CONCERT PROGRAM

December 6-7, 2013

David Robertson, conductor Dominique Labelle, soprano Kate Lindsey, mezzo-soprano Nicholas Phan, tenor Stephen Powell, baritone St. Louis Symphony Chorus Amy Kaiser, director

BACH Cantatas Nos. 1-3, from Weihnachts-Oratorium (1685-1750) (Christmas Oratorio), BWV 248 (1734) Part I: Am 1. Weihnachtstag (First Day of Christmas) Jauchzet, frohlocket, auf, preiset die Tage
Jauchzet, frohlocket, auf, preiset die Tage Es begab sich aber zu der Zeit Nun wird mein liebster Brutigam Bereite dich, Zion Wie soll ich dich empfangen Und sie gebar ihren ersten Sohn Er ist auf Erden kommen arm Groer Herr, o starker Knig Ach mein herzliebes Jesulein

BACH Part II: Am 2. Weihnachtstag (Second Day of Christmas) Und es waren Hirten in derselben Gegend
Sinfonia Und es waren Hirten in derselben Gegend Brich an, o schnes Morgenlicht Und der Engel sprach zu ihnen Was Gott dem Abraham verheien Frohe Hirten, eilt, ach eilet Und das habt zum Zeichen Schaut hin dort liegt im nstern Stall So geht denn hin, ihr Hirten, geht Schlafe, mein Liebster, geniee der Ruh Und alsobald war da bei dem Engel Ehre sei Gott in der Hhe So recht, ihr Engel, jauchzt und singet Wir singen dir in deinem Heer INTERMISSION
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 BACH Part III: Am 3. Weihnachtstag (Third Day of Christmas) Herrscher des Himmels, erhre das Lallen
Herrscher des Himmels, erhre das Lallen Und da die Engel von ihnen gen Himmel fuhren Lasset uns nun gehen gen Bethlehem Er hat sein Volk getrst Dies hat er alles uns getan Herr, dein Mitleid, dein Erbarmen Und sie kamen eilend Schliee, mein Herze, dies selige Wunder Ja, ja, mein Herz soll es bewahren Ich will dich mit Flei bewahren Und die Hirten kehrten wieder um Seid froh dieweil Herrscher des Himmels, erhre das Lallen

Dominique Labelle, soprano Kate Lindsey, mezzo-soprano Nicholas Phan, tenor Stephen Powell, baritone St. Louis Symphony Chorus Amy Kaiser, director

David Robertson is the Beofor Music Director and Conductor. Dominique Labelle is the Mr. and Mrs. Whitney R. Harris Guest Artist. Amy Kaiser is the AT&T Foundation Chair. The concert of Friday, December 6, is underwritten in part by a generous gift from the Estate of Michael and Marty Cramer. The concert of Friday, December 6, is underwritten in part by a generous gift from Mrs. Pauline Keinath. The concert of Saturday, December 7, is the Joanne and Joel Iskiwitch Concert. The concert of Saturday, December 7, is underwritten in part by a generous gift from Dr. and Mrs. David Fischhoff. Pre-Concert Conversations are sponsored by Washington University Physicians. These concerts are sponsored by the Thomas A. Kooyumjian Family Foundation. These concerts are part of the Wells Fargo Advisors series.

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FROM THE STAGE

Amy Kaiser, Director of the St. Louis Symphony Chorus, on going from Brittens Peter Grimes (November 16 & 22, at Powell and Carnegie halls, respectively) to Bachs Christmas Oratorio: The real challenge of the Bach is to have learned it at the same time as we were learning Peter Grimestwo works that are diametrically opposed to one another. Peter Grimes had 130 singers, singing all that passion and drama in full voice. Then to go to a group of 80 singers, where the precision of every 16th note is critical. We would rehearse Britten from 7 to 9, take five minutes for a drink of water, and then Bach. It is more than a mental and physical shiftyou need to shift your entire idea of sound and language.

