Tafelmusik Chamber Choir
Directed by Ivars Taurins

Ori Shalva
Shalva Makharashvili, Andrea Kuzmich & Shalva-Lucas Makharashvili
with special guest Nick Moss Gillespie

Live performance:
March 8, 2024 at Jeanne Lamon Hall, Trinity-St. Paul’s Centre


Program

JOHANN SEBASTIAN BACH

Motet: Sei Lob und Preis, BWV 231

Qovelsa kveqanasa: In every land

Da vitartsa meupisa: That we may receive

JOHANN BACH

Aria: Weint nicht um meinen Tod

JOHANN KUHNAU

Tristis est anima mea

Laments from Abkhazia

JOHANN CHRISTOPH BACH

Motet: Fürchte dich nicht

Ghvtismshobelsa: Mother of God

JOHANN SCHELLE

Aria: Komm, Jesu, komm

J.S. BACH

Motet: Komm, Jesu, komm

Bindis peria sopeli: The colour of the village is twilight

J.S. BACH

Chorale: Wer weiß, wie nahe mir mein Ende, BWV 166

Chven mshvidoba: Peace to us

J.S. BACH

Motet: Lobet den Herrn, alle Heiden, BWV 230

J. CH. BACH

Aria: Es ist nun aus


An image of Ori Shalva in performance

Ori Shalva

Georgian polyphony is an ancient tradition that comes in a plethora of musical dialects, reflecting the diverse geographical and cultural makeup of the country, a mountainous region of the Caucasus at the crossroads of Europe and Asia. Over the centuries, family ensemble singing has played an important role in the preservation of this music. For Ori Shalva (aka the Makharashvili family), singing is natural, instinctive, and was originally framed by family celebrations. Unlike other Georgian singing families, however, they are based in Toronto, halfway around the world from the source. Today, Georgian-born singer/multi-instrumentalist Shalva Makharashvili and his Toronto-born partner, Andrea Kuzmich, are Canada’s foremost experts in Georgian polyphony, sharing their traditions on concert stages and at cultural festivals in Toronto, the US, and all over Georgia. They have collaborated with numerous groups, including VIVA Youth Singers, Aradia Ensemble, and the University of Toronto Vocal Jazz Ensemble, and lead workshops on the intricacies of Georgian polyphony to enthusiasts and professional musicians through regular workshops through MusiCamp, their home studio.

When Ori Shalva performs, they embrace the profundity of Georgian culture: its roots deeply embedded in ancient times, its strength and courage to survive, and its excessively generous and inspiring hospitality.

We are honoured to share the Tafelmusik stage with Shalva, Andrea, their son Lukas, and their friend and colleague, Nick Moss Gillepsie.


Tafelmusik Chamber Choir

Soprano

Alison Beckwith, Jane Fingler, Roseline Lambert, Carrie Loring, Meghan Moore, Susan Suchard, Jennifer Wilson

Alto

James Dyck, Kate Helsen, Valeria Kondrashov, Peter Koniers

Tenor

Paul Jeffrey, Will Johnson, Robert Kinar, Cory Knight, Sharang Sharma

Bass

Alexander Bowie, Parker Clements, Nicholas Higgs, Alan Macdonald

with Charlotte Nediger, organ

Access full bios for core choir members at tafelmusik.org/choir


Texts & Translations

Johann Sebastian Bach: Sei Lob un Preis
(Text: “Nun lob, mein Seel, den Herren,” verse 5: Johann Gramann 1549)

Sei Lob und Preis mit Ehren
Gott Vater, Sohn und Heil’gem Geist!
Der woll’ in uns vermehren,
Was er uns aus Genad’ verheißt,
Daß wir ihm fest vertrauen,
Gänzlich uns laß’n auf ihn,
Von Herzen auf ihn bauen,
Daß uns’r Herz, Mut und Sinn
Ihm festiglich anhangen.
Drauf singen wir zur Stund:
Amen, wir werd’n’s erlangen,
Glaub’n wir aus Herzengrund.

Glory and praise with honour be to God
the Father, the Son, and to the Holy Spirit!
He will increase in us
what he promises us through his grace,
that we might firmly trust in him,
surrender ourselves wholly to him,
rely on him within our hearts,
so that our heart, will, and mind
depend steadfastly on him.
Therefore we sing at this time:
Amen, we shall accomplish this, if we
believe from the depths of our hearts.

