ARTEK Gwendolyn Toth, director & organ Barbara Hollinshead, mezzo-soprano Ryland Angel, countertenor Cynthia Freivogel, violin leader Vita Wallace, violin Theresa Salomon, viola Marka Young, viola Motomi Igarashi, violone Priscilla Herreid, dulcian Joan Kimball, dulcian Robert Wiemken, dulcian Daniel Swenberg, theorbo Grant Herreid, theorbo THE COMPOSER Johann Rosenmüller (1619-1684) was without a doubt the greatest German composer of his generation. He artfully combined elements of Italian and German styles to create distinctive and intensely beautiful music that sounds as fresh today as it did in the 17th century. Rosenmüller was born in southeastern Germany around 1619, just when the Thirty Years’ War was getting started. As a young man in 1640, Rosenmüller entered the University of Leipzig to study theology – a discipline that included music. He was soon teaching at the St. Thomas school and composing both instrumental and vocal music. A trip to Venice in 1645 helped him master the popular Italian style. In 1651 he added organist at St. Nicholas to his duties, and two years later he was promised the position of cantor at St. Thomas (the post held by J.S. Bach many years later). Rosenmüller was clearly a talented musician with a bright future. In 1655, however, he was arrested on suspicion of homosexual activity with students, and his career in Leipzig came to an abrupt end. Amazingly, Rosenmüller escaped from jail, and went into hiding. He next appeared in Venice in 1658 as a trombonist at St. Mark’s. Rosenmüller resumed composing and served for several years as choir director for the Ospedale della Pietà, the girls’ orphanage where Vivaldi later worked. Throughout his 25 years in Venice, Rosenmüller maintained ties with Germany – sending music north, including to the Weimar court in 1660, and teaching German students, including Johann Philipp Krieger, who travelled from Bayreuth in 1673. In 1682, Rosenmüller returned to Germany as Kapellmeister of the court at Wolfenbüttel, where he died two years later. Manuscripts of his music survive in collections throughout Germany and in Sweden. Rosenmüller was a widely popular composer, and he drew critical acclaim during his lifetime and well beyond. His role in bringing the Italian style to Germany was both recognized and praised. His influence on the developing German church cantata was particularly strong. Telemann, in his memoir of 1740, noted that Rosenmüller’s music, along with that of Italian composers such as Corelli, had served as his model for writing church and instrumental music. After the Thirty Years’ War, which ended officially in 1648, people were starved for something fresh; the Italian style continued to be all the rage and the newest sounds from Italy were in high demand. Musical life and creativity flourished over the next 50 years. It was a golden age of Baroque music for a country that had suffered through three decades of war. Rosenmüller was fortunate to be a part of that golden age. He maintained a successful career as a composer, despite setbacks and years in exile, because he was a remarkable composer – and probably a good businessman, too. Rosenmüller was a master of the affective musical gesture, conveying emotion and meaning, which figures so prominently in Baroque music. THE ENSEMBLE ARTEK, founded by director Gwendolyn Toth in 1986, features the finest American and international singers and instrumentalists in 17th-century repertoire. Audiences love ARTEK concerts for their exciting, dramatic performances, with compelling musical settings of beautiful poetry, virtuoso playing, and infectious dance rhythms that infuse the performances with vitality and spirit. Highlights include standing-ovation performances to sell-out crowds at the Regensburg (Germany) Tage Alter Musik Festival (1998, 2003); performances at the prestigious Boston Early Music Festival (2003) and the Berkeley Early Music Festival (2010); acclaimed performances of I’ll Never See the Stars Again at the Edinburgh Fringe Festival (2005); and ARTEK’s Lincoln Center debut in 2010. ARTEK toured internationally from 1997 to 2002 with the Mark Morris Dance Group, visiting major venues in the United Kingdom, Italy, and Canada as well as more than 50 of America’s premier theaters. ARTEK’s recordings of Monteverdi’s Orfeo, Monteverdi’s Madrigals Book Five, I Don’t Want to Love (based on the Mark Morris dance), and Love Letters from Italy