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JOHN V. SINCLAIR, ARTISTIC DIRECTOR AND CONDUCTOR

79 TH A N N UA L BAC H F E ST IVA L MUSIC: THE ESSENCE OF THE HUMAN EXPERIENCE F E A T U R I N G T H E B A C H F E S T I VA L C H O I R A N D O R C H E S T R A AT ROLLINS COLLEGE SINCE 1935


History of the Bach Festival Society The Bach Festival Society was founded in 1935 to commemorate the 250th anniversary of Johann Sebastian Bach’s birth by presenting the composer’s orchestral and choral music to the public for its enlightenment, education, and enjoyment. As Central Florida’s oldest operating performing arts organization, the Bach Festival Society is well known internationally and has enjoyed a long tradition of bringing world-class talent to the Winter Park community. Since its inception, the Society has expanded its offerings beyond the annual Bach Festival to include Choral Masterworks and Visiting Artists performances, as well as a variety of educational and community outreach programs to encourage participation in music at all levels.

The Bach Festival Society of Winter Park has enjoyed a long history of musical excellence, due in large respect to the following core group of individuals, foundations, and organizations. John M. Tiedtke The Martin Andersen-Gracia Andersen Foundation Edyth Bush Charitable Foundation Darden Restraurants Foundation Elizabeth Morse Genius Foundation Rollins College United Arts of Central Florida Board of Trustees Eric Ravndal III, President Robert A. White, Vice President and Secretary Michael Kakos, Treasurer Autumn Ames Lewis M. Duncan J. Michael Murphy S. Blair Murphy Beppy Owen Curtis Rayam Beverly Slaughter Lisa Sidhu Trustee Emerita M. Elizabeth Brothers Rollins President’s Designee Carol Bresnahan Artistic Director and Conductor John V. Sinclair Executive Director Elizabeth (Betsy) Gwinn Staff Hope Forconi, Executive Assistant Zac Alfson, Patron Engagement Manager Daniel Flick, Program and Education Manager

Knowles Memorial Chapel Knowles Memorial Chapel is the most prominent building on the Rollins College campus and a representation of the college’s unique heritage. The Chapel was donated by Frances Knowles Warren in honor of her father, Francis Bangs Knowles, a founding father of Rollins College and Winter Park. Ralph Adams Cram, the famous ecclesiastical architect, designed Knowles Memorial Chapel. He is also renowned for his work designing the Church of St. John the Divine in New York City and the chapel on the campus of the University of Notre Dame. Construction of the chapel was begun in March 1931, and the completed building was dedicated on March 19, 1932. It has been the home of Bach Festival programming since the Society’s inception in 1935. In 1997 the Chapel was added to the National Register of Historic Places.

Bach Festival Society of Winter Park 1000 Holt Ave, Box 2763 • Winter Park, FL 32789 • 407.646.2182 • www.BachFestivalFlorida.org


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BIOGRAPHIES JOHN V. SINCLAIR, Artistic Director and Conductor Dr. John V. Sinclair is celebrating his 24th season as Artistic Director and Conductor of the renowned Bach Festival Society of Winter Park. He serves as Chair of the Department of Music and is the John M. Tiedtke Professor of Music at Rollins College. He also conducts the International Moravian Music Festivals. Dr. Sinclair will be conducing Berkshire Choral Festival in Winter Park this summer. Dr. Sinclair earned his undergraduate degree from William Jewell College and his master’s and doctoral degrees from the Conservatory of Music at the University of Missouri in Kansas City. During the past twenty years he has made over one thousand appearances as conductor, clinician, or lecturer throughout the United States and in many foreign countries. Dr. Sinclair is also a conductor of the Candlelight Processional at EPCOT and has conducted recordings for Warner Brothers, Walt Disney Corporation, Moravian Music Foundation, and numerous Bach Festival events. A master teacher, Dr. Sinclair has received many awards while at Rollins College, including the Hugh F. McCain Teaching Award, Lifetime Achievement Award, Distinguished Service Award, and the Arthur Vining Davis Fellowship. For two consecutive years he was named “Outstanding Music Educator of the Year” by United Arts of Central Florida, and Florida International Magazine selected him as one of its “Power Players in the Arts.” Last year his Alma Mater, William Jewell College, honored him with their prestigious Citation for Achievement. MARY WILSON, soprano Mary Wilson is acknowledged as one of today’s most exciting young artists. Cultivating a wideranging career singing chamber music, oratorio, and operatic repertoire, her “bright soprano seems to know no terrors, wrapping itself seductively around every phrase” (Dallas Morning News). In high demand on the concert stage, Mary Wilson has most recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Cincinnati Symphony Orchestra, and 2

at the Hollywood Bowl. An exciting interpreter of Baroque repertoire, especially Handel, she has appeared with such groups as Philharmonia Baroque, Musica Angelica, American Bach Soloists, and Boston Baroque. With the IRIS Chamber Orchestra, she sang the world premiere of the song cycle Songs Old and New, written especially for her by Ned Rorem. Mary performs regularly with the Winter Park Bach Festival. On the opera stage, Mary Wilson is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro, and Gilda in Rigoletto. She has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, and the Goodman Theatre. An accomplished pianist, Ms. Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota, and Washington University in St. Louis, Missouri. She currently resides in Memphis, Tennessee, with her husband and son. Sponsored by a generous gift from M. Elizabeth Brothers in loving memory of Germaine Haserot AMANDA CRIDER, mezzo-soprano Praised for her “focused golden-toned voice,” young American mezzo-soprano Amanda Crider is quickly gaining recognition for her extraordinary musicality and assured dramatic presence. Ms. Crider’s current season includes appearances as mezzo soloist in Britten’s Phaedra with the New World Symphony, and The English Teacher in Gregory Spear’s new opera Paul’s Case with the Prototype Festival. This is her second appearance with the Winter Park Bach Festival. An impeccable interpreter of song and oratorio, Ms. Crider made her Carnegie Hall debut in the fall of 2007 singing as mezzo soloist in Handel’s Messiah with the New England Symphonic Ensemble. She returned to Carnegie Hall in April of 2008 as mezzo soloist in Haydn’s Lord Nelson Mass. Her other concert credits include mezzo soloist in Messiah with numerous orchestras, such as the Syracuse Symphony Orchestra and the Savannah Symphony. Ms. Crider was a 2011 finalist in both the Joy in Singing Debut Artist Competition and the Jensen Foundation Vocal Competition. A 2009 finalist in the Jose Iturbi International Voice Competition, Ms. Crider also took second place in the 2008 Shreveport Opera, was the 2007 Recipient of the Palm Beach Opera Vocal Competition David and Ingrid Kosowsky Award, earned finalist in


BIOGRAPHIES the 2006 Oratorio Society of New York Vocal Competition and 2005 Center for Contemporary Opera Competition, and was the 2003 recipient of a Richard F. Gold Career Grant from the Shoshana Foundation. Ms. Crider received her master’s degree in vocal performance from the Manhattan School of Music and earned her bachelor’s degree in piano performance. Sponsored by a generous gift from M. Elizabeth Brothers in memory of Marguerite Taylor-Lindsay and Sydney Inman Brothers ROBERT BREAULT, tenor Tenor Robert Breault enjoys an international career that features an extraordinary breadth of repertoire. His warm, flexible voice and superb artistic sensibilities combine to make him a consummate singing actor. The 2013–2014 season for this dynamic tenor includes the role of Narraboth in Utah Opera’s production of Salome and concert performances of Beethoven’s Ninth Symphony with the Santa Fe Symphony and Sheboygan Symphony and Rossini’s Stabat Mater with the Virginia Symphony. He will sing the title role in Britten’s St. Nicolas with the Madeleine Choir in Salt Lake City, Utah. Other recent engagements include a return engagement with the Ulf Schirmer—led Bayerischer Rundfunk Symphonieorchester in the world premiere of Gerd Kühr’s demanding Ordinarium Missae, Mahler’s Das Lied von der Erde as a late replacement with the Oregon Mozart Players, Stravinsky’s Les Noces in Russian under JoAnn Falletta for the Virginia Arts Festival, and a return to the Utah Opera as Tamino in a highly acclaimed Die Zauberflöte. Breault is a regular performer at the Winter Park Bach Festival. Born and raised in Wisconsin, Breault received his Doctorate of Musical Arts from the University of Michigan in 1991 and graduated Magna Cum Laude from St. Norbert College. He has served as Professor of Music and Director of Opera at the University of Utah since 1992. Sponsored by a generous gift from Ted and Helen Layman KEVIN DEAS, bass Kevin Deas has gained international acclaim as one of America’s leading basses. He has been lauded for his “burnished sound, clarity of diction, and sincerity of expression” and “fervent intensity” by the Chicago Tribune. Deas is perhaps most acclaimed for his signature portrayal of the title