Qovelsa kveqanasa: In every land
(Shemokmedi school)

ყოველსა ქვეყანასა განხდა ხმა შენი,
რომელმანცა შეიწყნარა სიტყვა
შენი, რომლითა ღმრთივშუენიერად
ჰქადაგე სარწმუნოება, ბუნებანი
დაბადებულთანი გამოაცხადენ, წესნი
კაცთანი განაბრწყინვენ და სამეფო
იგი მღუდელობა განაშუენე, წმიდაო
მღუდელ-მთავარო ბასილი, ევედრე
ქრისტესა ღმერთსა შეწყალებად
სულთა ჩუენთათვის.

Your voice was heard in every land
that accepted your word,
with which you preached the faith
in a godly manner,
revealed the true nature to the ones born, enlightened humanity with laws,
and appointed the heavenly priesthood
for them.
St. Basil, our high priest,
pray to Christ our Lord to save our souls.

Da vitartsa meupisa: That we may receive
(Kartli school of chant)

და ვითარცა მეუფისა ყოველთასა
შემწყნარებელსა, ანგელოზთაებრ
უხილავად ძღვნის შემწირველთა
წესთასა, ალილუია, ალილუია,
ალილუია

That we may receive the King of all,
escorted invisibly by the angelic orders.
Alleluia.

Johann Bach: Weint nicht um meinen Tod
(Text: Anonymous)

Weint nicht um meinen Tod,
ich hab in frohen Siegen,
nun völlig überstiegen
Furcht, Jammer, Angst und Not.
Ich hab’ in Christi Wunden
mein höchstes Wohlsein funden.

Weint nicht um meinen Tod.
Was mich vorhin verletzt’
ist mir zur Freude worden,
weil in der Engelorden
mein Jesus mich ergötzt.
Nun wird er Gnad’erteilen
und mit Vergnügen heilen,
Was mich vorhin verletzt.

Hilf Gott, wie spielt die Welt!
Bald will man Götter ehren,
die Pracht und Macht bescheren,
bald sucht man Gut und Geld,
bald lenkt man seine Sinnen
nach hohen Ehren Zinnen.
Hilf Gott, wie spielt du Welt!

Zuletzt trifft uns der Tod.
Dem müssen alle zollen,
wir leben, wie wir wollen,
noch Kraft, noch Purpurrot
kann diesen Gast bewegen
ein Stündlein zuzulegen.
Zuletzt trifft uns der Tod.

Do not weep over my death,
for in joyous victory
I have now overcome
fear, misery, terror, and trouble.
In the wounds of Christ
I have found my greatest comfort.

Do not weep over my death.
That which first wounded me
has now become my joy,
for amidst the angelic host
my Jesus delights me.
He now will grant me his grace
and will heal with joy
that which first wounded me.

God help us, how the world turns!
Soon people will revere gods
who bestow splendour and power,
they will seek possessions and money
and will direct their hearts
towards high honours.
God help us, how the world turns!

Finally death claims us.
All must succumb to him;
we live as we desire,
but neither strength nor rank
can move this guest
to grant us one moment more.
Finally death claims us.

Johann Kuhnau: Tristis est anima mea
(Second responsory of the Tenebrae for Maundy Thursday)

Tristis est anima mea usque ad mortem:
sustinete hic, et vigilate mecum:
nunc videbitis turbam
quæ circumdabit me.
Vos fugam capietis,
et ego vadam immolari pro vobis.

My soul is sorrowful even unto death;
tarry ye here, and watch with me.
Now shall ye see a multitude
that will surround me.
Ye shall take flight,
and I will go to be sacrificed for you.

Laments from Abkhazia

Johann Christoph Bach: Fürchte dich nicht
(Isaiah 43:1; Luke 23:43; Johann Rist)

Fürchte dich nicht, denn ich hab dich erlöst,
Ich hab dich bei deinem Namen gerufen,
du bist mein.
Wahrlich, ich sage dir:
Heute wirst du mit mir im Paradies sein.

O Jesu, du mein Hilf und Ruh,
ich bitte dich mit Tränen:
Hilf, dass ich mich bis ins Grab
nach dir möge sehnen.

Fear not: for I have redeemed thee,
I have called thee by thy name;
thou art mine.
Verily I say unto thee:
today shalt thou be with me in paradise.

O Jesus, my help and my rest,
I entreat thee with tears:
help me to follow thee
until my life is at its end.

