During the 2006-2007 season, Magnificat presented four programs, two of which were repeated on tour. In addition to our usual subscription series concerts in Palo Alto, Berkeley, and San Francisco, Magnificat appeared on the Tropical Baroque Festival in Miami and as part of the Society for Seventeenth Century Music conference at Notre Dame University in South Bend, Indiana. The performance at Notre Dame was an important one for Magnificat artistic director Warren Stewart. “Performing at the 17th Century music conference was a special thrill for me,” noted Stewart. “It was a privilege to perform for a select audience of musicologists, many of whom had devoted their lives to researching the music of women and specifically nuns in the 17th century. A high point!”
During the course of the season Stewart led ensembles that included Elizabeth Anker, Peter Becker, Louise Carslake, Christopher Conley, Steve Cresswell, Rob Diggins, John Dornenburg, Kristen Dubenion Smith, Jolianne von Einem, Paul Elliott, Jennifer Ellis Kampani, Andrea Fullington, Katherine Heater, Laura Heimes, Dan Hutchings, Suzanne Jubenville, Jennifer Paulino, Hanneke van Proosdij, Byron Rakitzis, Debroah Rentz-Moore, David Tayler, Catherine Webster, and David Wilson.
“Staying in Venice as the guest of old friends, I learned that the long unchanged art of composition had changed somewhat: the ancient rhythms were partly set aside to tickle the ears of today with fresh devices.”
Thus Heinrich Schütz described his experiences during his second trip to the Most Serene Republic in a letter to a friend upon his return to Dresden. Our program this evening explores his visit, one of the most consequential musical encounters of the seventeenth century. It focuses on a meeting that must have taken place between two of the towering figures of music in the first half of the century: Schütz and Claudio Monteverdi – a meeting that embodies the migration of style from Italy over the Alps so characteristic of the early Baroque.
Earlier in his life, Schütz had spent four years in Venice as a student of Giovanni Gabrieli, his studies ending with the old master’s death in the summer of 1612. Schütz returned to Saxony a few months later, thus missing Monteverdi’s arrival in Venice by less than a year. Shortly after his return, Schütz was engaged as Kapellmeister to the Elector of Saxony in Dresden – among the most prestigious positions for a musician in Germany, a position he retained for the rest of his very long life.
Magnificat’s 2005-2006 featured music by two composer, by then quite familiar to our audiences, Schütz and Charpentier, a less familiar name, Johann Rosenmüller and program featuring a variety of composers’ settings of text from Guarini’s Il Pastor Fido that opened the season. The season also marked the debut of the Magnificat blog as part of a new website designed by creative director Nika Korniyenko. The frontispiece the collected works of Jakob Böhme, published in Amsterdam in 1682, served as the basic image for the season brochure.
Over the course of the season artistic director Warren stewart led ensembles that included Peter Becker, Meg Bragle,Louise Carslake, Hugh Davies, Rob Diggins, John Dornenburg, Paul Elliott, Cathy Ellis, Jennifer Ellis Kampani, Ruth Escher, Cynthia Freivogel, Vicki Gunn Pich, Katherine Heater, Laura Heimes, Daniel Hutchings, Phoebe Jevkovic, Hanneke van Proosdij, Byron Rakitzis, David Tayler,Catherine Webster and David Wilson.
This review by Niels Swinkels was posted at San Francisco Classical Voice.
In its new concert season, Magnificat examines musical encounters and exchanges that influenced the music of the 17th century, a period marked by the invention of opera, oratorio, and virtuoso instrumental music, in which this Bay Area baroque ensemble specializes.
Last weekend’s season opener was a co-production with the San Francisco Early Music Society and performed together with Bay Area early wind ensemble The Whole Noyse. In three concerts in Palo Alto, Berkeley, and San Francisco, Magnificat juxtaposed music from the two preeminent representatives of the early 17th Century Venetian music scene: Giovanni Gabrieli and Claudio Monteverdi.