role in Porgy and Bess, having sung it with the New York Philharmonic; Philadelphia Orchestra; National Symphony; St. Paul Chamber Orchestra; San Francisco, Atlanta, San Diego, Utah, Houston, Baltimore, and Montreal symphonies; and at the Ravinia and Saratoga festivals and repeated the role in concert to open the Seattle Symphony’s 2013–14 Pops Season. Mr. Deas has appeared in concert with major orchestras throughout North America. His recent performances include Beethoven’s Symphony No. 9 with the Colorado Symphony, National Arts Centre Orchestra, National Symphony of Costa Rica, Pacific Symphony, and Richmond Symphony; Handel’s Messiah with Boston Baroque, the Cleveland Orchestra, Kansas City Symphony, National Philharmonic, and Seattle Symphony; Haydn’s Lord Nelson Mass with Boston Baroque; Mozart’s Reqiuem and Fauré’s Requiem with the Vermont Symphony; Haydn’s Paukenmesse with Orquesta Sinfónica Nacional de Mexico; Ravel’s L’enfant et les sortilèges with the New York Philharmonic; and Copland’s Old American Songs and Elgar’s The Dream of Gerontius with the Chicago Symphony; and performances of Brubeck’s To Hope! in Salzburg and Vienna. Deas has also appeared at Lincoln Center’s Mostly Mozart Festival and Carnegie Hall, and is a regular performer at the Winter Park Bach Festival. Kevin Deas’ list of recordings includes Die Meistersinger with the Chicago Symphony, Varèse’s Ecuatorial with the ASKO Ensemble, Bach’s B minor Mass, Haydn’s Creation with Boston Baroque, and Dave Brubeck’s To Hope! with the Cathedral Choral Society, among others. Sponsored by a generous gift from J. Michael and Helene Murphy BRAD DIAMOND, evangelist Tenor Brad Diamond is known for his “light, lyric voice” (The Star-Ledger) and has a multi-faceted career in the music world, both as an artist on the concert and opera stages and as a teacher. A specialist in oratorio repertoire, Mr. Diamond was featured on Boston Baroque’s 1998 recording of the Monteverdi Vespers of 1610, which received a Grammy nomination in the category of Best Choral Performance of 1998. Mr. Diamond has performed J.S. Bach’s St. John Passion with the Trinity Church and our Winter Park Bach Festival 3


BIOGRAPHIES and Monteverdi’s Marian Vespers with the Music of the Baroque, Boston Baroque, and National Arts Center of Ontario. He is a regular performer at the Winter Park Bach Festival. On the operatic stage Diamond has performed the role of Almaviva in The Barber of Seville with Lyric Opera Cleveland, Opera Pacific, and a recording for Public Television Broadcast with the Florentine Opera Company of Milwaukee, among others. Diamond earned his Bachelor of Music degree at Westminster Choir College in Princeton, New Jersey, and his Master of Musical Arts degree at the University of Cincinnati’s College Conservatory of Music. While attending Westminster, Diamond sang as a soloist under the baton of the late Leonard Bernstein. He currently serves as Assistant Professor of Voice at the University of South Florida in Tampa, Florida. Sponsored by a generous gift from Nancy and Egerton van den Berg JOANNA BLENDULF, viola da gamba A native of Sweden, Joanna Blendulf has diverse musical interests, performing in chamber ensembles and orchestras throughout the United States. She received her musical training at the Cleveland Institute of Music and Indiana University, where she studied with Stanley Ritchie, Tsuyoshi Tsutsumi, and Alan Harris. In 1998, Ms. Blendulf received the prestigious Performer’s Certificate from the Indiana University faculty for her achievements on baroque cello. Spending much of her time in transit, she is currently performing with the Portland Baroque Orchestra, American Bach Soloists, the Indianapolis Baroque Orchestra, Jubilate Baroque Orchestra, the Nashville Chamber Orchestra, and the San Francisco Bach Choir. This is Joanna’s first appearance with the Winter Park Bach Festival. Joanna is an active chamber musician, touring with American Baroque, Bimbetta, Mirable, Musica Pacifica, and The Streicher Trio, all based in the San Francisco Bay Area where she resides. She was named runner-up in the 2000 EMA/Dorian Competition for her recording of the Jean Zewalt Triemer cello sonatas and has also recorded for the Dorian and Eclectra labels. Sponsored by a generous gift from Michael and Aimee Kakos JOANNE KONG, harpsichord Harpsichordist and pianist Joanne Kong captures the attention of audiences in compelling 4

performances that celebrate the vibrancy and eloquence of musical expression. Alan Greenblatt of The Washington Post has described her as an artist “with great finesse and flexibility,” and Mark Swed of the Los Angeles Herald Examiner wrote that she “obviously is a Bach specialist … her technique is impressive.” A recognized Bach specialist, Ms. Kong has performed as solo and chamber harpsichordist in the Los Angeles Bach Festival, Oregon Bach Festival, Houston Harpsichord Society Recital Series, and our own Winter Park Bach Festival, and she has collaborated with some of the world’s finest musicians, including the Shanghai String Quartet, flutist Eugenia Zukerman, members of the Bach Aria Group, and the Grammy Award–winning ensemble eighth blackbird. In addition to concertizing, Ms. Kong has broadcast over numerous radio stations, including National Public Radio, and she is in frequent demand as a keyboard and chamber coach. Dr. Kong currently directs the Accompaniment program at the University of Richmond and coordinates its chamber music ensembles. Sponsored by a generous gift from Lisa and Rupinder Sidhu CHARLIE HARRIS, Jesus Charlie Harris is a native of South Florida. As a boy he toured as a soloist with the Singing Sons Boychoir, traveling all of North America. At age 9 he performed the title role in Mennotti’s, Amahl and The Night Visitors. During his studies at Broward College, Charlie was featured as Mack the Knife in The Three Penny Opera. Other performances include George Atwell’s Mass for the New Millenia at Carnegie Hall in 2007, and the role of Gregorio in Gounod’s “Romeo and Juliet” with The Gold Coast Opera Company. In March of 2010, he traveled to Germany as a soloist performing at Saint Michael’s Cathedral and The Salzburg Cathedral. Charlie has been singing professionally for the past 5 years with The Voices of Liberty at Walt Disney World’s EPCOT and is a member of the men’s vocal ensemble SEVEN, which was featured in 2013 at the American Legion National Convention. Sponsored by a generous gift from Bosco R. and Beverly J. Slaughter


KEN COWAN, ORGAN F R I | FEB 14 | 8:00PM K N OW LE S MEMORI AL CHAPEL

PROGRAM Fantasia and Fugue in G minor, BWV 542

Johann Sebastian Bach (1685-1750)

Wachet auf, ruft uns die Stimme (Sleepers Wake, a Voice is Calling), BWV 645 Von Gott will ich nicht lassen (I Will Not Abandon God), BWV 658 Nun komm der Heiden Heiland (Come, Savior of the Nations), BWV 659 Nun freut euch, lieben Christen gmein (Rejoice, Beloved Christians), BWV 734

J. J. J. J.

S. S. S. S.

Bach Bach Bach Bach

Toccata in E major, BWV 566

J. S. Bach

INTERMISSION Sinfonia, from Cantata BWV 29, “Wir danken dir, Gott” (We Thank Thee, God)

J. S. Bach

Trio Sonata No. 6 in G, BWV 530 Vivace Lento Allegro

J. S. Bach

Fantasy on a Chorale “Wachet auf, ruft uns die Stimme,” Op. 52, No. 2

Max Reger (1873-1916)

Ken Cowan is represented by Karen McFarlane Artists, Inc. www.concertorganists.com The Knowles Memorial Chapel Organ is an Aeolian-Skinner 1932/Randall Dyer & Assoc., 2002 Please turn off all cell phones and electronic devices prior to the start of this performance. The Bach Festival Society’s policies strictly forbid all photography, filming, or recording of any kind during any performance without the express written permission of the Society. 5


BIOGRAPHY KEN COWAN

Ken Cowan is one of North America’s finest concert organists. Praised for his dazzling artistry, impeccable technique, and imaginative programming by audiences and critics alike, he maintains a rigorous performing schedule that takes him to major concert venues in America, Canada, Europe, and Asia. Recent featured performances have included appearances at Philadelphia’s Verizon Hall and Walt Disney Concert Hall, as well as concerts in Germany and Korea. In addition, Mr. Cowan has been a featured artist in recent years at the national convention of the American Guild

of Organists and has been featured at several conventions of the Organ Historical Society and the Royal Canadian College of Organists. This is his first appearance with the Winter Park Bach Festival. A native of Thorold, Ontario, Canada, Mr. Cowan received a master’s degree and Artist Diploma from the Yale Institute of Sacred Music, studying organ with Thomas Murray. Prior to attending Yale, he graduated with a Bachelor of Music degree from the Curtis Institute of Music in Philadelphia, where he studied with John Weaver. In 2012, Mr. Cowan joined the keyboard faculty of the Shepherd School of Music at Rice University as head of the organ program. Previous positions have included Associate Professor of Organ at Westminster Choir College of Rider University in Princeton, New Jersey, where he was awarded the 2008 Rider University Distinguished Teaching Award, and Associate Organist and Artist in Residence at Saint Bartholomew’s Church in New York City. Sponsored by a generous gift from Blair and Diane Murphy