have been widely praised. Director Gwendolyn Toth received the Newell Jenkins Prize in 2001 for her outstanding leadership of ARTEK. www.artekearlymusic.org THE ARTISTS Barbara Hollinshead, mezzo-soprano, has studied in America and with Max van Egmond in the Netherlands. Her repertoire covers works ranging from medieval Byzantine chant to contemporary song cycles. Career highlights include singing Bach at the Thomaskirche (Leipzig), Monteverdi at San Marco (Venice), and the St. Matthew Passion with Tafelmusik (Toronto). She has appeared with many of the East Coast’s top music groups, including ARTEK, Chatham Baroque, the Four Nations Ensemble, and New York Collegium, and has sung under such conductors as Christopher Hogwood and Andrew Parrott. Many of Washington’s leading groups, such as the Folger Consort, Opera Lafayette, and Washington Bach Consort, regularly feature her. Her discography includes solo lute songs with lutenist Howard Bass, Renaissance Spanish and Sephardic music with La Rondinella, Bach masses with the Washington Bach Consort, and works by Mrs. H.H. Beach. She is professor of voice at American University, a leader of master classes on Renaissance and Baroque styles, and a cast member of “Bach to School.” Born on St. Cecilia’s Day, the British countertenor Ryland Angel has built an international reputation on both the opera and concert stage, in repertoire ranging from the baroque era to new operatic commissions at major opera houses, concert halls, and festivals throughout Europe and the USA. He has performed with many acclaimed conductors and early music ensembles including William Christie, René Jacobs, Ivor Bolton, Nicholas McGegan, Roy Goodman, Christophe Rousset, Philippe Herreweghe, Christophe Coin, Gabriel Garrido, Cantus Köln, Le Concert Spirituel, Le Parlement de Musique, Ensemble La Fenice, Les Folies Françaises, and Philharmonia Baroque Orchestra of San Francisco, as well as ARTEK. In 2006 Mr. Angel received a Grammy nomination. He has performed on over 50 recordings including music by Charpentier, Scarlatti, Stradella, Lorenzani, Peri, Handel, Monteverdi, Purcell, Bach, and Bobby McFerrin. Mr. Angel composed the score and sang the title track of the forthcoming Warner Bros. documentary film The Mystery of Dante. He is also featured on film soundtracks of Le Petit Prince, Le Peau, Henry IV, Machete, and the PBS TV special Heavenly Voices. THE CANTATAS 1. Ach Herr, strafe mich nicht Sources: manuscripts in Dresden (capital of Saxony) and in Uppsala, Sweden. Text: Martin Luther’s translation of Psalm 6. Scoring: soprano, 2 violins, 2 violas, violone, basso continuo. The text is laden with guilt in which the singer almost begs God to forgive rather than punish. The two sources are early, suggesting that they were written before the composer fled Leipzig for Italy. One might be tempted to suggest that the piece was actually written during the flight - events must have shocked and frightened him, and he would surely have reached out to his ultimate judge for forgiveness and understanding. Ach Herr, strafe mich nicht in deinem Zorn und züchtige mich nicht in deinem Grimm. Herr, sei mir gnädig; denn ich bin schwach; heile mich, Herr, denn meine Gebeine sind erschrocken, und meine Seel’ sehr erschrocken. Ach du Herr, wie lange! Wende dich, Herr, und errette meine Seele, hilf mir um deiner Güte willen! Denn im Tode gedenket man dein nicht; wer will dir in der Hölle danken? Ich bin so müde vom Seufzen; ich schwemme mein Bett die ganze Nacht und netze mit meinen Tränen mein Lager. Meine Gestalt ist verfallen vor Trauern und ist alt worden denn ich allenthalben geängstet werde. Weichet von mir, alle Übeltäter! Denn der Herr hört mein Weinen, der Herr höre mein Flehen, mein Gebet nimmt der Herr an. Es müssen alle meine Feinde zu Schanden werden und sehr erschrecken, sich zurückkehren und zu Schande werden plötzlich. Lord, do not rebuke me in your anger or discipline me in your wrath. Have mercy on me, Lord, for I am faint; heal me, Lord, for my bones are in agony, my soul in deep anguish. How long, Lord, how long? Turn, Lord, and deliver me; save me because of your unfailing love! Among the dead no one proclaims your name. Who praises you from the grave? I am worn out from my groaning. All night long I flood my bed with weeping and drench my couch with tears. My eyes grow weak with sorrow; they fail because of all my foes. Away from me, all you who do evil. For the Lord has heard my weeping. The Lord has heard my cry for mercy; the Lord accepts my prayer. All my enemies will be overwhelmed with shame and anguish; they will turn back and suddenly be put to shame. 