DILIP VISHWANAT

A stage view of Powell Hall during the holidays

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A CHRISTMAS MASTERPIECE
BY PA U L SC H I AVO

JOHANN SEBASTIAN BACH Christmas Oratorio, BWV 248, Cantatas Nos. 1 - 3

TIMELINKS
1734 BACH Christmas Oratorio, BWV 248 Operas by Handel, Rameau, and Vivaldi premiere

A COMPOSER FOR THE CHURCH Although the title by which it is now known designates Bachs great celebration of the Christmas story as an oratorio, this work is structurally unlike any other bearing that description. Bach initially created it as a set of six cantatas to be performed individually on each of six feast days during the Christmas season. (The collective title Christmas Oratorio was bestowed on these half-dozen cantatas posthumously.) The work has, therefore, much more in common with the other Lutheran cantatas Bach wrote over the course of his career than it does with Handels Messiah or other oratorios written on the theme of Christmas. Accordingly, it is worthwhile to review briefly this aspect of the composers output. Bach devoted most of his working life to the Lutheran church. He began his career as an organist and choirmaster in the small German towns of Arnstadt and Mhlhausen, where he served from 1703 to 1708. In 1723, after spending 15 years at princely courts in Weimar and Cthen, where he primarily wrote and performed secular music, he took up the post of Kantor, or music director, of the Thomaskirche (St. Thomas Church) and four associated churches in the city of Leipzig. Bach remained in this position for the remainder of his life. Bachs duties in these ecclesiastical positions included the provision of music for regular church services and some 60 feast days throughout the year. Feast days in Lutheran Germany called for elaborate musical presentations, usually a cantata based on texts appropriate to the occasion, and Bach set about in workmanlike fashion producing a formidable quantity of them. He composed no less than five annual cycles of church cantatas during the course of his career, some 300 works in all. Sadly, about a third of these compositions have been lost, but the approximately 200 that survive constitute
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the core of Bachs creative output and one of the great monuments of Western music. The sacred cantata had long been an important musical format for worship in Protestant Germany. Their texts, by church poets and occasionally by the composer, usually reflected on a scriptural passage relevant to the particular day of the church year. Bachs cantata form consisted of several movements of clearly defined types: large ensemble pieces with full chorus; chorales, or hymn tunes, in either simple or elaborate settings; and arias for one or two solo voices, often preceded by a declamatory recitative. The arias generally constitute the musical jewels of Bachs cantatas, the repositories for his most expressive melodic ideas. In addition to the vocal lines and the standard continuo accompaniment of bass line and keyboard harmonies, Bach almost always wrote obbligato parts for one, or occasionally two, solo instruments, or sometimes for a section of his orchestra. Those instrumental lines greatly enrich the texture and sonorities of the music in which they appear. In addition to expanding the range of timbres, they partner the vocal soloist(s) in contrapuntal dialogues, polyphonic discourse being always an essential element of Bachs musical thinking. ORIGIN AND STRUCTURE OF THE CHRISTMAS ORATORIO Bach did not compose so much as assemble the six cantatas that comprise the Christmas Oratorio in 1734, adapting many of its arias and large choral numbers from several of his earlier works. (The briefer recitatives and chorales, however, were newly composed.) In particular, he reused music from a pair of secular cantatas he had written the preceding year for birthday celebrations of members of the Saxon royal family, rulers of the province that included Leipzig. Bachs reuse of his own music for the Christmas Oratorio was not merely a matter of convenience. Rather, as the Bach scholar Christoph Wolff observes, this practice gave music written for a specific occasion and limited audience a more public and durable setting. We can also appreciate the contribution of the anonymous poet who fit much of the Christmas Oratorio text to pre-existing music.
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Born March 21, 1685, Eisenach, Saxony Died July 28, 1750, Leipzig First Performance December 25-27, 1734, in Leipzig, under the composers direction STL Symphony Premiere December 13, 1952, Dorothy Maynor, soprano, with St. Louis Bach Festival Chorus, William Heyne conducting Most Recent STL Symphony Performance December 17, 1977, Bach Society Chorus of Saint Louis, Ronald Arnatt conductor Scoring Cantata No. 1 soprano, alto, tenor, bass soloists chorus 2 utes 2 oboes 2 oboes damore bassoon 3 trumpets timpani organ strings Performance Time approximately 27 minutes