NOTES KEN COWAN Fantasia and Fugue in G minor, BWV 542 The Fantasia and Fugue in G minor by J. S. Bach (1685–1750) has been associated with his November 1720 audition for a position of organist at the Jakobikirche in Hamburg. Bach would surely have found this dramatic composition well suited to the church’s powerful fourmanual, 60-stop Schnitger organ. The Fantasia in G minor’s two main musical ideas are in clear contrast to one another. The first is agile and florid, resembling the opening of Bach’s G minor violin sonata. The second is more relaxed and uses imitation to develop a short musical idea. One of Bach’s most harmonically complex organ pieces, the Fantasia in G minor conveys a broad range of passionate emotion. The fugue remains one of the most admired of Bach’s organ pieces, due to its imaginatively free form, rhythmic momentum, and singing theme, which was likely based on a Dutch folk tune. Wachet auf, ruft uns die Stimme (Sleepers Wake, a Voice is Calling), BWV 645 Von Gott will ich nicht lassen (I Will Not Abandon God), BWV 658 Nun komm der Heiden Heiland (Come, Savior of the Nations), BWV 659 Nun freut euch, lieben Christen gmein (Rejoice, Beloved Christians), BWV 734 Bach’s chorale preludes form a large portion of his organ works. The four to be heard this evening are set in contrasting styles and come from several different collections. “Wachet auf, ruft uns die Stimme” comes from a collection known as the “Schübler” chorales, named after their publisher, Johann Georg Schübler. These works were all originally cantata movements accompanied by orchestral instruments later arranged 6

by Bach for organ solo. “Wachet auf” was originally conceived as the fourth movement of Cantata No. 140, scored for two-part strings and continuo, with a chorus singing the chorale melody. In his organ arrangement, Bach opted for a simple three-voice texture, with a contrasting solo stop playing the chorale tune in the tenor range. “Von Gott will ich nicht lassen” and “Nun komm der Heiden Heiland” both come from a collection known as the “Leipzig” chorales. They are so named because these works, presumably begun during his time in Weimar, were revised and embellished by Bach during his years in Leipzig. “Von Gott will ich nicht lassen” features a rhythmic three-part accompaniment that even in the absence of the chorale tune would make a complete sounding composition resembling some of Bach’s harpsichord Sinfonias. The chorale melody is played in the pedals against this imitative accompaniment, before concluding with two measures of surprising harmonic tension and a final arrival in the tonic F major. Bach’s ornamented setting of “Nun komm der Heiden Heiland” is loved for its poignant expressivity and melodic beauty. The advent chorale theme is decorated to sublime effect. Imitative voices in the accompaniment are based on portions of the chorale melody, and a stepwise bass is played solemnly underneath. Ferruccio Busoni famously transcribed this work for piano solo, and it continues to be heard frequently in that setting as well as the original for organ solo. “Nun freut euch, lieben Christen gmein” is an advent hymn by Luther. Bach accompanies the chorale melody with a spinning figuration played in the right hand and a walking continuo bass played in the left, beautifully illustrating the “rejoicing” referred to in the text.


Toccata in E major, BWV 566 Bach is thought to have been a young man when he composed the enthusiastic Toccata in E major for organ. The four-section layout used in this composition is reminiscent of the multi-section format known as the North-German organ Praeludium. In this type of composition, free improvisatory sections and strict contrapuntal sections were heard in alternation. The E Major Toccata opens with free passages, first in the manuals and then in the pedals, followed by dramatic chordal writing featuring rich harmonies. This opening statement is followed by an extended fugue based on a subject featuring rhythmic repeated-note patterns. Bach introduces as a regular countersubject a fanfare-like melody that is heard each time the first theme returns. Following this fugue is a free cadenza that acts as a dramatic introduction to the final fugal section, whose theme is related to that of the first fugue. Though this section begins in a stately character, Bach the virtuoso gradually emerges, as he continuously accelerates note values toward a dazzling conclusion. INTERMISSION Sinfonia, from Cantata BWV 29, “Wir danken dir, Gott” (We Thank Thee, God) This festive piece was originally conceived as the Prelude to the Partita in E major for unaccompanied violin, BWV 1006. In 1731, however, Bach revised the composition, changing the key to D major and embellishing the instrumentation to include organ (which plays the original violin part), and orchestra, complete with trumpets and tympani. It became the first movement for one of three cantatas prepared for the inauguration ceremony of the newly elected town council in Leipzig. The version to be heard this evening includes material from several transcriptions of Bach’s orchestration. The composition is notable for its frequent refrains of the fanfare-like opening theme and its exhilarating rhythmic drive. Trio Sonata No. 6 in G, BWV 530 Vivace Lento Allegro It has long been thought that Bach’s Six Trio Sonatas were originally set as study pieces for his son Wilhelm Friedemann (b.1710). The challenges they present in coordination and concentration are virtually unparalleled in the organ literature. The first movement of the Sonata in G major, BWV 530, begins with the three voices in unison. One might liken it to the opening ritornello (refrain) of a concerto movement, which then gives way to solo voices embellishing and developing the material. The central Lento is written in a binary form. Its opening theme contains elements of the siciliano, with lilting, dotted rhythms. Harmonically intense, the movement is conceived like a beautiful aria with a dialogue between two solo violins. The gallant closing Allegro is a fugal movement, beginning with a theme and countersubject, conceived in much the same way as the three-part inventions for clavier. Fantasy on the Chorale “Wachet auf, ruft uns die Stimme,” Op. 52, No. 2 Reger completed his Chorale Fantasia Op. 52, No. 2 on Sept. 15, 1900, a period in which he composed several chorale fantasias in a large-scale variation form.

In these works, textual interpretation was of primary importance, and Reger entered the chorale text word for word into the musical score. The introduction to his fantasia on the Advent chorale “Wachet auf, ruft uns die Stimme” paints a picture of the darkness of night, with outbursts representing the fearful cries of unredeemed humanity before the last judgment. The introduction concludes with the soothing entrance of the chorale melody, hopeful in its character. A series of variations follow, depicting the following three verses of text in continuously evolving manner: Verse one begins with the chorale melody in the tenor register, accompanied high above, before evolving into a chordal, very tranquil harmonization. In anticipation of the coming of the “bridegroom” and the procession of the redeemed toward heaven, the music’s character becomes increasingly intense and bold. 1. Arise, the voice calls to us, the voice of the watchmen high on the merlon, Arise, you city of Jerusalem! It is the midnight hour. They call to us with clear voices “Where are you wise maidens?” Arise, the bridegroom is coming; get up, take your lamps! Hallelujah! Prepare for the wedding; you must go out to meet him! The beginning of verse two is marked by a bold statement of the theme accompanied by rigorous triplet figuration, representing the “leap for joy.” The final line of this stanza is set in a more calm, reflective manner with a highly ornamented setting of the chorale melody. This beautifully illustrates a final communion celebrated by all, before proceeding beyond the gates of heaven. 2. Zion hears the watchmen sing, and her heart leaps for joy; she awakes and gets up in a hurry. Her friend is coming in splendor from heaven, strong in grace, powerful in truth; her light will shine, her star will rise Now come, You precious crown, Lord Jesus, Son of God! Hosanna! We all follow to the festive chamber to join in the evening meal. Verse three is set as an exuberant fugue, which one might imagine sung by a chorus of angels celebrating the entrance into heaven. Reger composed the theme by embellishing the chorale melody in fast figuration. After a thorough development, this theme is then combined with the chorale tune in long notes, first in the bass, then in the tenor. This musical “summation” brings this fantasy to an epic-sounding conclusion and a fitting musical description of heavenly joy. 3. Let glory be sung to You by the tongues of angels and human beings, with beautiful harps and cymbals. Of twelve pearls are the gates of Your city; we stand in the choir of angels high around Your throne. No eye has ever seen, and no ear has ever heard such Joy. So we shout for joy and sing to You the Hallelujah through and through. Program Notes provided by the artist.

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CONCERTOS BY CANDLELIGHT: VIVALDI AND BACH B AC H F ESTI VAL ORCHESTRA JO HN V. SI NCLAI R, CONDUCTOR F R I | FEB 21 | 7:30PM SAT | FEB 22 | 7:30PM K N OW LES MEMORI AL CHAPEL Harpsichord Concerto in D minor, Wq. 23, H. 427 Movement One: Allegro Joanne Kong, harpsichord

C. P. E. Bach (1714-1788)

Antonio Vivaldi (1678-1741) Laudamus Te from “Gloria” RV588 Et Exultavit/Esurientes from “Magnificat” RV610 Bach Festival Youth Choir Violin Concerto in A minor BWV 1041 Lara St. John, violin

J. S. Bach (1685-1750)

INTERMISSION Bassoon Concerto in E minor RV 484 Ashley Heintzen, bassoon Nulla in mundo pax sincera RV 630 I. Aria - Nulla in mundo pax sincera IV. Alleluia Julie Batman, soprano Violin Concerto in E Major BWV 1042 Lara St. John, violin

Antonio Vivaldi Antonio Vivaldi

J. S. Bach

Please turn off all cell phones and electronic devices prior to the start of this performance.

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The Bach Festival Society’s policies strictly forbid all photography, filming, or recording of any kind during any performance without the express written permission of the Society.


