder und beteten es an und taten ihre Schätze auf und schenkten ihm Gold, Weihrauch und Myrren, und Gott befahl ihnen im Traum, daß sie nicht sollten wieder zu Herodes lenken, und sie zogen durch einen andern Weg wieder in ihr Land.Da sie aber hinweg gezogen waren, siehe, da erscheinen der Engel des Herren dem Joseph im Traum und sprach:

Der Engel zu Joseph“Stehe auf, Joseph! Stehe auf und nimm das Kindlein und seine Mutter zu dir, und fleuch in Egyptenland. Und bleibe allda, bis ich dir sage, den es ist vorhanden, daß Herodes das Kindlein suche, dasselbe umzubringen.”

EvangelistUnd er stand auf und nahm das Kindlein und seine Mutter zu sich bei der Nacht und entfloh nach Egyptenland und blieb allda bis nach dem Tode Herodis, auf daß erfüllet würde, das der Herr durch den Propheten gesaget hat, der da spricht:

and when you find him, return and tell me, so that I may come and worship him.”

After they had heard the king, they went on their way, and the star, which they had seen in the East, went ahead of them until it stopped over the place where the child was.When they saw the star, they were overjoyed, and went into the house, and found the child with his mother Mary, and they knelt and worshiped him. Then they opened their treasures and gave him gold, frankincense, and myrrh. And God warned them in a dream not to go back to Herod, and they returned by another route to their lands.When they had gone, lo, an angel of the Lord appeared to Joseph in a dream, and said:

The Angel to Joseph“Get up, Joseph! Take the childand his mother and flee to Egypt. Stay there until I tell youThat it is safe, for Herod is searching for the child, to kill him.”

So he got up, took the child and his mother during the night and fled to Egypt, and stayed there until the death of Herod. And so was fulfilled what the Lord had spoken through the prophets when he said:

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Aus Egypten habe ich meinen Sohn gerufen. Da nun Herodes sahe, daß er von den Weisen betrogen war, ward er sehr zornig und schicket aus und ließ alle Kinder zu Bethlehem töten, und an ihren Grenzen, die da zwei jährig und drunter waren, nach der Zeit, die er mit Fleiß von den Weisen erlernet hatte, da ist erfüllet, das gesaget ist durch den Propheten Jeremia, der da spricht: Auf dem Gebirge hat man ein Geschrei gehöret, viel Klagens, Weinens und Heulens. Rahel beweinete ihre Kinder und wollte sich nicht trösten lassen, den es war aus mit ihnen. Da aber Herodes gestorben war, siehe, da erschien der Engel des Herren dem Joseph im Traum und sprach:

Der Engel zu Joseph“Stehe auf, Joseph, und nimm das Kindlein und seine Mutter zu dir und zeuch hin in das Land Israel. Sie sind gestorben, die dem Kinde nach dem Leben stunden.”

EvangelistUnd er stand auf und nahm das Kindlein und seine Mutter zu sich und kam in das Land Israel. Da er aber hörete, daß Archelaus im jüdischen Lande König war, anstatt seines Vaters Herodes, fürchtet er sich, dahin zu kommen, und im Traum empfinger Befehl von Gott, und zog in die Örter des galiläischen Landes und kam und wohnte in der Stadt, die da heißet Nazareth, auf daß erfüllet würde, was da gesaget ist durch den Propheten: Er soll Nazarenus heißen.

Out of Egypt I called my son. When Herod realized that he had been betrayed by the Magi, he was furious, and he gave orders to kill all the boys in Bethlehem and its vicinity who were two years old and under, according to the time he had learned from the Magi. Thus was fulfilled the word of the prophet Jeremiah who said: A voice is heard in Ramah, weeping and great mourning.Rachel weeping for her children and refusing to be comforted because they are no more.After Herod died, lo, an angel of the Lord appeared in a dream to Joseph and said,

The Angel to Joseph“Get up, Joseph, and take the child and his mother back to the land of Israel. For those who were seeking to kill the child are dead.”

So he got up, and took the child and his mother and came to the land of Israel. But when he heardthat Archelaus was king in Judea in place of his father Herod, he was afraid to go there. Having been warned in a dream, he withdrew to the land of Galilee,

and he went and lived in the city called Nazareth. So was fulfilled what was said through the prophets: that he would be called a Nazarene.

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The child grew and was strong in spirit, full of wisdom, and God’s grace was upon him.

cloSinG

So we thank God, Christ our Lord,Who by his birth, has illuminated us,And redeemed us by his bloodFrom the devil’s power.So we shall all rejoicewith the angels,Singing praise to God in the highest.