Cantata No. 2 soprano, alto, tenor, bass soloists chorus 2 utes 2 oboes damore 2 oboes da caccia (English horns) organ strings Performance Time approximately 32 minutes Cantata No. 3 soprano, alto, tenor, bass soloists chorus 2 utes 2 oboes 2 oboes damore 3 trumpets timpani organ strings Performance Time approximately 26 minutes

As in others of his sacred compositions, Bach weaves the Christmas Oratorio from three distinct strands of music. The Gospel narrative of Christs birth is related by a tenor, the Evangelist, in recitative, declamatory singing that closely follows the rhythms of speech. Interspersed among this narration are arias and choruses that reflect upon the events of the story, and which frequently feature obbligato instrumental solos accompanying the singers. Finally, there are chorales, which were well known to Bachs congregation. The varied types of music these three formats provide yield a composition of rich complexion. We hear this evening the first three cantatas that comprise Bachs Christmas Oratorio. These center on the Nativity story up to and including the adoration of the shepherds. (The other three cantatas concern the naming of Jesus and the journey and adoration of the Magi.) THE FIRST CANTATA Jauchzet, frohlocket, auf, preiset die Tage (Give praise, be joyful, rise and hail the day), the first cantata, sketches the nativity story through the birth of Jesus. The Gospel narrative is confined to two recitatives by the Evangelist. The former sets the scene and follows Mary to the stall in Bethlehem; the second very simply states the fact of Christs birth. Surrounding these recitations are movements expressive of rejoicing, Christian resolve, and wonder at the mystery of God incarnated as a child in a manger. Bach opens the cantata with brilliance: The chorus calls for jubilation and worship, while trumpets, drums, and energetic scale figures confirm the tone of its verses. After the first Gospel narration, a recitative and aria for alto soloist consider the coming of Christ through a venerable metaphor, the approach of the heavenly bridegroom to the spiritual marriage ceremony. Bach used this symbol in a number of his cantatas, most famously Wachet auf, ruft uns die Stimme, BWV 140. The words of the ensuing chorale take up this idea from the perspective of the devout listener. Following the Evangelists second recitative, the import of Christs coming is contemplated in a fascinating duet for soprano and bass. This begins as a chorale fantasia, with a hymn
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melody intoned by the soprano amidst a flowing obbligato duet for two oboes damore (the alto members of the oboe family). Periodically, however, this breaks off for recitative-like comments from the bass. The latters sturdy aria, which follows directly, features trumpet and flutes in the accompaniment. A second chorale, a late stanza from Martin Luthers famous 1535 hymn Vom Himmel hoch, da komm ich her (From Heaven on High I Come Here), closes this cantata. THE SECOND CANTATA Part two of the Christmas Oratorio, Und es waren Hirten in derselben Gegend (And there were in the same country shepherds), relates the angels announcement of Christs birth to the shepherds near Bethlehem. Bach establishes a pastoral atmosphere in the instrumental sinfonia that opens the work through the timbres of two alto and two tenor oboes (oboes damore and oboes da caccia, or English horns). These instruments and the strings evoke the shepherds of the Nativity story. Meanwhile flutes, supported by organ, make music of the angelic host. Heaven and earth are thus united in this exceptional composition. The remainder of the cantata follows Bachs usual format of narrative recitatives interspersed with chorales, arias, and larger concerted movements. Several details merit notice. In the second recitative the Evangelist-narrator is joined by a soprano speaking the words of the angel as she announces the birth of Jesus to the shepherds. There are also three independent recitatives for bass soloist. These do not advance the biblical narrative of the Nativity story but briefly comment on it. Of the two arias, the first, for tenor, has obbligato accompaniment by solo flute. The second imagines a lullaby sung by Mary to the newborn Christ child. Its music is unusually elaborate, with flute and the aforementioned quartet of oboes featured in the accompaniment of the alto soloist. The closing movement ingeniously combines two melodies heard earlier in the cantata: a chorale tune and a theme from the opening sinfonia. THE THIRD CANTATA Having considered the annunciation to the shepherds of Jesuss birth in the second of the Christmas Oratorio cantatas, Bach proceeds to relate and meditate upon the visit of those humble folk to the Christ child. As in the first cantata, Bach opens the third portion of the oratorio, Herrscher des Himmels, erhre das Lallen (Ruler of Heaven, hear the murmur), with music of praise and jubilation. In the Gospel narration that ensues, the chorus speaks for the shepherds as they resolve to go to Bethlehem, the contrary motion of their melodic linessome rising, others fallingsuggesting the different routes they must take to the city. A bass recitative and a chorale follow, and then a lovely duet for soprano and bass with obbligato accompaniment by oboes damore. Additional recitatives, a pair of chorales and an aria for alto with obbligato violin bring us to the finale, a reprise of the opening movement.
Program notes 2013 by Paul Schiavo