BIOGRAPHIES CONCERTOS BY CANDLELIGHT LARA ST. JOHN, violin Canadian-born violinist Lara St. John has been described as “something of a phenomenon” by The Strad and a “high-powered soloist” by The New York Times. Ms. St. John has performed as soloist with the orchestras of Cleveland, Philadelphia, San Francisco, Seattle, Toronto, Montreal, Vancouver, and with the Boston Pops, the Royal Philharmonic Orchestra, NDR Symphony, Zurich Chamber Orchestra, Camerata Ireland, Amsterdam Symphony, Brazilian Symphony, Sao Paulo Symphony, China Philharmonic, Hong Kong Symphony, Tokyo Symphony, and the orchestras of Brisbane, Adelaide, and Auckland among many others. The Los Angeles Times wrote, “Lara St. John happens to be a volcanic violinist with a huge, fabulous tone that pours out of her like molten lava. She has technique to burn and plays at a constant high heat.” Lara created her record own label, Ancalagon, in 1999 and has recorded with the Royal Philharmonic, the Simon Bolivar Youth Orchestra of Venezuela, and The Knights, with which she won the Juno award in 2011 for her Mozart album. Of her Bach Six Sonatas and Partitas for Violin Solo, American Record Guide wrote: “I simply don’t know where else you can go to hear Bach played at this level of artistry. Once again she eclipses her competition.” Lara began playing the violin when she was two years old. She made her first appearance as soloist with orchestra at age four and her European debut with the Gulbenkian Orchestra in Lisbon when she was ten. She toured Spain, France, Portugal, and Hungary at ages 12 and 13, entered the Curtis Institute at 13, and spent her first summer at Marlboro three years later. Ms. St. John will lead an outreach to music students throughout Central Florida during her stay in Winter Park

ASHLEY HEINTZEN, bassoon Ashley Heintzen is a native of Muncie, Indiana. She received her doctorate from the Florida State University; her master’s from Baylor University; and her bachelor’s from Indiana University. She also attended the North Carolina School of the Arts. Dr. Heintzen has been Professor of Bassoon at Stetson University since 1994 and is a founding member of the faculty ensembles, Veritate Wind Quintet and Trio Della Canno. She recorded Night Watch, a piece for solo bassoon by Sydney Hodkinson in August 2012, which was the inspiration for Midnight Passage, a work for solo bassoon and chamber wind accompaniment, premiered in October 2013. Night Watch is featured on the album Woodwind Odyssey. Dr. Heintzen has been a member of the Bach Festival Orchestra since 1995 and has recorded the albums Loveliest Immanuel, He Restores My Soul, and All is Bright with the ensemble. In addition, she plays with the Brevard Symphony, Orlando Philharmonic, Jacksonville Symphony, and Florida West Coast Symphony. She lives in Altamonte Springs with her husband and two children. JULIE BATMAN, soprano Julie is a teacher of voice and piano at Rollins College community school. She is the director for the Women’s Ensemble at Rollins and is the Bach Festival Choir’s soprano section leader. She has been a soloist for Bach Festival concerts and CDs, various churches, and a is a frequent recitalist specializing in oratorio works. Julie is a graduate of Rollins College.

Education outreach program sponsored by a generous gift from The Warren and Augusta Hume Foundation

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NOTES C. P. E. BACH J. S. Bach’s two surviving sons by his first wife were the troubled Wilhelm Friedemann (1710–1784) and the charming Carl Philipp Emanuel (1714– 1788). During his thirty years in Potsdam in the employ of Frederick II (“the Great”) of Prussia, C. P. E. Bach wrote a textbook, Versuch über die wahre Art das Clavier zu spielen (An Essay on the True Art of Playing Keyboard Instruments), an inspiration for the performing style of a new generation of keyboard players, including Mozart. Carl Philipp Emanuel Bach was chided by his father for being so adventuresome, but that does not explain why this Harpsichord Concerto, Wq. 23, H. 4271, seems to have been the only one of the sixty-seven keyboard concerti that had been known until recently, and in a relatively out-of-the way collection at that. Written in 1748, the first movement, drenched in the minor mode, displays all the turmoil and dynamism that signals the Romantic era to come.

VIVALDI Antonio Lucio Vivaldi, the priest with the flaming red hair, born March 4, 1678, during an earthquake, spent part of his childhood touring and playing violin with his father, a professional musician. Probably because of a promise made by his terrified mother during his birth, Vivaldi started studying for the priesthood when he was 15 and became a priest in 1703, at which point he was assigned as master of violin at Pio Ospedale della Pietà in Venice, an institution for children who were orphaned, abandoned, or just couldn’t be supported by their families. Girls in the school were trained to be musicians, and apparently the Ospedale’s orchestra was extraordinary. Some of the young women were such exceptional musicians that Vivaldi, in his tenure there (1703–1716, 1723– 1729), wrote over 500 concerti. Next in quantity after the violin concerti are 35 pieces for solo bassoon. The Bassoon Concerto, RV 484, clearly displays the style of concerto with the omnipresent Vivaldi ritornello that captured J. S. Bach’s musical attention. Vivaldi wrote three settings of the Gloria text, but while two exist in various forms, it is the Gloria, RV 589, that many consider to be the “only” one. The third movement, “Laudamus Te,” is set for Sopranos I and II and is a perfect work for a Children’s Choir. Vivaldi made several settings of the Magnificat text, but the one most cited and performed is RV 610; we hear the second movement, “Et exultavit spiritus meus” for soprano solo, as well as the sixth, “Esurientes,” written for soprano duet. Given that Vivaldi was well known in his time for his operas, it is not surprising that the writing for voice is sensitive and expressive. Nulla in mundo pax sincera (RV 630) is a sacred motet with an anonymous text that refers to this world of bitterness, except for the peace that lies in Jesus. The motet ends with a bravura Alleluia, so decorated that it calls upon the soprano’s utmost technique.

1 The works of C.P.E. Bach were catalogued by two musicologists, Alfred Wotquenne (1867–1939) and Eugene Helm, who updated the catalog in 1989. 10


NOTES J. S. BACH Johann Sebastian Bach (1685–1750) is considered to have reached the pinnacle of German Baroque music, the crest of a family stream that began with amateur musician Veit Bach (1550–1619) and his son Johannes (ca. 1580–1626), the first professional of the Bach musical dynasty. Johann Sebastian, orphaned at ten, moved from Eisenach to live with his oldest brother Johann Christoph (1671–1721), a church organist in Ohrdruf. The child appears to be one of those delightful students who seek education, not one content to let his lessons be assigned. There is a story that he awoke in the night to copy some of the precious scores Christoph owned, including those of Johann Pachelbel (Christoph’s teacher) as well as Lully and Frescobaldi. It appears Sebastian taught himself composition and was an excellent student at the local school, progressing at a rapid rate until he left for Lüneberg a few days before his 15th birthday. His habit of copying scores (although paper was very expensive and printed copies were rare, a student actually learns quite a bit by copying out the score of a master composer) held him in good stead all his life; he was especially taken with the music of Antonio Vivaldi and copied out much of Vivaldi’s music. Bach’s debt to the music of Vivaldi can be seen in the arias of the St. John and St. Matthew Passions; in addition, Bach transcribed six of Vivaldi’s concertos (for solo keyboard, organ, strings, et al.), but, as they say, Bach repaid the loan with interest.2 Although he spent most of his working years as a church musician, Bach held two positions that allowed him freedom to explore secular music, one in 1717 as music director to Prince Leopold of Anhalt-Cöthen and again in his last post in Leipzig, where he was director of the Collegium Musicum in addition to his tasks at the Thomaskirche.

Verzeichnis are arranged by genre. And it is well known that Bach reworked his music to fit the performing ensembles he had available. Bach’s instrumental concerti seem to be squarely in the Italian Baroque style of Vivaldi. This pair is in three movements—fast-slow-fast—and several of these Allegro movements are in ritornello style: one theme returns (ritornare), played by the string ensemble, almost like a refrain that alternates with distinctly individual melodies of the solo violin. Violin Concerto No. 1 in A minor, BWV 1041, begins with a delightfully brisk conversation between the ensemble and violin, the orchestra keeping to its theme, the soloist merrily commenting. The second movement aria finds the orchestra steady in its repeated supporting chords while the violin considers before presenting each tender and heartfelt phrase. The last movement definitely requires extroverted virtuoso playing from the soloist, who leads the ensemble in a merry, fast-paced gigue. Violin Concerto No. 2 in E Major, BWV 1042, while in a mold similar to the first concerto, sounds a bit more complex with the entwining parts between the soloist and ensemble, as well as making more virtuosic demands on the soloist. Instead of the balanced first and third movements as in the first concerto, we get a longer first movement and a briefer finale. The second movement is a true chaconne, the violin spinning its melody against a bass line that stolidly repeats, forming a solid ground for the contemplative aria. Dr. Susan Cohn Lackman, Professor of Theory and Composition Rollins College

Bach, whom we know as a great keyboard player, was also a fine violinist, serving in his early years as concertmaster of chamber orchestras, and played the violin, according to son Carl Philipp Emanuel, “until the approach of old age . . . clearly and penetratingly.” Were the two violin concertos we hear on this concert written in Cöthen and revived years later for concerts in Leipzig, or were they written in Leipzig for the Collegium? The eminent scholar Christoph Wolff proposes the latter. The catalogue numbers are no help in dating Bach’s works: the compositions in the Bach-Werke2 Music students used to be told how the young J. S. Bach used to creep out of bed to copy his brother’s Vivaldi scores: a clearly apocryphal tale because Vivaldi’s first successful publication occurred in 1711, when Bach was 26. 11