2. O Salvator dilectissime Source: manuscript in Bokemeyer-Sammlung. Text: unknown. Scoring: alto, 2 violins, 2 violas, violone, basso continuo. In the Staatsbibliothek in Berlin, there is a large collection of 17th-century music named after one of the musicians who collected it, Heinrich Bokemeyer, in his home town of Wolfenbüttel - the German court where Rosenmüller finally ended his Italian exile. O Salvator dilectissime Jesu dulcissime amor mundi salus animarum languentium solamen me reple amore tuo ut semper tibi serviam. Tu es Caeli flos perfectus Tu es Cordis sidus clarum spes et salus animarum mentis Patris splendor rectus. Gratiae tuae terra plena. Tu es lumen puritatis via lux et Dux pietatis et animarum fax serena. Qui solum amat te non tristes sentiet dolores et potest solus amor hic docere corda viam vitae et nobis concedere viam salutis. Sed quomodo miser hunc capiam amorem? Sum culpis profusus impurus et piger. Quis stimulus erit sic purus et rectus ut amem dilectus quis hoc pro me quaerit. Tu solus benignissime Jesu mihi Dux ad tui amorem ipse sis. Infunde flammam cordi et animae tui amorem. Care Jesu mane in me fac ut mundi averser bona rectam mihi mentem dona ut desiderem solum te. Jesu care vivo in te. Caeli portae tu es prospectus. Solus tu sis meus dilectus et nil aliud sit in me. Amen. O most beloved Savior, Jesus, sweetest love, salvation of the world, solace of languishing spirits, fill me with your love, so that I may ever serve you. You are the perfect flower of heaven, You are the bright start of the heart, hope and salvation of souls, fitting splendor of the Father’s mind. The earth [is] full of your grace. You are the light of purity, the path, the light and the guide of piety and the bright torch of souls. He who loves you only will not feel sad griefs and this love alone can teach [our] hearts the path of life and yield us the way of salvation. But how may I, wretch [that I am], gain this love? I am full of faults, impure and lazy. Then who will be the stimulus pure and upright so that I [who am] loved, may love the one who seeks this for my sake? May you alone, most kindly Jesus, be yourself the guide for me to love you. Pour flame into [my] heart and into [my] soul the love of you. Dear Jesus, remain in me, that I may be turned away from [this] world’s goods, give me an upright mind, so that I may desire you alone. Dear Jesus, I live in you. You are the prospect of heaven’s gate. May you alone be my beloved and nothing else be within me. Amen. 3. Aeterne Deus Source: Kern-Sprüche (1648). Text: from Augustine’s Meditations. Scoring: soprano, 2 violins, violone, basso continuo. Rosenmüller’s first collection of sacred cantatas was published in 1648. The complete title of the collection, Kern-Sprüche, is loosely translated as “Pithy Sayings - mostly taken from Old and New Testament Scripture, but also from other church writers, and set to music...by Johann Rosenmüller.” Aeterne Deus clementissime Pater omnis spes et totius fiduciae mihi est in pretiosa sanguine Filli tui Salvatoris nostri qui effuses est propter nos et propter nostram Salutem in ipso respiro in ipso confisus ad te pervenire desidero non habens meam justitiam sed eam quae est Filio tuo Domino nostro Jesu Christo cum quo tibi sit laus et gloria simul quoque Spiritui Sancto in sempiterna saecula. Amen. Eternal God, most clement Father, all my hope and faith is in the precious blood of your Son, our Savior, which was shed for us, and for our Salvation; I breathe in him, and trusting in Him, I long to come to you, not having my own justice, but that which is through your Son, our Lord, Jesus Christ, to whom be praise and glory, and to you also the Holy Spirit, forever and ever. Amen. 4. Christum ducem Source: Andere Kern-Sprüche (1652). Text: Hymn of St. Bonaventure. Scoring: alto, 2 violins, violone, basso continuo. Rosenmüller’s second sacred cantata collection was published in 1652. This cantata is a set of nine variations over a ground bass. Christum ducem Qui per crucem Nos redemit ab hostibus Laudet cantus Noster laetus Exultet coelum laudibus. Poena fortis Tuae mortis Et sanguinis effusio Corda terant Ut te quaerant Jesu nostra redemptio. Per felices Cicatrices