SaVior of The naTionS, come

Savior of the nations, come!Virgin’s son, make here your home.Marvel all, both heaven and earth,That the Lord chose such a birth.

chriSTmaS

Rejoice, you people on Earth, and praise God! The savior has appeared, who is called the Lord. He has revealed his power to the world. Hallelujah!

leT The heaVenS Be Glad

Let heavens be glad and let the earth rejoice Before the face of the Lord, for he comes.

Sleep, liTTle JeSuS

Sleep, little Jesus, my pearl,Sleep, my beloved favorite.Sleep, little Jesus, sleep, sleep.And Mama, calm him when he cries.

Sleep, my beautiful angel.Sleep, most enchanting flower in the world.

Aber das Kind wuchs und war stark im Geist, voller Weisheit, und Gottes Gnade war bei ihm.

BeschlussDank sagen wir alle Gott, unserm Herrn Christo, der uns mit seiner Geburt hat erleuchtet, und uns erlöset hat mit seinem Blute von des Teufels Gewalt.Den sollen wir alle mit seinen Engeln loben mit Schalle, singen Preis sei Gott in der Höhe.

—medieval Latin sequence, trans. Michael Vehe (1537)

nun komm der heiden heiland

Nun komm, der Heiden Heiland, der Jungfrauen Kind erkannt, daß sich wunder alle Welt, Gott solch Geburt ihm bestellt.

—Martin Luther (1524)

WeihnachTen

Frohlocket, ihr Völker auf Erden, und preiset Gott! Der Heiland ist erschienen, den der Herr verheis-sen. Er hat seine Gerechtigkeit der Welt offenbaret. Halleluja!

laeTenTur caeli

Laetentur caeli, et exsultet terra ante faciem Domini quoniam venit.

—Psalm 95:11, 13

LuLajże jesuniu

Lulajże, Jezuniu, moja perełko,Lulaj, ulubione me pieścidełko.Lulajże, Jezuniu, lulajże, lulaj.A ty go Matuniu, w płaczu utulaj.

Lulajże, piękniuchny mój aniołeczku.Lulajże, wdzięczniuchny świata kwiateczku.

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Sleep, little Jesus, sleep, sleep.And Mama, calm him when he cries.

Hush, hush, hush, everyone, go off to bed.Don’t wake my baby.Sleep, little Jesus, sleep, sleep.And Mama, calm him when he cries.

leT uS Seek WiTh The ShepherdS

Let us seek with the shepherdsThe incarnate word.Let us sing with all peopleThe king of the ages. Noel!

What do you see in the stable?Jesus, born of the virgin.What do you hear in the manger?Angels with songsAnd shepherds saying: Noel!

Where do you eat, where do you lie?Say whether you weep or laugh:We ask you, Christ the king. Noel!

“My food is virgin’s milk.My bed is a hard manger.My songs are tears.” Noel!

The Word WaS made fleSh

The word was made flesh from the Virgin Mary

In the ending of the year,Life is given to the world.A boy is born to usFrom the Virgin Mary.

Without the power of man,The stem bears a flower,Which blooms in the worldFrom the Virgin Mary.

Oh blessed woman,The fruit of whose womb

Lulajże, Jezuniu, lulajże, lulaj.A ty go Matuniu, w płaczu utulaj.

Cyt, cyt, cyt wszyscy się spać zabierajcie,Mojego dzieciątka nie przebudzajcie.Lulajże, Jezuniu, lulajże, lulaj.A ty go Matuniu, w płaczu utulaj.

QuaeramuS cum paSToriBuS

Quaeramus cum pastoribus Verbum incarnatum; cantemus cum hominibus regem saeculorum. Noe. Quid tu vides in stabulo? Jesum natum de Virgine. Quid audis in praesepio? Angelos cum carmine et pastores dicentes: Noe. Ubi pascas, ubi cubes? Dic, si ploras, aut si rides: Te rogamus, Rex Christe. Noe. Cibus est lac virgineum, lectus durum praesepium, carmina sunt lacrimae. Noe.

—Anon., 16th century

VerBum caro facTum eST

Verbum caro factumest de virgine Maria.

In hoc anni circulo via datur seculo.Nato nobis parvuloDe virgine Maria.

Sine viri copula,Florem dedit virgulaQui manet in saeculaCum virgine Maria.

O beata feminaCuius ventris sarcina

— please turn page quietly

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Mundi lavit criminaDe virgine Maria.