THE CREATION B AC H F E STIVA L CHOI R AND ORCHESTRA JO HN V. SI NCLAI R, CONDUCTOR SAT | MAR 1 | 7:30PM K N OW LE S MEMORI AL CHAPEL

PROGRAM The Creation Part I

Franz Joseph Haydn (1732-1809) INTERMISSION

The Creation Part II

Franz Joseph Haydn

The Creation Part III

Franz Joseph Haydn SOLOISTS Mary Wilson, soprano Robert Breault, tenor Kevin Deas, bass

Please turn off all cell phones and electronic devices prior to the start of this performance. The Bach Festival Society’s policies strictly forbid all photography, filming, or recording of any kind during any performance without the express written permission of the Society. 12


NOTES HAYDN’S CREATION Joseph Haydn was born in an age of aristocratic patronage. If one aspired to be a musician, one looked for employment in the Church or in some aristocratic household. There was no such thing as a musician making it on his own in 1732. The venerable Mozart discovered this reality half a century later as he desperately tried to convince possible patrons to add him to their staffs, in the meantime going it alone with unpredictable financial results. So it was in this regard that Haydn lucked out when the fabulously wealthy Prince Paul Anton Esterhazy made him first his associate music director (Vice Kapellmeister) in 1761 and a short time later full music director (Kapellmeister). Haydn remained with the family until his retirement in 1790, living his last years in Vienna on a generous pension from the family and from lucrative earnings from a pair of London engagements. The Esterhazys were great lovers of the arts, and it was in this permissive atmosphere that Haydn’s genius was given free rein. During much of the year the Esterhazys were in residence at the newly built Hungarian palace called Esterhaza with its 126 rooms, a marionette theatre, an opera house, and two large rooms dedicated specifically to the performance of music. Haydn’s duties were rigorous, as he had to supervise all aspects of this large musical establishment. He told his friend G.A. von Griesing, “[At Esterhaza] I was cut off from the world; there was no one in my vicinity to make me unsure of myself or to persecute me and so I had to become original.” Haydn poured that originality into scores of works that made him a very famous man: symphonies, string quartets, piano pieces, operas, cantatas, and, towards the end of his life, two enduringly celebrated oratorios, The Creation and The Seasons. It was that fame that attracted the attention of an English entrepreneur, J. P. Salomon, who invited Haydn to London twice to give concerts and to compose. Except for a brief return to Austria, Haydn lived in England from 1791 to 1795. From that sojourn came his last twelve magnificent symphonies and a great deal of money. During his stay, Haydn also heard for the first time the oratorios of G. F. Handel, whose works were held in reverence by the English, then as now. He was stunned at the power of those splendid choruses that play such a vital role in Messiah, Israel in Egypt, and others. Haydn knew the Viennese approach to the oratorio, an old fashioned Italian or Latin affair that people tolerated during the somber weeks of Lent when opera was forbidden. Indeed, his own Il ritorno di Tobia is such a one. After hearing Handel, Haydn longed to exercise his own creative spirit in the composition of a Handelian oratorio.

Haydn left England with an anonymous libretto in hand on the creation story. His friend, Baron Gottfried van Swieten, translated it into German, and Haydn set to work. The first performance in 1799 of The Creation was met with noisy acclaim, according to musician Johan Berwald who was there: “Father Haydn to the front! Father Haydn to the front!” Finally the old man came forward and was greeted with a tumultuous Appaudissment and with cries. “Long live Father Haydn! Long Live music!” Their imperial majesties were all present and joined in the “bravo” calls. The Creation is in three parts, each of which closes with a magnificent chorus. The first two parts are concerned with the creation of the world, and the third ushers the audience into the Garden of Eden where we hear Adam and Eve singing to each other about their new world, with commentaries by the chorus. One of the most astonishing musical moments of all time occurs at the very beginning. The “overture” is a musical re-creation of the chaos that was present before the earth took form. Haydn’s brilliance shines as the orchestra whirls through key after key, never settling into a cadence. Ahead of its time, it presages Richard Wagner’s own groundbreaking approach to music in Tristan and Isolde. Listen as the angel Raphael describes the Genesis account of the separation of light from darkness. And then fasten your seatbelts for the chorus’ announcement of the creation of light on the greatest C major chord ever written. Listen, too, for Haydn’s humor as he describes musically the creation of animals. Each listener will find a favorite portion of this bravura work. Subsequent listening will reveal others. Buy a CD and listen often. Dr. Edmund LeRoy Professor Emeritus of Music, Rollins College

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TEXT HAYDN’S CREATION PART ONE Introduction: Representation of Chaos Recitative & Chorus: Raphael and Choir In the beginning God made Heaven and earth; and the earth Was without form and void; and darkness was upon the face of the deep. In the Spirit, God moved upon the face of the waters; And God said: Let there be Light, and there was Light. And God saw the Light, that it was good: And God divided the Light from the darkness. Aria with Chorus: Uriel and Choir Now vanish’d by the holy beams, the ancient, ghostly, shuddering blackness; The first days appears. Confusion yields, and order shines most fair. Aghast, the fiends of hell confounded fly, Down they sink in the deep abyss to endless night. Convulsion, rage and terror engulf their monstrous fall A new created world springs forth at God’s command. Recitative: Raphael And God made the firmament, and divided the waters which were under the firmament From the water which were above the firmament: And it was so. Then howling raged the blast of the tempest, The clouds then were driven like chaff in the wind. The lightening slashed the heavens asunder, And crashing thunder resounded on high. From the waters rose at His command the all refreshing rain, The devastating hail, the light and flaky snow. Solo and Chorus: Gabriel & Choir What wonder doth his work reveal to heaven’s host in joyful throng; And loud resounds throughout the skies the praise of God, and of the second day! Recitative: Raphael And God said: Let the waters under the heaven be gathered together to one place, And let the dry land appear: and it was so. And God called the dry land earth, And the gathering of waters called He the seas: And God saw that it was good. Aria: Raphael Rolling in foaming billows, tumultuous swells the raging sea. Highland and headland uplifted through clouds their towering summits rise. Through broad and ample plains full flows the gathering stream and winding wanders. Lightly murmuring, gently glides through silent glade the crystal brook. Recitative: Gabriel

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And God said, let all the earth bring forth grass, the herb yielding seed, And the fruit tree yielding fruit after his kind, Whose seed is in itself, upon the earth: and it was so. Aria: Gabriel Now robed in cool refreshing green, the fields their new enchantment wear; And more to charm the sight arise the flowers in bright array. Here herbs of every leaf abound, here dwells a healing grace. The burdened boughs their golden fruit afford; Here arbors spread their vaulted restful shade, And lofty hills are crowned with kingly groves. Recitative & Chorus: Uriel and Choir And the heavenly host proclaimed the third day, praising God and saying: Awake the harp, ye choirs, awaken, Loud let the praise of God be sounded! Rejoice in the Lord, the mighty God; Surely the heavens and earth has He girded with splendor and light. Recitative: Uriel And God said: let there be lights in the firmament of heaven. To divide the day from the night, to give their light upon the earth; And let them be for signs and for seasons, and for days and for years. He made the stars also. Recitative: Uriel In shining splendor radiant now the sun bestrides the sky; A wondrous, joyful bridegroom, a giant proud and glad, He runs his ordered course. With softer steps and wistful shimmer, Steals the moon through still enshadowed night. The boundless vaults of heaven’s domain Shine with unnumbered magnitude of stars. And the sons of God rejoiced in the fourth day, in chorus divine, Praising God’s great might, and saying: Chorus with Trio The heavens are telling the glory of God, With wonders of his work resounds the firmament. Revealed are His ways by day unto day, By night that is gone, to following night. In every land is known the word, Every ear will hearken, never tongue be dumb. PART TWO Recitative: Gabriel And God said: Let the waters bring forth abundantly every moving creature that hath life, And fowl that fly above the earth in the open firmament of heaven.