Sputa flagella verbera Nobis grata Sunt collata Aeterna Christi munera. Nostrum tangat Cor ne plangat Tuorum sanguis vulnerum In quo toti Sumus loti Conditor alme siderum. Passionis Tuae donis Salvator nos inebria Qua fidelis Dare velis Beata nobis gaudia. To Christ the king who through the cross saved us from the enemy renders praise our joyous gathering, the heavens resound with praise. May the great pain of your death and the shedding of your blood visit our hearts so that they desire you, Jesus, our redemption. Through the fortunate scars the spit, the whip, the blows, unto us are granted the eternal gifts of Christ. May he touch our heart that it does not lament the blood of your wounds, through which we are purified, kind creator of the stars. With the gifts of your passion, intoxicate us, O Savior, give us thy bitterness as our blessed joy. 5. Lieber Herre Gott Source: Kern-Sprüche (1648). Text (also set by Josquin): collect for Advent by Martin Luther, published in Klugsche Gesangbuch (1543). Scoring: soprano, 2 violas, violone, basso continuo. Lieber Herre Gott, wecke uns auff, dass wir bereit seyn, wenn dein lieber Sohn komt, Ihn mit Freuden, mit Freuden zu empfahen, und dir mit reinem Hertzen zu dienen, durch denselbigen deinen lieben Sohn Jesum Christum unsern Herren. Amen. Dearest Lord, awaken us, that we are ready, when your beloved son comes, to receive him with peace and joy, and to serve you with a clean heart, through the same, your dear Son, Jesus Christ, our Lord. Amen. 6. O dives omnium Source: Andere Kern-Sprüche (1652). Text: attributed to St. Augustine in the writings of Wolfgang Musculus, 16th c. Lutheran theologian. Scoring: alto, 3 dulcians, basso continuo. O dives omnium bonarum dapum supernae satientatis opulentissime largitor Deus da lasso cibum collige dispersum libera captivum ut liberis gressibus ingrediatur ad te et requiescat in te et reficiatur de te pane coelesti. Tu enim es panis et fons vitae tu lumen claritatis aeternae. Veni rogo in cor meum et ab ubertate voluptatis tuae inebria illud ut obliviscar ista temporalia. Adjuva me Domine Deus meus et da laetitiam in corde meo. Veni ad me ut videam te. O God, the rich bestower of all good feasts of supernal abundance most opulently, give food to the weary, bring together the scattered, free the captive that with free passage he may come to you, and may he rest in you and be refreshed by you through the celestial bread. For you are the bread and source of life, you are the light of eternal brightness. Come, I pray, to my heart, and from the abundance of your delight, make it drunk so that I may forget things of this world. Help me, O Lord my God, and give joy to my heart. Come to me that I may see you. 7. Treiffet ihr Himmel Source: Kern-Sprüche (1648). Text: Isaiah 45:8, often associated with the Fourth Sunday in Advent. Scoring: soprano, 2 violins, violone, basso continuo. Treiffet ihr Himmel von oben, und die Wolcken regnen mit Gerechtigkeit, die Erde thue sich auff und bringe Heil, und Gerechtigkeit wachse mir zu, Ich der Herr schaffe es. Open from above, you Heavens, let the clouds rain with justice, let the Earth arise and bring praises, and let righteousness abound; I, the Lord, make this happen. 8. Vox dilecti mei Source: Bokemeyer Sammlung. Text: verses from the Song of Solomon. Scoring: alto, 2 violins, violone, basso continuo. Vox dilecti mei pulsantis per noctem venit ad aures in lectulo meo. Sonuit vox sua pergrata mihi surgam et circumibo quaerens quem diligit anima mea. Inveni et teneo illum nec dimittam donec descendat in hortum suum et inter ubera mea diu commoretur. Dilectus meus es tu benignissime Jesu protector vitae meae suavissime Christe. Suavissime Jesu tu locutus es mihi et praedulcedine cor amore languet. Candidus et rubicund[us] es ex millibus electus. Labia tua myrrham stillant dulcedine plena lac mel et favus adest sub lingua tua. Ergo mi bone Jesu ama dilige me pomorum comede fructum favum cum melle meo. Alleluia. The voice of my beloved beating in the night came to my ears in my bed. His voice sounded most pleasing to me; I will arise and go about seeking the one whom my soul loves. I have found and hold [onto] him, nor will I let [him] go until he descends into his [and my] garden and between my breasts long makes his stay. You are my beloved, most kind Jesus, protector of my life, [O] most sweet Christ. [O] most sweet Jesus you have spoken to me and with great sweetness [my] heart languishes with love. Fair and rosy are you, chosen from among thousands. Your lips distill myrrh filled with sweetness; milk, honey and honeycomb are present beneath your tongue. Therefore, my good Jesus, love [and] cherish me; eat the fruit of [your] apples, the honeycomb with my honey. Alleluia. 