San Francisco Symphony presents Koopman’s Bach: Bach in Leipzig featuring Ton Koopman conducting the San Francisco Symphony
2014-05-08
Davies Symphony Hall
201 Van Ness, San Francisco, CA
8:00 PM, Thursday, May 8, 2014

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[8:01 PM lights down, pre-performance announcements]

J.S. Bach (1685-1750): Cantata, Auf, schmetternde Töne der muntern Trompeten, BWV 207a (1735)

1. [8:02 PM] March
2. [8:05 PM] Chorus: Auf, schmetternde Töne der muntern Trompeten
3. [8:09 PM] Recitative (tenor): Die stille Pleiße spielt
4. [8:11 PM] Aria (tenor): Augustus' Namenstages Schimmer
5. [8:15 PM] Duet recitative (soprano and bass): Augustus' Wohl
6. [8:17 PM] Duet aria (soprano and bass) and ritornello: Mich kann die süße Ruhe laben
7. [8:22 PM] Recitative (alto): Augustus schützt die frohen Felder
8. [8:24 PM] Aria (alto): Preiset, späte Folgezeiten
9. [8:27 PM] Recitative (SATB): Ihr Fröhlichen, herbei
10. [8:29 PM] Chorus: August lebe
11. [8:32 PM] March
    [set ends 8:36 PM after a few minutes of applause]

[8:55 PM lights down, announcements]

J.S. Bach (1685-1750): Missa brevis (Kyrie and Gloria from Mass in B minor), BWV 232a (1733)

1. [8:57 PM] Kyrie elison
2. [9:06 PM] Christe elison
3. [9:12 PM] Kyrie elison

1. [9:16 PM] Gloria in excelsis - et in terra pax
2. [9:23 PM] Laudamus te
3. [9:27 PM] Gratias agimus tibi
4. [9:30 PM] Domine Deus - Qui tollis peccata mundi
5. [9:39 PM] Qui sedes ad dextram Patris
6. [9:43 PM] Quoniam tu solus sanctus - Cum Sancto Spiritu
   [show ends 9:54 PM, no encore]

San Francisco Symphony

• Ton Koopman: conductor;
• Bogna Bartosz: mezzo-soprano vox;
• Nicole Cash: horn;
• Jonathan Dimmock: harpsichord;
• Tilman Lichdi: tenor vox;
• Klaus Mertens: bass vox;
• Nadya Tichman: concertmaster, violin;
• Teresa Wakim: soprano vox;
• Peter Wyrick: principal cello;
• symphony members vary by program, see current list.

San Francisco Symphony Chorus

• Ragnar Bolin: director;
• Terry Alvord: alto vox;
• Paul Angelo: tenor vox;
• AnnMarie D. Baines: alto vox;
• Elizabeth Blodgett: soprano vox;
• Todd Bradley: tenor vox;
• Seth Brenzel: tenor vox;
• Melissa Butcher: alto vox;
• Wendy Buzby: alto vox;
• Brianne Cardona: soprano vox;
• Karen Carle: alto vox;
• Adam Cole: bass vox;
• Matthew Curtis: tenor vox;
• Melodi Dalton: soprano vox;
• Thomas Ellison: tenor vox;
• Elliott James Encarnación: tenor vox;
• Ruth Escher: alto vox;
• Rory Everitt: bass vox;
• Corty Fengler: alto vox;
• Jeffrey Fields: bass vox;
• Chrix Finne: bass vox;
• Julia Fischer: soprano vox;
• Kevin Gibbs: tenor vox;
• Coco Harris: soprano vox;
• Bradley Irving: bass vox;
• Maria Janus: soprano vox;
• Jimmy Kansau: tenor vox;
• Catherine D. Lewis: alto vox;
• Katherine M. Lilly: alto vox;
• Peg Lisi: alto vox;
• Peter Dennis Mautner: bass vox;
• David Meissner: tenor vox;
• Gail Nakano: alto vox;
• Anthony Pasqua: bass vox;
• Matthew Peterson: bass vox;
• James C. Pintner: tenor vox;
• Danielle Reutter—Harrah: alto vox;
• Meredith Riekse: alto vox;
• Daniel Rogers: tenor vox;
• Steven Rogino: bass vox;
• Phoebe Jevtovic Rosquist: soprano vox;
• Pamela Sebastian: soprano vox;
• Alexandra Sessler: soprano vox;
• Chung-Wai Soong: bass vox;
• Storm Staley: bass vox;
• Joshua Stoddard: tenor vox;
• Joanna Taber: soprano vox;
• Tetsuya Taura: tenor vox;
• Michael Taylor: bass vox;
• Merilyn Telle Vaughn: alto vox;
• Dianne M. Terp: alto vox;
• Makiko Ueda: alto vox;
• Juliana Urban: soprano vox;
• David Varnum: bass vox;
• John A. Vlahides: tenor vox;
• Cindy Wyvill: soprano vox;
• David J. Xiques: tenor vox;
• Datevig Yaralian: soprano vox;
• Shawn Ying: bass vox.

The show starts off in novel fashion when the symphony launches into a march immediately after the collective tuning, after a few moments, the chorus enters by procession split between the two center aisles, followed at end by the four soloists and Ton Koopman, who lept up to his podium and began gesturing wildly to assert his conductorship midway through the first movement. The rest of the cantata unfolded without further surprises, and while it was quite satisfying to me, the rest of the audience seemed caught by surprise at the conclusion, with the silent gap before the ovation growing almost uncomfortably long. Hard to imagine that they were snoozing given the impressively loud and pompous flourishes of the final chorus. Very strange!

Anyways, I took set break as an opportunity to skip over to a open seat in the center of the sixth row. Hooray! Nicer to be a little bit further back and even more, not having to sit crooked to see all the action! And the second set mass is a fine one, even if it's a bit incomplete (having only the start: Kyrie & Gloria – and lacking the Credo, Sanctus, Benedictus and Agnus Dei of a regular “ordinary” mass). I especially enjoy the chamber sections when the soloist is accompanied by only a pair of instruments – all the better to expose the raw beauty of Bach's compositional ideas. A big plus of the abbreviation of the mass is that it trims the work down to a more listener-friendly length: an hour is good and generous, but not so long that it becomes a chore to attend to the listening task!

Stephen Smoliar posted his review of the show at the Examiner website.

Back to the previous event ☸ Back to the 2014 yearbox ☸ Back to the 2014 event list! ☸ On to the next event!