TEXT HAYDN’S CREATION Air: Gabriel On mighty wings now circling soars the eagle proud, And cleaves the air with swift exulting flight to greet the sun. At morn the lark his cheerful welcome sings; Adoring, coos the tender turtle dove. From every bush and grove pours now the nightingale her sweetest carol; No grief has ruffles yet her breast, Nor yet to sorrow has been tuned her charming roundelay. Recitative: Raphael And God created great whales, and every living creature that moveth. And God blessed them, saying: Be fruitful all, and multiply, Ye creatures of the sky, be multiplied, and fill the air with singing! Multiply, ye creatures of the waters, and fill each watery deep! Be fruitful, grow, and multiply; Rejoice in the Lord your God! Recitative: Raphael And the angels struck their immortal harps, And sang the wonders of the fifth day. Trio: Gabriel, Uriel, Raphael In fairest raiment now, with virgin green adorned, the rolling hills appear. From deep and secret springs, in fleeting crystal flow, the cooling brook doth pour. In joyful garlands borne on wheeling tides of air, upwings the feathered host. The myriad feathers’ gleam reflect in shimmering flight, the golden sun’s pure light. From sparkling waters leap the fish, and twisting flash in ceaseless motion round. From deepest ocean home waltzes up Leviathan sports in foaming waves to play. How many are they works, O God! Who may their number tell? Trio and Chorus: The Lord is great, and great His might, And ever stands His name! Recitative: Raphael And God said: Let the earth bring forth living creature after his kind: Cattle, and creeping things, and beast of the earth after his kind. Recitative: Raphael Straight opening her fertile womb, the earth brings forth at God’s command, Unnumbered living creatures, in perfect forms and fully grown. Triumphant, roaring, stands the lion there. With a lightning leap the tiger appears. Bounding with branching head, the nimble stag. With snorting and stamping, flying mane, uprears

in might the noble steed. In pleasant pastures, quietly the cattle graze on meadows green. And o’er the ground as growing there abide the fleecy, gentle sheep. As clouds of dust arise, in swarms assembled the host of insects. In long dimension creeps, with sinuous trace, the worm. Aria: Raphael Now shines the brightest glory of heaven; now spreads the lavish attire of Earth. Air is filled with soaring processions; the water swelled by swarming legions; The ground is trod by ponderous beasts. But all the work was not complete; there wanted yet that wondrous being, That God’s design might thankful see, and grant his goodness joyful praise. Recitative: Uriel And God created man in his own image, In the image of God created He him; male and female created He them. And God breathed into his nostrils the breath of life, And man became a living soul. Aria: Uriel In native worth and honor clad, with beauty, strength and courage formed, Toward heaven raised up rightly, stands a man, the Lord and King of nature all. His broad and arching noble brow proclaims of wisdom’s deep abode, And in his eyes with brightness shines the soul, the breath and image of his God. And to his breast he softly holds one of and for him formed, His other self, his pure delight. With virgin grace so sweetly given, as springtime’s charms bestowed, She loves him, yields her joy and bliss. Recitative: Raphael And God saw everything that he had made; and behold, it was very good; And the heavenly choir loud rejoicing raised their song of praise, And hailed the sixth day. Chorus: Fulfilled at last the glorious work; the Maker sees with sure delight. Let all our joy resound aloud! Eternal praise to him accord! Trio: Gabriel, Uriel and Raphael From thee, O Lord, doth all proceed; all nature must Thy bounty wait; If open by Thy hand, its fullness feedeth all. But if Thy face be turned away, a ghostly terror fills the night; 15


TEXT HAYDN’S CREATION The living breath is gone, and dust returns to dust. Thy breath, O Lord, is felt again, and life awakes with sweet surprise. Renewed is all the earth, refreshed its charm and might.

of praise! Hail, mighty God, Creator, hail! The world springs forth at Thy command. Adoring, earth and heaven stand. We praise thy name forevermore!

Chorus: Fulfilled at last the glorious work; eternal praise to Him accord! Glorious be His name forever, for He alone doth reign exalted, Alleluia!

Duet Recitative: Adam and Eve Now is our duty well fulfilled; Our Maker have we duly thanked. Now, follow me, companion of my life! Thy guide I’ll be; and every step wakes new delight within my breast, Shows wonders everywhere. Then surely thou shalt know what boundless realms of joy the Lord hath given us, Him praise we evermore, Him serve with heart and mind. Come, follow me! Thy guide I’ll be! O thou for whom I live! My arm, my shield, my all! Thy will to me is law. So doth our Lord ordain: That I obey thee is my joy and glory!

PART THREE Recitative: Uriel In rosy mantle, bright awaked by sweetest tones, the morning young and fair. From heaven’s vaulted realm streams purest harmony to earth below. Behold the happy pair as hand in hand they go: As from their eyes radiant shines the thanks they owe. Full soon their tongues shall tell the louder praise of God: Let then our voices ring united with their song! Duet and Chorus: Adam, Eve and Choir By thee with grace, O bounteous Lord, are earth and heaven stored! This world so great, so wonderful, Thy mighty hand has framed. O blessed be His holy might. His praise we sing eternally! Thou star of morning, oh, how fair the tidings of the day; What radiance rare, O sun, is thine, though eye and soul of all. Proclaim in your extended course, your Maker’s power and glory bright! And thou the tender Queen of night, and all ye starry host, Proclaim in every land his praise in heaven’s harmonies! Ye mighty elements, by his power your endless changes make; Ye misty vapors, which the wind doth spin and roll through heaven, Oh sing the praise of God the Lord! Great is his name, and great his might! Soft flowing fountains, tune his praise; and trees adoring bow; Ye fragrant plants, ye flowers fair, with sweetness fill the air! Ye that on highest mountains climb; and ye that lowly creep; Ye whose flight doth cleave the skies; and ye that swim the deep: Ye creatures of our God and King! Praise him, all ye breathing life! Ye shadowed woods, ye hills and vales, your thanks with ours unite, And echo loud from morn to eve our joyful hymn 16

Duet: Adam and Eve Sweet companion! Here beside thee softly fly the golden hours, Every moment is rapture, naught of sadness lingers near! Dearest husband! Here beside thee floods of joy overflow my heart: That thou love me is my blessing; thine forever is my life. The dew freshened morning, O bright awakening! The coolness of evening sweetly restoring! How rich the taste of round and ripened fruit! How charming the scent of gay and fragrant flower! But, without thee, what is to me the morning dew? The evening cool? The ripened fruit? The fragrant flower? With thee is every joy exalted; with thee delight is ever new; With thee is rapture everlasting, thine be my love and life! Recitative: Uriel O happy pair! And happy evermore, If false conceit betray ye not, the more to covet than ye have, And more to know than ye should. Final Chorus with Soli Sing to God, ye hosts unnumbered! Thanks, all thanks for wonders new created. Praise his name in song unending; loud in festival rejoicing! The Lord is great, He reigns forevermore! Amen.


CONTINUO SOCIETY AN AVENUE FOR PLANNED GIVING A Legacy of Giving J. K. and Sarah founded The Galloway Foundation in 1964 to continue their service to the community. Since then, the Galloway Foundation has supported civic, educational, charitable, and cultural institutions throughout Central Florida. The lives of countless area residents have been touched by the Galloway Foundation and the programs it funds.

Create Your Own Legacy in Support of the Bach Festival Society Through civic-minded residents such as the Galloway family, Central Florida has grown into the culturally rich community it is today. As you look to the future, please consider including the Bach Festival Society in your estate planning. The Society welcomes gifts made through a variety of planned-giving arrangements, and we can help you consider which options are best for you. Your support will help us keep the music playing for generations to come. Mr. and Mrs. J.K. Galloway Winter Park Sun Herald, 1975 Special Thanks to the Rollins College Archives, Olin Library

The Galloway Family and the Winter Park Telephone Company B. A. Galloway opened a general store in Maitland in 1890. In 1910, B. A.’s son Carl Galloway, Carl’s wife Lena, and their newborn son Josey (J. K.) returned to Winter Park from Texas, where Carl had helped build a telegraph and telephone system. Carl had the idea to use the phone to take orders for his father’s grocery store. They started with a switchboard and 10 used telephones installed in the houses of their best customers. From these humble beginnings, the phone company grew. J. K. Galloway became president of Winter Park Telephone Company in 1959 and was elected chairman of the board in 1967. In 1979 the company had become the 10th-largest non-Bell telephone company in the country.

The following friends have generously included the Bach Festival Society in their estate plans, and we are pleased to honor them as members of The Continuo Society. Anonymous (1) M. Elizabeth Brothers Kenneth and Ann Hicks Murrah Ms. Linda Naughtin The Rev. and Mrs. Eric Ravndal, III The Galloway Foundation is a presenting sponsor of the 79th Annual Bach Festival.

Community Leadership J. K. Galloway and his wife, Sarah Bissell Galloway, served the Winter Park community as members of many of the city’s charitable organizations, including the Winter Park Day Nursery and the Rollins College Board of Trustees. In 1963, the Florida Legislature passed a resolution recognizing J. K. Galloway’s exceptional service, and he received a similar honor from the governor two years later.

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J.S. BACH’S ST. JOHN PASSION B AC H F E STIVA L CHOI R AND ORCHESTRA JO HN V. SI NCLAI R, CONDUCTOR SUN | MAR 2 | 3:00PM K N OW LE S MEMORI AL CHAPEL

PROGRAM St. John Passion Part I

Johann Sebastian Bach (1685-1750)

INTERMISSION   St. John Passion Part II

Johann Sebastian Bach

Mary Wilson, soprano Amanda Crider, mezzo-soprano Robert Breault, tenor Kevin Deas, bass Brad Diamond, Evangelist Charlie Harris, Jesus William Oelfke, Pilate and Peter Beverly Slaughter, Maid Grant Hayes, Servant

Following Bach Festival Society tradition, it is requested that the audience refrain from applause.

Please turn off all cell phones and electronic devices prior to the start of this performance.

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The Bach Festival Society’s policies strictly forbid all photography, filming, or recording of any kind during any performance without the express written permission of the Society.