Ghvtismshobelsa: Mother of God (Gelati school of chant)

ღვთისმშობელსა ლმობიერად
შეუვრდეთ ჩვენ, 
ცოდვილნი ესე და გლახაკნი, 
მხურვალითა ცრემლითა ღაღად-
ვყოთ სიღრმით გულისათ: 
ჰოი, დედოფალო, წყალობით შემწე
მეყავ ჩვენ, 
სასოო მორწმუნეთაო, 
მსწრაფლ გვეწიენ, რამეთუ
წარვსწყმდებით ჩვენ სიმრავლისაგან
ცოდვათა ჩვენთასა, 

Let us humbly bow to the Mother of God;
all of us sinners and paupers,
cry out with fervent tears
and deeply rejoicing hearts:
Lo, Queen, have mercy on us.
Faithful believer, make haste,
as we are dying from the multitude
of our sins.
Do not turn us away, we your
unworthy slaves,
as you are our hope and protector

Johann Schelle: Komm, Jesu, komm (Aria)
(Text: Paul Thymich)

Komm, Jesu, komm, mein Leib ist müde,
die Kraft verschwind je mehr und mehr,
ich sehne mich nach deinem Frieden;
der saure Weg wird mir zu schwer.
Komm, komm, ich will mich dir ergeben,
du bist der rechte Weg,
die Wahrheit und das Leben.

Die Welt hat zwar auch ihre Wege,
damit sie uns zu reizen denkt;
doch sind die irrd’schen Lasten Stege
mit Dorn’ und Disteln meist umschrenckt.
Sie kann uns kein Vergnügen geben.
Du bist der rechte Weg,
die Wahrheit und das Leben.

Come, Jesus, come, my body is weary,
my strength fails more and more,
I long for thy peace;
the bitter path is too hard for me.
Come, come, I will give myself to thee,
thou art the way,
the truth, and the life.

Yet the world has its ways too,
with which it wants to tempt us;
but the earthly burdens are bridges,
often entwined with thorns and thistles.
It cannot give us happiness.
Thou are the right way,
the truth and the life.

J.S. Bach: Komm, Jesu, komm (Motet)

Komm, Jesu, komm, mein Leib ist müde,
die Kraft verschwind je mehr und mehr,
ich sehne mich nach deinem Frieden;
der saure Weg wird mir zu schwer.
Komm, komm, ich will mich dir ergeben,
du bist der rechte Weg,
die Wahrheit und das Leben.

Drum schließ ich mich in deine Hände
und sage, Welt, zu guter Nacht.
Eilt gleich mein Lebenslauf zu Ende,
ist doch der Geist wohl angebracht.
Er soll bei seinem Schöpfer schweben,
weil Jesus ist und bleibt
der wahre Weg zum Leben.

Come, Jesus, come, my body is weary,
my strength fails more and more,
I long for thy peace;
the bitter path is too hard for me.
Come, come, I will give myself to thee,
thou art the way,
the truth, and the life.

I give myself into thy hands
and to the world say good night.
The sands of life are quickly running out,
but the spirit is ready.
It shall hover before its creator,
for Jesus is and shall be
the true path to life.

Bindis peria sopeli: The colour of the village is twilight
(Folk table song from Kakheti, Eastern Georgia)

Ბინდის ფერია სოფელი თანდათან
უფრო ბინდდება
რა არის ჩვენი სიცოცხლე ჩიტივით
გაგვიფრინდება
ჩვენს ნასახლარზე ოდესღაც ბალახი
აბიბინდება
იმასაც მოკლედ უვლია ვინც გძლად
ეგონა იარა
თოფს ჟანგი შესჭამს ჟანგს მიწა, კაცის
გულს დარდი იარა,
მოვა სიკვდილი უჩინო, ერთ წამში
აგვყრის იარაღას
ჩვენ რას წავიღებთ იმქვეყნად, სხვას
არა წაუღია რა.

The village is getting darker and darker;
that which is our life will fly away like a bird. Someday the grass will grow in our village.
Even those who thought to have walked
a long distance, appear to have only
walked just a couple of steps.
The rust will eat the gun,
and the earth will eat the rust;
the heart of man will ache.
Death will come silently,
in one moment it will disarm us;
what we take to the other world
is nothing.

J.S. Bach: Wer weiß, wie nahe mir mein Ende!
(Text: Ämilie Juliane von Schwarzburg-Rudolstadt 1686)

Wer weiß, wie nahe mir mein Ende!
Hin geht die Zeit, her kommt der Tod;
ach wie geschwinde und behende
kann kommen meine Todesnot.
Mein Gott, ich bitt durch Christi Blut:
machs nur mit meinem Ende gut!

Who knows how near my end is!
Time runs out, death approaches;
ah, how quickly and swiftly
can my death struggle come!
My God, I beseech through the blood of
Christ, make my end good!

Chven mshvidoba: Peace to us
(Folk table song from Guria, Western Georgia)

J.S. Bach: Lobet den Herrn, alle Heiden
(Text: Psalm 117)

Lobet den Herrn, alle Heiden,
und preiset ihn, alle Völker!
Denn seine Gnade und Wahrheit
waltet über uns in Ewigkeit.
Alleluia.