Both composers worked at the Basilica San Marco in Venice, as organist and maestro di capella (music director) respectively, but since Gabrieli died in 1612 and Monteverdi (1567-1643) did not even move to Venice until he was hired in 1613, it is highly unlikely that the two composers actually ever met in person, although they must have met in spirit — despite their different styles and aesthetics.
Last weekend, it was the Christmas spirit that brought them and their music together in A Venetian Christmas Mass, a re-enactment of the sonic events of a 17th-century Christmas day Mass, following the liturgical sequence and complete with chant and the recitation of prayers and Gospel readings.
Magnificat was especially active in the 2004-2005 season, performing four programs on our own series while also appearing on the San Francisco Early Music Society concert series and returning for an engagement with the Music Before 1800 series in New York City. Each program focused on the work of a single composer: Carissimi, Monteverdi, Rovetta, Charpentier, Cozzolani, and Schütz.
The season opened with a program devoted to the music of Iacomo Carissimi, featuring two oratorios - Vantitas Vantitaum andBaltazar - a madrigal Fuggi, fuggi, and the allegorical dialogueAlma che fai, che pensi? The program also included two canzoni for two violins and continuo by Frescobaldi and a harpsichord toccata by Michelangelo Rossi. In her San Francisco Classical Voice review, posted on September 28, 2004, Anna Carol Dudley noted “Sopranos Catherine Webster and Jennifer Ellis, tenors Paul Elliott and Scott Whitaker (Elliott mostly singing alto parts) and bass Peter Becker were all at the top of their form, consistently sensitive to the words, spot-on in tuning, varied in their use of dynamics and vocal color, masters of coloratura, peerless in stylistic delineation of recitative and aria — above all, bringing wonderfully expressive music fully to life.” Several works from the San Francisco performance on September 24, 2004 can be streamed and downloaded at Magnificat’s music page.
Magnificat’s Twelfth Season focused on lesser known works by three of the giants of the 17th Century, Henry Purcell, Marc-Antoine Charpentier, and Heinrich Schütz and a program devoted to one of the century’s most extraordinary female musicians, Barbara Strozzi.
The season opened in September with “The Muse’s Feast” a program of songs and sonatas by Purcell that featured soprano Catherine Webster. Highlights included the songs Cupid, the slyest rogue around, from Playford’s 1685 Theatre of Music, the Evening Hymn from Harmonia Sacrae and the beautiful ground bass aria O Solitude, though it would be difficult to pick a favorite from this program. Rebekkah Ahrendt, writing in the San Francisco Classical Voice praised Webster’s rendition of the Marian motet Tell Me, Some Pitying Angel noting her “command of emotion was superb, expressing the whole gamut of feelings a distressed mother might experience.” The program also included two trio sonatas and works for theorbo and harpsichord.
This review by Joshua Kosman was published in the San Francisco Chronicle on Dec. 11, 2012.
Christmas was a good time in the 1680s’ Paris establishment of the Princess Marie de Lorraine – an occasion for celebration, contemplation and exquisite music, to judge from Sunday afternoon’s brief and wonderful concert by the early-music ensemble Magnificat.
Marie, known as Mlle. de Guise, had the great French composer Marc-Antoine Charpentier as part of her household staff. And that meant that the yuletide observances – even though sung by a corps of amateurs – were being guided by one of the period’s subtlest and most inventive musical minds.
Sunday’s concert in St. Mark’s Lutheran Church in San Francisco – the lone offering during this hiatus year of one of the Bay Area’s most indispensable arts groups – conveyed some of the spirit of those long-ago holiday events. Charpentier’s “Christmas Pastorale” is a winning blend of spiritual reflection, narrative drama and flat-out bawdy fun, and the small ensemble – six each of singers and instrumentalists performing under the guidance of Artistic Director Warren Stewart - caught that range of tone perfectly.