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DAVID ROBERTSON

BEOFOR MUSIC DIRECTOR AND CONDUCTOR

David Robertson returns to conduct Music of John Williams, December 27-29.

In fall 2013, David Robertson launched his ninth season as Music Director of the St. Louis Symphony. While continuing as Music Director with St. Louis, in January 2014, Robertson assumes the post of Chief Conductor and Artistic Director of the Sydney Symphony Orchestra in Australia. Highlights of his 2013-14 season with St. Louis include the recording of a St. Louis Symphony co-commission, John Adams Saxophone Concerto. Nonesuch Records will release the disc featuring the concerto, along with the orchestras performance of Adams City Noir, in 2014. In addition, Robertson and the Symphony recently gave a historic performance of Brittens Peter Grimes at Carnegie Hall. Robertson is a frequent guest conductor with major orchestras and opera houses around the world. In the 2013-14 season, in addition to launching his first year at the helm of the Sydney Symphony Orchestra, David Robertson conducted the U.S. premiere of Nico Muhlys Two Boys in a new production at the Metropolitan Opera. DOMINIQUE LABELLE

MR. AND MRS. WHITNEY R. HARRIS GUEST ARTIST

Dominique Labelle most recently performed with the St. Louis Symphony in November 2012.

Dominique Labelles recent engagements have included Stravinskys Les Noces with the St. Louis Symphony and David Robertson, Handel with Kent Nagano and the Orchestre symphonique de Montral; a Messiah tour with the Netherlands Bach Society and Jos van Veldhoven, Yehudi Wyners Fragments from Antiquity with the Lexington Symphony; and performances with conductor Nicholas McGegan and the Philharmonia Baroque Orchestra, the Gttingen Handel Festival, and the National Arts Centre Orchestra. Last season she sang the lead female role in the modern premiere of Monsignys Le Roi et le fermier for Opera Lafayette, conducted by Ryan Brown, in performances at the Kennedy Center, Lincoln Center, and at Versailles. Contemporary music credits include Shostakovichs Seven Romances on Poetry of Alexander Blok; Brittens Les Illuminations, and John Harbisons The Rewaking (recorded
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for Musica Omnia). Her most recent recording is Monsignys Le Dserteur (Naxos). Learn more about the artist at dominiquelabelle.com. KATE LINDSEY This season, rising star mezzo-soprano Kate Lindsey returns to the Seattle Opera as Nicklauss in The Tales of Hoffmann and the Bayerische Staatsoper as Rosina in The Barber of Seville. She also sings her first performances of Berliozs The Damnation of Faust with the Utah Symphony and appears in concert with the Richmond Symphony and Boston Baroque. Lindsey recently starred in the Metropolitan Operas HD broadcast of its new production of The Tales of Hoffmann. She was also featured in its broadcasts of La Clemenza di Tito and The Magic Flute (which was subsequently released on DVD). A native of Richmond, Virginia, Kate Lindsey holds a Bachelor of Music Degree with Distinction from Indiana University and is a graduate of the Metropolitan Operas Lindemann Young Artist Development Program. Her many awards include a prestigious 2011 grant from the Festival Musique et Vin au Clos Vougeot, the 2007 Richard F. Gold Career Grant, the 2007 George London Award in memory of Lloyd Rigler, the 2007 Lincoln Center Martin E. Segal Award, and a 2006 Sullivan Foundation Grant. NICHOLAS PHAN In celebration of the Britten centenary during the 2013-14 season, American tenor Nicholas Phan performs Serenade for Tenor, Horn and Strings with the Toronto and Kitchener-Waterloo symphonies, as well as with the chamber orchestra, the Knights. He also returns to the Baltimore Symphony for War Requiem. Other engagements this season include returns to the Philadelphia Orchestra, Boston Baroque, and the National Arts Centre Orchestra in Ottawa, performances of the Evangelist in Bachs St. Matthew Passion with the Chicago Bach Project, the Oratorio Society of New York in Carnegie Hall, and the Charlotte Symphony, and recitals in Atlanta, Boston, Chicago, New York, and Istanbul.
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FACECOLLECTIvE