Praise the Lord, all nations,
praise him, all people.
For his grace and truth
rules over us for eternity.
Alleluia.

J. Ch. Bach: Es ist nun aus
(Text: Magnus Daniel Omeis, 1673)

Es ist nun aus mit meinem Leben,
Gott nimmt es hin, der es gegeben.
Kein Tröpflein mehr ist in dem Fass,
es will kein Fünklein mehr verfangen,
des Lebens Licht ist ausgegangen.
Kein Körnlein läuft mehr in dem Glas,
es ist nun aus, es ist vollbracht,
Welt, gute Nacht!

Komm, Todestag, du Lebenssonne,
du bringest mir mehr Lust und Wonne,
als mein Geburtstag bringen kann,
du machst ein Ende meinem Leiden,
das sich schon mit den Kindtaufsfreuden
vor jenen hat gefangen an.
Nun ist es aus, es ist vollbracht,
Welt, gute Nacht!

Was wollet ihr euch nach mir sehnen?
Ei, stillet, stillet eure Tränen,
weil meine schon gestillet sind,
mir wischt sie Jesus von den Augen,
was sollen denn die euren taugen,
und lachet mit mir als ein Kind.
Was Jesus macht, ist wohlgemacht!
Welt, gute Nacht!

Now my life is at an end,
God receives it, he who gave it.
Not the smallest drop remains in the vessel,
not a single spark will catch,
life’s light is extinguished.
Not one grain remains in the hourglass,
it is now ended, it is accomplished,
world, good night!

Come, day of death, o sun of life,
you bring me more joy and bliss
than the day of my birth,
you put an end to my suffering,
which before the joys of christening
had already begun.
Now it is ended, it is accomplished,
world, good night!

Why would you grieve for me?
Ah, still your tears,
for mine are stilled already;
Jesus wipes them from my eyes.
Of what use then are yours;
laugh with me like a child.
That which Jesus does is well done!
World, good night!


Program Notes

by Ivars Taurins

The first time I heard Georgian singing I was immediately captivated by its ancient, soulful qualities. The Byzantine, pungent harmonies illuminating centuries-old texts struck me to the core. It is no wonder that Georgian polyphony has been recognized by UNESCO as an intangible cultural masterpiece of humanity.

The motets of Johann Sebastian Bach, and those of his predecessors and family, have a similar effect on me. Words from the poem “At a Bach Concert” by Adrienne Rich, spring to mind:

“This antique discipline, tenderly severe,
Renews belief in love yet masters feeling,
Asking of us a grace in what we bear.”

What better way, then, to experience a transformative journey of grief, tribulation, empathy, and exultation than in this meeting of two musical cultures at once so different and yet so united in their purpose and in their humanity.

In creating tonight’s program, I began by choosing three motets by Johann Sebastian Bach: the celebratory Sei Lob und Preis, the more contemplative and intimate Komm, Jesu, komm, and the jubilant Lobet den Herrn.

To these I added works from the Altbachische Archiv. The Bach family had been composing motets for generations, and Johann Sebastian assembled a selection of motets by his forebears in this important manuscript. He directed performances of these works over the years, and would have heard them as a youth. Johann was his great uncle; Johann Christoph was his father’s cousin. The latter’s motet Fürchte dich nicht (Fear not) could hardly be more different in its attitude from that of Johann Sebastian’s later 8-part setting. It is in turn hauntingly poignant and soulfully dramatic in its repetitions, ending in hushed reiterations of “Du bist mein—thou art mine.”

We also explore the music of two of Bach’s predecessors at the St. Thomas Church in Leipzig. Johann Kuhnau, and before him Johann Schelle, held the post of Thomascantor, and were pivotal in shaping the musical diet of the city.

I shared my selection of motets with Shalva Makharshivili and Andrea Kuzmich, who spent time listening and exploring the texts before selecting traditional Georgian chant and songs that reflect and respond to the baroque works. Georgian polyphony is a millennia-old tradition that defies Western musical conventions and comes in a plethora of musical dialects, from lyrical melismatic genres in the East, to wild, explosive counterpoint in the West, reflecting the diverse geographical and cultural makeup of this magical country.

Bach would never have heard Georgian polyphony, nor would the Georgians of his time have heard the music of the Bach family, but in their shared love of polyphony, expressive and visceral harmony, and family traditions of making music, it is easy to imagine that such a meeting would have resulted in a fascinating and deeply meaningful musical exchange. I am very grateful to Ori Shalva for joining us tonight as share our own musical exchange with you.

To read a wonderful old Georgian tale about the role of music in their culture, please visit tafelmusik.org/georgian-tale.

Learn more about early music

Explore Baroque! Learn more about baroque music, composers, instruments, our orchestra, choir, and much more.