In 1670, upon returning to France from his studies with Carissimi in Rome, Marc-Antoine Charpentier became a member of the household of Marie de Lorraine, called Mademoiselle de Guise. One of the wealthiest women in Europe, and a princess in rank, Mlle. de Guise chose to live in Paris independent of the intrigues and obligations of court life under Louis XIV. She was a passionate lover of music, and maintained an ensemble of musicians, less opulent than that to be found at court, but highly admired by the Parisian connoisseurs of the time. The ensemble was made up for the most part of young people from families long under the protection of the Guise who, having come to live with Marie de Lorraine first as maids or companions, demonstrated some talent or interest for music. They were given lessons and eventually granted the status of musicians-in-ordinary, taking part in the devotional services at the private chapel and in the frequent private concerts at the Hôtel de Guise. The ensemble, although it included some salaried male singers and one member of a musical family (Ann Nanon Jacquet sister of the famous Elizabeth Jacquet de la Guerre), was fundamentally amateur and it is extraordinary that it should have developed to the extent that the journalMercure Galant in 1688 wrote that the music of Mlle de Guise was “so excellent that the music of many of the greatest sovereigns could not approach it.”
It was in this intimate and secure setting that Charpentier composed the Pastorale sur la naissance de Notre Seigneur Jésus Christ. He was composing for people with whom he lived, daily took his meals, and worked as a peer, himself singing alto in the choir; these were people with whom, to judge by the designation of parts in the manuscripts -Isabelle, Brion, Carlié, etc. – Charpentier was on a comfortable first name basis. Phillipe Goibault DuBois, another member of the Guise household who was actually the director of the ensemble and a scholar recognized by the Académie Française for his translations of Cicero and St. Augustine, most probably wrote the text of the Pastorale. The possibility that the Pastorale was intended to accompany a traditional Christmas pageant is raised by the list of acteurs on the title page of the manuscript: along with the shepherds and angels are the names of Mary and Joseph, who have no singing parts anywhere in the piece. Charpentier’s biographer Catherine Cessac has suggested that the Pastorale may have been intended for performance at a school for the education of poor girls supported by Mlle de Guise. It is easy to imagine costumed young girls arranged in traditional tableaux vivants during this musical expression of the Christmas story.
Magnificat is pleased to announce performances of the Marc-Antoine Charpentier’sNativity Pastorale on the weekend of Dec. 7-9. The program will feature the Pastorale sur la naissance de Nostre Seigneur, one of Charpentier’s most brilliant and moving works. In this exhilarating blend of dramatic dialogues and ensembles, instrumental dances, and exquisite choral writing, Charpentier’s displays his immagination and technical mastery and his extreme sensitivity to poetic imagery. Magnificat’s program will include Charpentier’s settings of several of traditional French carols, or noëls, that are, by turns, charming, poignant, and amusing. Tickets are available online at magnificatbaroque.tix.com.
On a sabbatical after celebrating Magnificat’s 20th anniversary season, Artistic DirectorWarren Stewart will return to lead an ensemble featuring singers Catherine Webster, Jennifer Paulino, Clara Rottsolk, Clifton Massey, Paul Elliott, and Peter Becker, together with Vicki Boeckman and Louise Carslake, recorder; Rob Diggins and Jolianne von Einem, violin; John Dornenburg, viola da gamba and Jillon Stoppels Dupree, harpsichord.
This article by Trista Bernstein was posted at San Francisco Classical Voice.
Every musician searches for masterpieces to bring to the stage. For two decades, Magnificat has been in pursuit of such creations to please Bay Area audiences. Luckily, it has narrowed its focus to the 17th century, a time bursting with dynamic composers and emotional works. “It’s a tribute to the audience in the Bay Area that a group could focus on repertoire from the 17th century and be successful and have a following,” explains Artistic Director Warren Stewart. “That’s a joint effort between Magnificat and the audience.” Stewart, an accomplished cellist, has dedicated the last 20 years of his career to early music. His love of Baroque music is evident in the dynamic programming presented by the group each season. “It’s a fascinating time and period of music. Lots of things were changing, new rules were being written, and new kinds of music were being invented. I think it’s really fascinating to have the opportunity to explore that remarkable music and share it with the audience.“
Stewart had the great responsibility of crafting Magnificat’s 20th season. “I tried to choose composers and specific pieces that were somehow representative of what we’ve done. They are very influential composers, and they’ve shaped our style and approach to interpretation. The four composers who were featured this season were the four towering figures of the century, and represent four of the major centers where music was being created.” Although many new pieces were presented during the current season, it has been very reminiscent of the group’s first season.