9. Salve dulcis Salvator Source: Bokemeyer Sammlung. Text: unknown. Scoring: soprano, 2 violins, 2 violas, dulcian, basso continuo. The opening ritornello has the air of a German hymn tune and, although this is yet another undatable composition, it is just possible that it was composed during Rosenmüller’s last days. Salve dulcis Salvator ostende faciem tuam benigne ad opem populi festina. Salve Pater pietatis origo bonitatis adjuva quaeso et nos benigne ne pereamus igne. Salve pie et speciose misericordiae Pater. Tu mundi spes coelique Dominus solus. Salve sapientiae verus fons et prudentiae et nos clamantes exaudi pie dulcis Jesu Salvator. Fili Dei pro nobis ora summum Patrem tuum fragilitati ut parcat sine mora. Dona nobis salutem tribue nobis virtutem in hostes tuos ad coelos tamen ut perveniamus. Amen. Hail, sweet champion, show your gracious face, hurry to the rescue of your people. Hail, father of goodness, source of kindness, I seek your aid that by your grace, none may perish in [hell-]fire. Hail, father of mercies, kind and precious. You alone are earth’s hope and heaven’s lord. Hail, true source of wisdom and judgment, hear us crying out to you, sweet Jesus, kind savior. O Son of God, plead our cause before your Father, most high, that he spare us, despite our helpless frailty. Grant us salvation amidst our enemies, defending us with your own strength, that we may come at last into heaven. Amen. 10. Ascendit Christus in altum Source: Bokemeyer Sammlung. Text: Ephesians 4; Psalm 24; Ambrosian hymn for Ascension. Scoring: alto, 2 violins, 2 violas, dulcian, basso continuo. As it is not an autograph score, it is impossible to say whether it was written before Rosenmüller’s return north of the Alps or subsequently. Ascendit Christus in altum non ut Elias raptus in igneo curru et equis igneis sed propria virtute elatus est. Captivam duxit captivitatem. Alleluia. Attollite portas principes vestras et elevamini portae aeternales et introibit Rex gloriae. Dominus fortis et potens in proelio. Alleluia. Aeterne Rex altissime Redemptor et fidelium Quo mors soluta deperit Dator triumphus gratiae. Ut trina rerum machina Coelestium terrestrium Et inferorum condita Flectat genu jam condita. Tu esto meum gaudium Manens Olympo praeditum Mundi regis qui machinam Mundana vincens gaudia. Hinc te precantes quaesumus: Ignosce culpis omnibus Et corda nostra subleva Ad te superna gaudia. Ut cum repente coeperis Clarere nube Judicis Poenas repellas debitas Reddas coronas perditas. Alleluia. Ascendit Christus in altum. Captivam duxit captivitatem. Alleluia. Christ ascended on high, not as Elijah in a fiery chariot, but raised by his own power. He led captivity captive. Alleluia. Lift up your heads, you gates; be lifted up, you ancient doors, that the King of glory may come in. The Lord strong and mighty, the Lord mighty in battle. Alleluia. Eternal King most high, redeemer of the faithful, through whom death is conquered, and who bestows the triumph of grace. The triune scheme of creation - heaven, earth, and underworld subdued - genuflects to you. Be my joy, as you reign in Olympus, King of all creation, conquering all worldly pleasure. We humbly pray that you forgive all our sins, and enlighten our hearts with your celestial grace. So that when suddenly you appear in the shining cloud you may judge our sins and return to us our lost crowns. Alleluia. Christ ascended on high. He led captivity captive. Alleluia. Recorded in The Concert Hall at Drew University, Madison, NJ in March, May & August, 2011 Concert Hall Manager: Ellis Hilton Pitch: a’=415 Hz; temperament: quarter-comma meantone Recording Engineer, Producer, and Editor: Dongsok Shin Photos: Karsten Moran © 2012 Notes: Sara Ruhle Kyle Translations used from editions by permission; special thanks to Kelly-Ray Meritt for Latin assistance. Performing scores edited by Brian Clark and Kerala Snyder Special thanks to Prima la musica! sheet music publisher, Brian Clark, editor, for their support of this project. www.primalamusica.com Booklet design: Gwendolyn Toth © 2014 The Art of the Early Keyboard, Inc.