NOTES ST. JOHN PASSION “You know the course of my life from my youth up until the change in my fortunes that took me to Cöthen as Capellmeister. There I had a gracious Prince who both loved and knew music, and in his service I intended to spend the rest of my life. It must happen, however, that the said Serenissimus should marry a Princess of Berenburg and that then the impression should arise that the musical interests of said Prince had become somewhat lukewarm, especially as the new princess seemed to be unmusical; and it pleased God that I should be called hither....” The inauspicious circumstances under which Bach assumed his Leipzig post in the summer of 1723 are related in this well-known account, which the composer later sent to Georg Erdmann, Imperial Russian Resident Agent in Danzig, a friend from early days. Bach had realized at the outset that with his new choice of superiors he was exchanging the company of sympathetic, highly educated aristocrats for a set of wrangling town officials, and the mistrust was mutual. He was the third choice, and only when his famous colleagues Georg Philipp Telemann and Christoph Graupner had proved unavailable did the town council come to grips with the issue that its minutes have so historically recorded: “Since best man could not be obtained, mediocre ones would have to be considered.” Bach’s wish to concentrate on his musical duties and to be relieved of academic teaching assignments was all the more readily deemed “somewhat questionable.” As always in the story of this extraordinary professional career, Bach’s character proved immeasurably stronger than the obstacles placed in his way. A period of intense creativity followed; as we know, Bach began to produce a cantata for every week. The greatest musical challenge of the church year, however, did not arise until the Lenten season: the gospel text relating the Passion of Our Lord called for a musical setting different from all others in which the postulates of church music clearly met with the preeminent musical genre of Bach’s time: music drama. In the Passion according to St. John, performed on Good Friday, 1724, Bach’s work reached totally new dimensions. Bach had never before written a chorus of such magnitude as the opening movement in the St. John Passion. It may, in fact, have proved too taxing for the choir boys at St. Thomas’s, and this may have been the reason why

for a second performance of the work, on Good Friday of the following year, Bach substituted a new introductory chorus for the original one. The new opening movement—O Menche bewein dein Sunde gross, one of the most beautiful Passion choruses Bach has written—measured up to the large new dimension, but it assigned to the boy sopranos merely a plain chorale tune, while the other parts, sung by the older choir members, provided an elaborate vocal accompaniment that was based on the different phrases of the soprano tune in the manner of the chorale fantasy. When Bach later resumed the original opening chorus, the alternate movement became the concluding chorus for Part One of the St. Matthew Passion. Was it for reasons of balance that Bach introduced a similar chorale fantasy as the final chorus for the St. John Passion in 1725? This chorus, based on the Lutheran hymn Christe, du Lamm Gottes, had been newly composed as the concluding movement for Cantata 23, and eventually Bach restored it to its place in Cantata 23—possibly because he felt two extended choral movements might be too weighty a conclusion for the St. John Passion. These changes show Bach’s ever vigilant working attitude, his constant concern for the perfection of form and style. The dramatic style of Passion setting was not unknown in Leipzig. The operatic forms of aria, recitative, and ensemble had long invaded the Protestant church cantata, and Bach’s predecessor had presented, with some hesitation, a “theatrical” Passion setting at St. Thomas’s in 1721. The origin of this style was indeed the theater. Following the model of Venetian opera, the city of Hamburg, the “Northern Venice,” where Bach had unsuccessfully applied for an organist’s post before he went to Leipzig, had opened the first German public opera house in 1687. Its early repertoire contained both sacred and secular subjects, and after the turn of the century several of the composers who wrote for the Hamburg stage presented settings of the Passion according to St. John. The most eminent among these was George Frideric Handel, who composed a St. John Passion in 1704 and another work based on the same text, poetically paraphrased, in 1715. Throughout his life, Bach was an ardent student of different musical styles. He absorbed all that past and present had to offer and turned it into his own incomparable music style. Handel’s St. John Passion of 1716 has come down to us in a copy made by Bach and his wife, Anna Magdalena. The work may have guided Bach in his composition of the same gospel text, and he used portions of the same poetic paraphrase. While the 19


NOTES ST. JOHN PASSION authenticity of Handel’s earlier St. John Passion has been doubted, its concluding chorus shows an unmistakable influence upon the last chorus from Bach’s St. John Passion. But with Bach’s work began an entirely new chapter of the genre. It leads from the St. John Passion to the St. Matthew Passion and reaches a final point, interestingly enough, with the Passion section in Handel’s Messiah. Whether considered in stylistic context or as an isolated work, Bach’s Passion according to St. John stands as a unique creation. The fervor of its language is unmatched in his later works. The perfection of polyphonic texture in its choruses is blended with a lyric quality that shows the composer still as a youthful master. His work seems to have arrived at a sharp dividing line: the early world of musical colors, the sounds of the “love viol” (viola d’amore), the lute, and the viola da gamba still surround us; the low range of the alto role still strongly suggests the timbre of the counter-tenor. The passionate quality of the quaint pietistic poetry influences the climactic points of the Evangelist’s role. But the contours are stark— the part of Jesus is supported by simple continuo accompaniment, and plain chorale settings conclude the First Part, open the Second Part, and form the end of the work.

And it was the creative achievement of his Passion setting that determined the proportions of Bach’s B Minor Mass. Not only in the vastness of its form is the Mass indebted to the Passions, but—as we realize when the Kyrie and Gloria choruses are followed by the Qui Tolis—in the profound imagery. This is real Passion music that words cannot describe. Bach’s life work forms ever new cycles. When after an interval of almost two decades he resumed the Missa in B Minor (the work to which we now refer as Part One of the B Minor Mass) and composed a setting of the entire Catholic Mass text, his creative interest was aroused by a number of factors, not the least among them the composer’s artistic commitment to the central portion of the Credo text: Passion, Crucifixion, and Resurrection. The mighty trilogy of choruses that present the drama of the Christian creed was the last section the Bach completed, shortly before his own death. It forms the conclusion of the immense chapter in Bach’s work begun with the composition of the St. John Passion of 1724.

Dr. Alfred Mann

The structure is drawn with overwhelming clarity. The drama of the First Part is the personal drama; it is Peter’s denial. With the Second Part it becomes impersonal. Jesus, forsaken, faces the crowd. In the breathtaking unfolding of choral movements, the hymn verse of Chorale No. 40, interpreting Christ’s imprisonment as mankind’s liberation, emerges as the central point of a design from which the same musical settings of different choruses radiate, encircling the divine captive until the crucifixion is completed. The placement of identical hymn tunes parallels this symmetry. The opening chorale of Part Two recurs after the crucifixion scene. The closing chorale of Part One recurs in the two chorales of the death scene. The huge structural arch that thus dominates the form of the St. John Passion corresponds to the grandeur of the opening chorus. It sets a standard that henceforth remained characteristic of Bach’s work. The opening of the St. Matthew Passion, originally intended for solo voice and chorus, grew into the double chorus, which turns, with the entrance of a third group of voices, into a monumental choral fantasy. The concluding chorus of the St. Matthew Passion reflects on a larger scale the form, character, and even melodic outlines of the last chorus of the St. John Passion. 20

*Copyright by the American Choral Foundation, Inc. Reprinted by permission from Alfred Mann, Bach Studies, a special issue of the American Choral Review, Vol. XXVII, No 1, 985, pp. 31–34.


TEXT ST. JOHN PASSION PART ONE CHORUS Lord, Thou our Master, Thou whose name in all the earth is glorious, And glorious evermore shall be. Thou whose name in all the nations glorious e’er shall be. Show us how Thou in pain and woe, Through which Thou, Son of God, didst go, At every time wast, even in the darkest hour, forever gloried. RECITATIVE EVANGELIST Jesus went with his disciples over the brook Cedron, where was a garden, to which came Jesus and his disciples. Judas also, who betrayed him, knew the place full well; for Jesus had often waited there to meet with his disciples. Now then, Judas, having gathered a body of men whom the chief priests and the Pharisees had sent him, now cometh forth with torches, lanterns, and with weapons. Therefore Jesus, knowing all things that were to come upon him, went straightway forth and said to them: JESUS Whom seek ye here? EVANGELIST And they answered him: CHORUS Jesus of Nazareth! RECITATIVE EVANGELIST Jesus saith to them: JESUS ‘Tis l! EVANGELIST Judas also, he which betrayed him, stood there among them. And as soon as Jesus had said: ‘Tis I, all of them shrank backward and fell to the ground. Then Jesus asked them a second time: JESUS Whom seek ye here? EVANGELIST Again they answered: CHORUS Jesus of Nazareth! RECITATIVE EVANGELIST Jesus answered and said: JESUS I told you before, I am he, if ye seek for me, let these men go their way then.