Coming off a triumphant performance at the 2002 Berkeley Festival and the release of a second recording of music by Chiara Margarita Cozzolani, Magnificat’s eleventh season featured music by Charpentier, Stradella, Isabella Leonarda and Buxtehude, as well as a conference on Women and Music in Italy and our first appearance in New York.
Working with Charpentier scholar John Powell, Magnificat opened the season with a program of music the composer had written for the Parisian theatre. In our first season we had presented incidental music that Charpentier had written mostly from plays by Moliére also based on Powell’s work. For this program music we selected music from three plays written in the 1670s: Circé, Les fous divertissements and La Pierre philosophale.
In 1638, Claudio Monteverdi, the seventy-one year-old music director of the ducal church of St. Mark’s in Venice, published his Eighth Book of Madrigals, the final collection of his secular music to be issued in his lifetime. He had last published a set of secular compositions in 1619, so the Eighth Book has a retrospective character, bringing together music written as early as 1608, and including one large work from 1624 and a variety of other compositions whose origins are unknown but which probably span the entire period 1619-1638. This unusually large collection was dedicated to Ferdinand III, the newly crowned Hapsburg Emperor in Vienna, whose mother was a member of the ducal family of the Gonazagas, former rulers of Mantua in northern Italy, where the early part of Monteverdi’s career had unfolded and to which he was still connected by various threads.
Monteverdi subtitled the Eighth Book Madrigali guerrieri et amorosi con alcuni opuscoli in genere rappresentativo(“Madrigals of war and love with some pieces in the theatrical style”), and the texts repeatedly expound the interlocking themes of love and war– the warrior as lover, the lover as warrior and the war between the sexes. The relationship between love and war had been a common Italian poetic conceit ever since the time of Petrarch in the 14th century, and had been given additional impetus by its prominence in Torquato Tasso’s late 16th century epic poem, Gerusalemme Liberata. The notion of lover as warrior was also central to the Neapolitan poet Giambattista Marino, who exerted a significant influence on Italian literature and aesthetics of the 17th century and whose poetry was set many times by Monteverdi.
Five of the poems set by Monteverdi in his Madrigals of War and Love are by Ottavio Rinuccini, a poet at the Medici court in Florence and the author of the first opera libretti. Closely connected with staged entertainments throughout his career, Rinuccini’s earliest poetry was written for the wedding festivities of Francesco de’ Medici and Bianca Cappello in 1579. Part of the circle of artists, poets and noblemen scholars known to musicologists as the “Florentine Camerata,” Rinuccini also provided texts for the famous intermedi at the performance of La pellegrina at the wedding of Ferdinand I de’ Medici and Christine de Lorraine in 1589 and later wrote the libretto for Jacopo Peri’s Dafne in 1597.
His most historically noteworthy work though was Euridice, his re-telling of the Orpheus legend that was set by both Peri and Giulio Caccini in 1600 that are considered the first operas. No less important was his libretto for Monteverdi’s second opera, Arianna. The score for Ariannahas not survived save for Arianna’s lament, which was published independently and became one of the best known and most often imitated works of the century. Rinuccini may have also been involved with Striggio’s libretto for Monteverdi’s first opera L’Orfeo.
Everything but the sermon.
Other than that, it’s the full package this weekend as the Magnificat Baroque Ensemble re-creates Christmas Vespers at the Dresden Court Chapel circa 1660. Friday’s rendering in Palo Alto was a gleeful holiday present for early-music lovers, unleashing sounds of sackbut and curtal (distant relatives of trombone and bassoon), while bringing forth German composer Heinrich Schütz’s “Christmas Story,” a setting of the Gospel narrative.