DARIO ACOSTA

Kate Lindsey most recently performed with the St. Louis Symphony in April 2012.

Nicholas Phan most recently performed with the Symphony in April 2012.

 A graduate of the University of Michigan, Nicholas Phan is the 2012 recipient of the Paul C. Boylan Distinguished Alumni Award. He also studied at the Manhattan School of Music and the Aspen Music Festival and School, and is an alumnus of the Houston Grand Opera Studio. He was the recipient of a 2006 Sullivan Foundation Award and 2004 Richard F. Gold Career Grant from the Shoshana Foundation. STEPHEN POWELL In the 2013-14 season Stephen Powell returns to the Los Angeles Opera as Enrico in Lucia di Lammmermoor; to the Atlanta Symphony Orchestra in Brittens War Requiem (also at Carnegie Hall); and to the Nashville Symphony Orchestra in Brahms Ein deutsches Requiem. Also in 2013-14 he makes his role debut as Falstaff in his debut with Virginia Opera, and sings as Germont with Michigan Opera Theatre. His engagements for 2012-13 included singing as Simon Boccanegra (1857 version) with Warsaws Ludwig van Beethoven Association; his debut with the Cleveland Orchestra in Carmina burana, Franz Welser-Mst conducting; with Leipzigs MDR Sinfonieorchester as soloist in Peer Gynt, under Kristjan Jrvi; with Lyric Opera Baltimore as Rigoletto; and with Anchorage Symphony in The Damnation of Faust. His several return engagements included performances with the St. Louis Symphony as soloist in Mozarts Requiem; Houston Symphony in Belshazzars Feast; Atlanta Symphony, under Robert Spano, in Bachs Mass in B minor; Jacksonville Symphony Orchestra, under Fabio Mechetti, as Iago in a fully-staged production of Otello; and to the Los Angeles Opera for its production of I due Foscari. In summer 2013 he makes his debut with the Caramoor Festival as Rodrigo in Don Carlos.

CHRISTIAN POLLARd

Stephen Powell most recently sang with the St. Louis Symphony in November 2012.

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AMY KAISER

AT&T FOUNDATION CHAIR

One of the countrys leading choral directors, Amy Kaiser has conducted the St. Louis Symphony in Handels Messiah, Schuberts Mass in E-flat, Vivaldis Gloria, and sacred works by Haydn and Mozart, as well as Young Peoples Concerts. She has made appearances as a guest conductor for the Berkshire Choral Festival in Sheffield, Massachusetts; in Santa Fe; and at Canterbury Cathedral. As music director of the Dessoff Choirs in New York for 12 seasons, she conducted many performances of major works at Lincoln Center. Other conducting engagements include concerts at Chicagos Grant Park Music Festival and more than 50 performances with the Metropolitan Opera Guild. Principal conductor of the New York Chamber Symphonys School Concert Series for seven seasons, Kaiser also led many programs for the 92nd Street Ys acclaimed Schubertiade. She has conducted over 25 operas, including eight contemporary premieres.