In presepe poniturEt a brutis nasciturMatris velo regiturA virgine Maria.

Fulget dies celebris, lux glorificanda,Qua peperit filium virgo veneranda,Per quem detestanda mors erit vitandaGensque miseranda morte relevanda.Fraus interit, salus redit,omnibus adoranda,Dum genitum principium producit mater omnium.

Orta stirpe regia virgo parit floremMundus lapsus floruit cuius ad odoremDeitas honorem salvat contra moremNam virgo rectorem parit meliorem.Sidus clarum fulget carum, nobis monstrat splendorem,nam latuit, quod patuit,cum Christus nasci voluit.

Verbum caro factum est de virgine MariaAb angelis psallitur, Gloria, pax diciturPastoribus queriturCum virgine Maria.

Illi laus et gloria, Decus et Victoria,Honor, virtus, gratiaCum virgine Maria.Verbum caro factum est de virgine Maria.

Washed away the world’s sinthrough the Virgin Mary.

He is placed in a mangerBorn among beastsCovered by his mother’s veilBy the Virgin Mary.

The festive day beams, Day to be glorified,When the venerable virginBrought forth a sonThrough whom death will be defeatedAnd humans will beredeemed from death.Deceit passes,salvation returnsTo be adored by all,For the mother of allgives birth to a prince.

Sprung from royal lineage,A virgin gives birth to a flower.The fallen world bloomsWith incense to the honor of God,For the virgingives birthTo a better leader.Bright stars shine forthAnd show us the splendor,For what was hidden is now knownWith Christ’s birth.

The angels sang gloria,And spoke peace,The shepherds sought himWith the Virgin Mary.

So shall praise and glory be,Victory, honor, power and graceWith the Virgin Mary.

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på kruBBanS STrå På krubbans strå man lade dig,O Jesu, himlens förste,Och människor ej kände dig,Fastän du är den störste.Du bådades av stjärnors gång,Du prisades av änglars sång,För världen var du ringa.

hoe leyT diT kindeken

Hoe leyt dit kindeken hier in de kou.Ziet eens hoe alle zijn ledekens beven.Hoort eens hoe dat het weent en krijt van kou.Na na na, kindeken teer,Ei zwijgt toch stil, sus sus, en krijt niet meer.

Zingt een zoet liedeken voor dit teer schaap,En gij o herderkens, speelt op u fluitjens.Maakt dat dit kindeken haast valt in slaap.Na na na, etc.

En gij o engeltjens, komt hier ook bij.Zingt een moteteken voor uwen konink.Wilt hem vermaken door uw melodij.Na na na, etc.

in a cradle of STraW

In a cradle of straw they laid you,O Jesus, prince of heaven,And people did not know youAlthough you are the greatest.You were proclaimed by the stars’ course,You were praised by the angels’ song,But to the world you were just small.

hoe leyT diT kindeken

See how the baby lies here in the cold.Look how he is shivering all over.Hear how he is crying from the cold.Na na na, sweet baby,Now be still, hush, hush, and cry no more.

Sing a sweet little song for this poor lamb,Little shepherds, play your flutes.Help the baby fall quickly asleep.Na na na, etc.

Little angels, join in too, Sing a little carol for your king.Cheer him with your melody.Na na na, etc.

The roSe

Of a rose singë we,Misterium mirabile.

This rose is red of colour bright,Thro’ whom our joyë gan alightUpon this Christmasse night,Claro David germine.

Of this rose was Christ y-bore,To save mankind that was forlore,And us alle from sinnës sore.Prophetarum carmine.Mira plenitudine.

This rose of floweres, she is flower;she ne will fade for no shower;To sinful men she sent succour.Salvator sine crimine.

This rose is so fair of hue;In maid Mary that is so trueY-bornë was Lord of virtue.

—Anon, c. 1450

The firST mercy

Ox and ass at Bethlehem On a night, ye know of them: We were only creatures small Hid by shadows on the wall. We were swallow, moth and mouse; The Child was born in our house, And the bright eyes of us three Peeped at His Nativity. Hands of peace upon that place Hushed our beings for a space

— please turn page quietly

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SalVe puerule

Salve puerule, salve tenellule, o nate parvule quam bonus es. Tu coelum deseris, tu mundo nasceris, nobis te ut miseris assimiles. O summa bonitas! Excelsa deitas Vilis humanitas fit hodie. Aeternus nascitur, immensus capitur et rei tegitur sub specie. Virgo puerpera, beata viscera Dei cum opera dent filium. Gaude, flos virginum, gaude, spes hominum, fons lavans criminum proluvium.

hail, liTTle Boy

Hail, little boy. Hail, tender one. O little one, how good you are. You leave heaven, you are born in the world, You make yourself like us mortals.