Schütz’s wondrous piece — quasi-operatic — was the centerpiece not only of the court’s service back in 1660; it also was the centerpiece of a 1992 program by Magnificat, during its inaugural season in the Bay Area. And just as Warren Stewart, the group’s artistic director, conducted the performance in 1992, he led it Friday. He was surrounded onstage at First United Methodist Church by 13 instrumentalists and eight singers, including bright-voiced German tenor Martin Hummel, passionately singing the role of the Evangelist, as he did in 1992.
The San Francisco Early Music Society and Warren Stewart’s Magnificat combined forces this season to reconstruct a Christmas Vespers service, as it would have been given in the Dresden Court Chapel of 1660. This production was given its San Francisco performance last night at St. Mark’s Lutheran Church. The Lesson for such a service would have been an account of the Nativity from one of the Gospels. Music for the service would have been the responsibility of the Kapellmeister to the Elector of Saxony, at that time Johann Georg I. That Kapellmeister in 1660 was Heinrich Schütz.
Thus, the major work at last night’s performance was a setting of Nativity texts in what was probably one of the earliest forms of oratorio. This involved music for both a chorus and soloists, with the soloists corresponding to the characters of the narrative along with an “Evangelist” narrator, with instrumental accompaniment. For the libretto for this narrative, Schütz drew upon two of the Gospels: Luke (primarily the first 21 verses of the second chapter) and Matthew (the first 23 verses of the second chapter). In addition to the Evangelist, the characters consisted of an angel, the shepherds in the field, the three wise men, Herod, and his high priests.
Magnificat celebrated it’s tenth season with a mix of old and new programs that included two of the composers featured in the 20th anniversary season this year: Heinrich Schütz and Claudio Monteverdi. The season also saw the release of our first two recordings of the Chiara Margarita Cozzolani’s music and two more weeks of recording sessions. Magnificat also made another appearance at the biennial Berkeley Festival and Exhibition.
A week of Cozzolani recordings in August preceded the regular season, which began in September with a program devoted to an excellent but under-performed composer, Johann Hermann Schein, one of Bach’s predecessors as cantor at Thomas Kirche in Leipzig. Already in Magnificat’s first season, Magnificat had included Schein’s striking setting of the Vater unser as part of our December concerts and individual works by the composer had made their way into program on other occasions. The release of a recording of Schein’s Banchetto Musicale in 2000 by the Sex Chordæ Consort of Viols led to plans for a joint program of the composer’s consort music and vocal works.
When Schütz was first engaged as Kappelmeister by the Elector of Saxony, Johann Georg I, the court in Dresden boasted one of the finest musical establishments north of the Alps. After Saxony's disastrous decision in 1627 to enter the then decade-old conflict now known as The Thirty Years War, this once glorious musical establishment was decimated, and Schütz spent a considerable amount of time away from Dresden - notably in Venice and Copenhagen. After the Peace of Westphalia in 1648 matters improved and the Elector was again able to devote resources to music.
Significantly, the Elector's son, who would become Johann Georg II, created his own musical ensemble, parallel to his father's, that reflected his musical tastes - and those those tastes were decidedly Italianate. Johann Georg II was strongly influenced in his musical tastes by his father's Kappelmeister, particularly after Schütz's visit to Venice in 1629. Already in the 1640s, ...
Magnificat performs Schütz’s Christmas Story and other music from the Dresden Court the weekend of December 16-18.Tickets are available here.
In what has become a decennial tradition, Magnificat will perform Schütz’s Weihnachtshistorie (Christmas Story) in the context of a Christmas Vespers from the Electoral Court chapel of Saxony in Dresden. Schütz’s masterpiece served as the Gospel reading in the Dresden liturgy and in 1992 and 2001, settings of the remaining texts in the liturgy (the psalm, Magnificat, Vater unser, etc.) were drawn from other works by Schütz and colleagues from earlier in his carrier in Dresden, namely Michael Praetorius, Johann Hermann Schein, and Samuel Scheidt – all music from the first half of the 17th Century. For this season’s incarnation of Christmas Vespers ina co-production with the San Francisco Early Music Society, Magnificat will focus on the music in fashion in Dresden in 1660, when Schütz wrote the Weihnachtshistorie. In creating this program, we have been fortunate to have the assistance of Magnificat Artistic Advisory Board member Mary Frandsen, professor of musicology at Notre Dame University, whose 2006 book Crossing Confessional Boundaries, explored musical patronage in Dresden under Johann Georg II.