Amy Kaiser leads the St. Louis Symphony Chorus in Verdis Requiem, March 7-8, 2013.

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ST. LOUIS SYMPHONY CHORUS 2013-2014

Amy Kaiser Director Leon Burke III Assistant Director Gail Hintz Accompanist Susan Patterson Manager Nancy Davenport Allison Nicholas W. Beary Paula N. Bittle Joy Boland Michael H. Bouman Richard F. Boyd Keith Boyer Marella Briones Daniel P. Brodsky Leon Burke III Cherstin Byers Alyssa Claire Callaghan Maureen A. Carlson Victoria A. Carmichael Jeffrey R. Carter Mark P. Cereghino Steven Chemtob Rhonda Collins Coates Timothy A. Cole Derek Dahlke Laurel Ellison Dantas Deborah Dawson Zachary K. Devin Stephen Eros Ladd Faszold Heather Fehl Robin D. Fish, Jr. Alan E. Freed Mark Freiman Lisa Nicole Gines Tevia Grimenstein Clifton D. Hardy Nancy J. Helmich Christian Robert Hendricks Jeffrey E. Heyl Lori Hoffman Heather Humphrey Elena Korpalski Paul V. Kunnath Debby Lennon Gregory C. Lundberg Gina Malone Jamie Lynn Marble Daniel Mayo Randy D. Mayo Rachael McCreery Elizabeth Casey McKinney Celia McManus Jei Mitchell Brian K. Mulder Johanna Nordhorn Duane L. Olson Susan Parton-Stanard Heather McKenzie Patterson Susan D. Patterson Matt Pentecost Shelly Ragan Pickard Sarah Price Kate Reimann Samuel Wayne Reinhardt Gregory J. Riddle Patti Ruff Riggle Stephanie Diane Robertson Paul J. Robinson Terree Rowbottom Mark Anthony Saunders Mark V. Scharff Janice Simmons-Johnson John William Simon Charles G. Smith Adam D. Stefo J. David Stephens Michelle D. Taylor Donald Dewayne Trainer Pamela M. Triplett Samantha Dane Wagner Keith Wehmeier Alexander Weymann Dennis Willhoit Paul A. Williams Mary M. Wissinger Susan Donahue Yates
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A BRIEF EXPLANATION
You dont need to know what andante means or what a glockenspiel is to enjoy a St. Louis Symphony concert, but its always fun to know stuff. For example, what is an oboe damore? Oboe damore: a double-reed instrument in the oboe family, bigger than the oboe, with a bulb bell and what is sometimes referred to as a less assertive, more serene tone than the oboe; the mezzo-soprano between the soprano oboe and alto English horn

BACH & HANDEL:

AMY KAISER, DIRECTOR OF THE ST. LOUIS SYMPHONY CHORUS

The poetry in the Bach is much more reflective than in Messiah. There are these beautiful moments of shepherds songs in both works, but in Bach there are also lullabies to the child and meditations on the birth. Overall Bach is more meditative, more poetic, less biblical. The text of Messiah is directly from the Bible. The text of the Bach is poetry. Its fantastic to have this new Christmas piece, and to sing it with an orchestra of trumpets and timpani and oboe damore and oboe da caccia.

Amy Kaiser
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GERRY LOvE

YOU TAKE IT FROM HERE

If these concerts have inspired you to learn more, here are suggested source materials with which to continue your explorations. Christoph Wolff, Johann Sebastian Bach: The Learned Musician W. W. Norton Currently the finest English-language biography of the composer John Eliot Gardiner, Bach: Music in the Castle of Heaven Knopf The most recent Bach book by the eminent historian and conductor W. Murray Young, The Cantatas of J. S. Bach: Analytical Guide McFarland & Co. Useful commentary on all of Bachs cantatas, including those of the Christmas Oratorio

Read the program notes online at stlsymphony.org/planyourvisit/programnotes Keep up with the backstage life of the St. Louis Symphony, as chronicled by Symphony staffer Eddie Silva, via stlsymphony.org/blog The St. Louis Symphony is on

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AUDIENCE INFORMATION
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