St. Andrew’s-Wesley United Church
Dorothee Mields & the PBO: Bach Ties the Knot
Works by: J.S. Bach
Artists: Dorothee Mields, soprano & the Pacific Baroque Orchestra directed by Alexander Weimann
German soprano Dorothee Mields is one of the leading interpreters of 17th– and 18th-century music and is beloved by audiences and critics alike for her unique timbre and moving interpretations. She joins the Pacific Baroque Orchestra for a programme of wedding-related music by J.S. Bach, including his Cantata BWV 202 “Weichet nur” and a “Fictive Wedding Cantata” composed of arias and movements from other Bach works.
Generously sponsored in loving memory of Ralph and Therese Spitzer
PROGRAMME
Johann Sebastian Bach (1685-1750)
Weichet nur, betrübte Schatten, BWV 202
1. Aria ‘Weichet nur’
2. Recit ‘Die Welt’
3. Aria ‘Phoebus eilt’
4. Recit ‘Drum sucht’
5. Aria ‘Wenn die Frühlingslüfte’
6. Recit ‘Und dieses’
7. Aria ‘Sich üben im Lieben’
8. Recit ‘So sei das Band’
9. Gavotte ‘Sehet in Zufriedenheit’
J.S. Bach
Concerto for 2 Harpsichords in C major, BWV 1061
*Arranged for violin, oboe, harpsichord and strings
A BWV Compilation: ‘O großes Hochzeitsfest’
- Sinfonia from Himmelskönig, sei willkommen, BWV 182
- O großes Hochzeitsfest (Recitative) from Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162
- Johann Christoph Bach (1642-1703) – Mein Freund ist mein (Aria-Ciaconna) from Meine Freundin, du bist schön
- Interlude from Die Himmel erzählen die Ehre Gottes, BWV 76
- Er segnet (Aria) from Der Herr denket an uns, BWV 196
- Mein Jesu, lass mich nicht zur Hochzeit (Recitative) from BWV 162
- Ich bin herrlich, ich bin schön (Aria) from Ich geh und suche mit Verlangen, BWV 49
- Was Gott tut (Chorale) from Die Elenden sollen essen, BWV 75
Dorothee Mields, soprano
Dorothee Mields is one of the leading interpreters of 17th- and 18th-century music and is beloved by audiences and critics alike for her unique timbre and moving interpretations.
She appears regularly with the Collegium Vocale Gent, Netherlands Bach Society, L’Orfeo Barockorchester, Freiburger Barockorchester, RIAS Kammerchor, Bach Collegium Japan, Orchestra of the 18th Century, Lautten Compagney Berlin, Tafelmusik Baroque Orchestra Toronto, The English Concert and Klangforum Wien under conductors such as Stefan Asbury, Beat Furrer, Michi Gaigg, Paul Goodwin, Philippe Herreweghe, Emilio Pomàrico, Hans-Christoph Rademann, Andreas Spering, Masaaki Suzuki and Jos van Veldhoven.
Dorothee Mields is a welcome guest at international festivals, including the Leipzig Bach Festival, Suntory Music Foundation Summer Festival in Japan, Boston Early Music Festival, Flanders Festival, Wiener Festwochen, the Handel Festival in Halle, Musikfestspiele Potsdam, Styriarte Graz, Niedersächsische Musiktage, Musikfest Bremen, Mainzer Musiksommer and Mosel Musikfest.
She is a devoted chamber musician and offers a range of highly interesting projects such as “Lord Nelson at the river Nile” (music by Haydn and contemporaries dealing with the battles of Lord Nelson), “White as Lillies was her Face” with songs by John Dowland combined with texts by Heinrich Heine, “Mort exquise, mort parfumée” with French impressionistic compositions, “Duft und Wahnsinn” (fragrance and lunacy) together with Hille Perl, viola da gamba, and Lee Santana, lute, as well as “Birds” with flutist Stefan Temmingh.
A steadily growing discography with several award-winning recordings documents her artistic achievements. “Inspired by Song” and “Birds” with Stefan Temmingh, “Handel” with Hille Perl, Monteverdi “La dolce vita” with the Lautten Compagney Berlin and Wolfgang Katschner (all DHM), Bach “Kantaten für Solo-Sopran” with L’Orfeo Barockorchester and Michi Gaigg and Boccherini Stabat mater with the Salagon Quartett (both Carus) have been especially well received.
Alexander Weimann, director
The internationally renowned keyboard artist Alexander Weimann has spent his life enveloped by the therapeutic power and beauty of making music. Alex grew up in Munich. At age three he became fascinated by the intense magic of the church organ. He started piano at six, formal organ lessons at 12 and harpsichord at university (along with theatre theory, medieval Latin and jazz piano.) He is in huge demand as a director, soloist and chamber player, traveling the world with leading North American and European ensembles. He is Artistic Director of the Pacific Baroque Orchestra in Vancouver and teaches at the University of British Columbia where he directs the Baroque Orchestra Mentorship Programme.
Alex has appeared on more than 100 recordings, including the Juno-award-winning album “Prima Donna” with Karina Gauvin and Arion Baroque orchestra. His latest album series “The Art of Improvisation” (Volume 1: A Prayer for Peace; Volume 2: Ad libitum; and Volume 3: Caravan Variations, released on Redshift, 2024) unites his passions for both baroque music and improvisation on organ, harpsichord, and piano.
Pacific Baroque Orchestra
The ‘house band’ of Early Music Vancouver, The Pacific Baroque Orchestra (PBO) is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears.” Formed in 1990, the orchestra quickly established itself as a force in Vancouver’s burgeoning music scene with the ongoing support of Early Music Vancouver. In 2009, PBO welcomed Alexander Weimann as Director. His imaginative programming, creativity and engaging musicianship have carved out a unique and vital place in the cultural landscape of Vancouver.
PBO regularly joins forces with internationally-celebrated Canadian guest artists, providing performance opportunities for Canadian musicians while exposing West Coast audiences to a spectacular variety of talent. The Orchestra has also toured throughout BC, the northern United States, and across Canada. Their 2019 East Coast Canadian tour with Canadian soprano Karina Gauvin culminated in a critically acclaimed album, Nuit Blanches, released by Atma Classique.