Saxony, along with the rest of northern Europe, was finally beginning to recover from the economic and social devastation of the Thirty Years War (1618-1648). As always resources had been devoted to weapons instead of people and for many years during the war musicians in the court musical ensemble were paid only occasionally. In a letter written in 1651, Schütz described “the very great lamentation, distress, and wailing of the entire company of poor, deserted relatives of the singers and instrumentalists, who live in such misery that it would move even a stone in the earth to pity.”
The situation changed significantly in the 1650s, particularly with the ascent of Johann Georg II in 1656. While there was some concern among church authorities about his allegiance to the Lutheran confession, Johann Georg II was quite devoted to spiritual matters and to the support of the arts, and the new Elector lavished huge sums from the court treasury on an opulent musical ensemble. Some of the finest Italian singers were appointed and the instrumental ensemble was expanded to become one of the finest musical establishments in Europe.
Magnificat’s ninth Season began earlier than usual with a week of recordings at St. Stephen’s Episcopal Church in Belvedere in August. All the works by Chiara Margarita Cozzolani that Magnificat had performed on the San Francisco Early Music Society series the previous December were recorded plus two new psalms and a motet, Maria Magdalene stabat. The sessions ended with a performance for a small invited audience. The sessions were such a success that the decision was made for Musica Omnia to release not merely a Vespers CD but to undertake a project to record Cozzolani’s complete works and another week of recordings were planned for January.
The season officially opened in September with a program devoted to settings of texts from the Song of Songs, a rich source for composers throughout the 17th century. While Magnificat’s program most often are focused on a single composer, style, or historical event, this program, entitled “Sonnet vox tua in auribus meis,” featured settings in a variety of genres and from several composers. After an opening motet from Palestrina’s fourth book of motets for 5 voices, the program was divided into four “chapters,” each beginning with one of the four “seasons” of Charpentier’s soprano duet Quatour anni tempestes.
The following review was posted at San Francisco Classical Voice on November 15, 2011.
One of the nice things about an ensemble like Warren Stewart’s Magnificat, which I heard Saturday at St. Mark’s Church in Berkeley, is that having a flexible roster of musicians enables it to match itself to the needs of the music at hand. Giacomo Carissimi’s 1650 oratorio, Jephte, which Magnificat performed, has been a particular victim of the tendency to recast early music into the Romantic mode of grand works: adding wholesale orchestrations and lush vibrating string parts to this work for continuo and soloists. Composer Hans Werner Henze once managed to work in parts for tom-tom, boo-bam, banjo, marimba, glockenspiel, trumpets, and four flutes when commissioned to orchestrate it for a London Bach choir.
So it was a relief to hear Magnificat perform the work in a manner the composer may have recognized and, not surprisingly, at the ensemble’s usual high standard. I might fault Magnificat for going too far in the other direction: performing the work’s choruses by soloists. Still, by virtue of attracting the right solo voices, Magnificat achieved a moving choral effect. The beauty of Jephte’s concluding chorus, one of the great choruses of all time, is the reason the work remains marginally familiar. The biblical Jephta story is essentially the same as the Greek Idomeneo story: The hero makes a vow to God that if he is victorious on his quest he will sacrifice the first person he sees when he returns. In Jephta’s case it’s his daughter, thus providing an opportunity for expressive sad music. The masterwork was clearly known to another great Baroque composer. In addition to writing an excellent Jephtha oratorio 100 years after Carissimi, Handel found it fitting to appropriate Carissimi’s choruses in some of his other oratorios, especially when he needed choruses for Jews in various forms of bondage.