O supreme goodness! Highest deity Becomes lowly humanity today. The Eternal is born, the boundless is contained, And hidden in worldly form.

Virgin mother, your blessed womb Generates a son through God’s work. Rejoice, flower of virgins, Rejoice, hope of humanity, Font that washes away the stain of sin.

Quiet feet and folded wing, Nor a sound of anything. With a moving star we crept Closer when the Baby slept: Men who guarded where He lay Moved to frighten us away. But the Babe, awakened, laid Love on things that were afraid, With so sweet a gesture He Called us to His company.

—Bruce Blunt (1899–1957)

Where richeS iS eVerlaSTinGly

Into this world this day did come, Jesus Christ both God and man, Lord and Servant in one person Born of the blessed Virgin Mary. Refrain: I pray you be merry and sing with me, in worship of Christ’s nativity.

I pray you be merry and sing with me, in worship of Christ’s nativity.

He that was rich, without any need, appeared in this world in right poor weed. to make us that were poor indeed, Rich without any need truly. Refrain A stable was his chamber, a crib was his bed, He had not a pillow to lay under his head; With maiden’s milk that babe was fed, In poor clothes was wrapped the Lord Almighty. Refrain A noble lesson here is us taught, To set all worldly riches at naught, But pray we that we may be thither brought, Where riches is everlastingly.

Refrain—Anon., 16th century

vvv

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650-485-1097 · www.calbach.org

Fridays in San Francisco · Saturdays in Palo Alto · Sundays in Berkeley

February 25–27VENETIaN VESpERS

Psalm Settings of Monteverdi, Rovetta, and Cavalli

may 6–8JoHaNN SEbaSTIaN baCH:

The Passion According to Saint John

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$25 To $99Irene Beardsley & Dan S. BloombergBeth BlackmanJ. Dennis BonneySigne Boyer & Ed LaakPrudence BreitroseJoan BrodovskyChristine BruchIrene BruengerMark A. CaprioJoanne & Peter CareyRoger ChaffinJim Clay

The California Bach Society gratefully acknowledges donations received between July 1, 2020, and October 31, 2021. Amounts are cumulative for the period; donations not received in time for this program will be acknowl-edged at our next performance.

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$500 To $999Anonymous · Matthew J. Forman · Jon & Connie Hartung · Dr. Carole S. Hickman

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Memorial Garden

Friday, March 4, 8:00pmCampbell United Methodist Church, CampbellSaturday, March 5, 8:00pmSt. Gregory of Nyssa Episcopal Church, San FranciscoSunday, March 6, 4:30pmFirst Congregational Church, Palo Alto

In memory of those we have lost during the last two years, we perform Eleanor Daley’s gentle Requiem and an excerpt from Fauré’s Requiem,as well as shorter pieces by Chesnokov and con-temporary composers Gjeilo, Dunphy, and others.

Tickets at the door or online, www.baychoralguild.org

WE ARE FINALLY SINGING TOGETHER! Our traditional holiday concert will be videotaped for presentation online.

Approaching this holiday season after a weird and challengingyear, we seek the light — of health and happiness, peace andgenerosity — in the Christmas story and in our lives. Works byByrd, Poulenc, Hogan, Nixon, Alice Parker, Hyun Chul Lee, AbbieBetinis, Cazabón, and others.

ENJOY ANYTIME! FROM ANYWHERE! OR MAKE IT A GIFT!

DEC 18 - JAN 6

TICKETS & DETAILS AT WWW.SFCA.ORG

info@sfca.org (415) 494-8149

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California BaCh SoCiety

P.O. Box 1526, Palo Alto, CA 94302-1526650-485-1097 www.calbach.org

BoarD of DireCtorSHelen Barrios, President; David Siegel, Vice President;

Helen Brown, Secretary; Ann McCown, Treasurer;

Matthew Forman, Member-at-Large Henry Kahn, Member-at-Large;

Sally Ahnger, Chorus Representative

Carol Loden, Historian

artiStiC DireCtorPaul Flight

Patricia Jennerjohn, Sara Tanke, Margaret Wootton, and Stephanie Rosenbaum, publicity; John Gale, webmaster

Sara Tanke, program editor; Michele Baroody, proofreader; Heather Hadlock, texts & translations

Kathy Clement, graphics