CHORALE O wondrous Love, O Love all love excelling, Which bade Thee make this vale of tears Thy dwelling, I live on earth and earthly pleasures cherish. And Thou must perish! RECITATIVE EVANGELIST So that the word might be fulfilled which he had spoken: I have not lost one disciple of them which thou gavest me. Then Simon Peter, having a sword, he drew it forth, and struck at the high priest’s serving man, and cut the man’s right ear off, and this was Malchus. Then said Jesus to Peter: JESUS Put thy sword in its scabbard. Shall I not drink the cup my Father hath given me? CHORALE Thy will, O Lord our God, be done On earth as round Thy heavenly throne. Thy patience, Lord, on us bestow, That we obey in weal and woe. Stay Thou the hand and spoil the skill Of them that work against Thy will. RECITATIVE EVANGELIST The body of soldiers with their captain, and the officers there laid hold of Jesus, and bound him fast, and led him away at first unto Annas, who was kinsman of Caiaphas, who for that year was the high priest. Now ‘twas this same Caiaphas who had told the Jews it would be well that one man should perish for them all. ARIA ALTO From the tangle of my transgressions, but to unbind me is my dearest Saviour bound, From my aching wounds and bruises, fully to heal me, He himself is wounded. RECITATIVE EVANGELIST Simon Peter also followed in Jesus’ path, and another disciple. ARIA SOPRANO I follow Thee also with joy-lightened footsteps, Nor stray from Thy sight, My life and my Light, O speed Thou my way, And cease not, I pray, To spur me and draw me, to lead me, to call me. RECITATIVE EVANGELIST That other disciple to the high priest had long been known, and went with Jesus within to the palace of the high priest. But without, at the doorway, Peter stood. Then did the other disciple, who was known to them in the palace, go out, and spake unto her that tended the door, and brought also Peter within. Then saith the maid that tended the door to Peter: 21


TEXT ST. JOHN PASSION MAID Art thou not also one of his disciples? EVANGELIST He saith: PETER I am not! EVANGELIST The officers and the servants with them stood tending a fire of coals, for it was cold, and warmed themselves through. Peter, also there among them, stood warming himself. Then did the high priest turn and question Jesus of his disciples and of his doctrine. Thus then did Jesus reply: JESUS I ever spake openly and freely to the world, day after day before the school I did my teaching and in the temple where all the Jews always come together, and have said nothing in secret at all. Why askest thou this of me? Rather ask of them who have heard my teaching what sort of thing it was I taught them. See now, they surely remember the whole of what I have taught them. EVANGELIST But when Jesus thus had spoken, a manservant standing near to Jesus struck him with his open hand and said: SERVANT Dost thou dare unto the high priest thus to answer? EVANGELIST Thus did Jesus reply to him:

RECITATIVE EVANGELIST But Peter denied it and said: PETER I am not! EVANGELIST Then saith one of the high priest’s followers, being kinsman of him whom Peter had smitten and cut his ear off: SERVANT Did I not see thee in the garden with him? EVANGELIST Then did Peter deny it a third time, and straightway the cock began his crowing. Then did Peter bring to mind the word of Jesus, and he went out bewailing it bitterly. ARIA TENOR O my soul, where wilt thou find thy goal, And where shall comfort find me? Shall I stay, or be gone and leave hills and mountains far behind me? This poor world no peace doth me afford, Ever ruing my wrongdoing, my misdeed abhorred, For the servant had denied his Lord. CHORALE Peter, while his conscience slept, thrice denied his Saviour, When it woke he bitter wept at his base behavior. Jesus, let not me forget; true devotion teach me; When on evil I am set, through my conscience reach me.

JESUS If ‘twas evil I spake, bear thou witness to my evil words; but if I have spoken well, whv smitest thou me?

INTERMISSION

CHORALE Who was it dared to smite Thee, Thy good with ill requite Thee, So foully treated Thee? For Thou art no offender, Nor didst to sin surrender, From evildoing Thou art free. Mine the sins offending, Which are like grains unending Of sand upon the shore; These sins it was that brought Thee Thy misery, and wrought Thee Of martyrdom the awful store.

CHORALE Christ, through whom we all are blest, Knew no evildoing. Him at night did they arrest, Like a thief pursuing, Led before the godless throng And falsely convicted, Laughed at, scoffed at, spat upon, As the Word predicted.

RECITATIVE EVANGELIST Now Annas ordered Jesus bound, and then sent him bound to Caiaphas. Simon Peter stood, still warming himself. Then said they unto him: CHORUS Art thou not one of his disciples?

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PART II

RECITATIVE EVANGELIST Away then led they Jesus, up into the Hall of Judgment, and it was early. But they could themselves not enter, lest there they should be defiled and thus might not eat the Passover. Then out went Pilate, the judge, unto them and said: PILATE What bring ye as a charge against this man accused? EVANGELIST Then they cried aloud and said unto him:


TEXT ST. JOHN PASSION CHORUS If this man were not a malefactor we would not bring him before thee! RECITATIVE EVANGELIST Then Pilate said unto them: PILATE ‘Tis ye must take him hence and judge of him according to your law. EVANGELIST The Jews therefore said unto him: CHORUS For us all killing is unlawful. RECITATIVE EVANGELIST That thus might be fulfilled the word of Jesus, which he had spoken, and had signified by what manner of death he should perish. Then Pilate entered into the Hall and again he called in Jesus, and said to him: PILATE Art thou the King of Jewry? EVANGELIST Jesus thus answered him: JESUS Sayest thou this of thyself, or have others been saying this to thee of me? EVANGELIST And Pilate then answered him: PILATE Am I a Jew, then? Thy people and thy chief priests have brought thee here for judgment before me; now what hast thou done? EVANGELIST And Jesus answered him: JESUS My kingdom is not of this world; for were my kingdom of this world, then my servants all would fight to defend me, that I should not unto the Jews be delivered. Nay then, but not from hence is my kingdom. CHORALE O mighty King, almighty through all ages, How shall I fitly strive to sing Thy praises? No mortal heart can ever hope to show Thee What it doth owe Thee. My feeble tongue no counterpart can fashion With which it might compare Thy great compassion. How can I thank for Thy good deeds, so tender, In works e’er render? RECITATIVE EVANGELIST Then Pilate said unto him:

PILATE Now truly, art thou a king then? EVANGELIST Jesus answered him: JESUS Thou say’st, I am a king then. To this end was I born, for this am I come here, that I bear witness to the truth. And all who seek the truth, they all will hear my voice. EVANGELIST Then said Pilate to him: PILATE What is truth then? EVANGELIST And when he thus had spoken, he went out once again to the Jews and said unto them: PILATE I find in him no fault at all. But ye have a custom at Passover that one man I should release you; will ye now that I take this King of the Jews and release him? EVANGELIST Then cried they together all again, and shouted: CHORUS Not this man. No, not him but Barabbas. RECITATIVE EVANGELIST Barabbas he set free, a robber! But he laid hold on Jesus, and scourged him! ARIOSO BASS Bethink thee, O my soul, in agony and rapture, What though thy heart with bitter joy doth languish, The greatest boon is Jesus’ anguish. For thee the thorn-crown that doth pierce Him. With heaven-scented flowers will bloom; Thou canst the sweetest fruit among his wormwood gather, Nor cease to raise thine eyes to Him. ARIA TENOR Behold then how each livid stripe succeeding, All sore and bleeding, Is part of Heav’n above. And see, the waves of sin subsiding, Sunbeams again dark clouds dividing, The rainbow fair, the sky bestriding, God’s token bright of Grace and Love. RECITATIVE EVANGELIST The soldiers plaited then for him a crown out of thorns, and put it upon his head and put on him a robe of purple, all saying: CHORUS Lo, we hail thee, dearest King of Jewry! 23


TEXT ST. JOHN PASSION RECITATIVE EVANGELIST And then with their hands they smote him. Then once again did Pilate come forth and called them, saying: PILATE See ye, I bring this man now forth to you that ye may know that in him no fault do I find. EVANGELIST And then did Jesus come forth, still wearing the purple robe and the crown of thorns. Then to them said Pilate:

CHORALE Our freedom, Son of God, arose when Thou wast cast in prison; And from the bonds which Thou didst choose our liberty is risen, Didst Thou not choose a slave to be, We all were slaves eternally.

PILATE Behold the man!

RECITATIVE EVANGELIST But the Jews cried out and shouted to Pilate:

EVANGELIST Now all the officers and priests, when they beheld him, shrieked at him and said:

CHORUS If thou let this man go, then art thou no friend of Caesar, for whoever maketh himself a king is foe unto Caesar.

CHORUS Crucify! Crucify!

RECITATIVE EVANGELIST Now when Pilate heard them speaking thus, straightway he brought Jesus forth, and took up his place upon the seat of judgment, in a place called High Pavement, but in Hebrew called Gabbatha. And it was about the sixth hour of preparation of the Passover, and he saith to the Jews:

RECITATIVE EVANGEUST And Pilate thus made answer: PILATE Ye must take him hence and crucify him, for I find no fault in him at all. EVANGELIST The Jews straightway answered and said: CHORUS We have a sacred law, and who breaks that law, he must perish, for he made himself to be the Son of God. RECITATIVE EVANGELIST Now when Pilate heard this clamoring, he was the more afraid, and went up once again to the Judgment Hall, and saith to Jesus:

PILATE See ye, your King stands before you. EVANGELIST Again they shouted: CHORUS Awav with him! Crucify himl RECITATIVE EVANGELIST Pilate saith unto them: PILATE Would ye see your King be crucified?

PILATE From whence then art thou?

EVANGELIST Then the chief priests gave him this reply:

EVANGELIST But Jesus would not give him answer; then Pilate spoke unto him:

CHORUS We have no king but Caesar!

PILATE Speakest thou not to me? Knowest thou not I have pow’r over thee to crucify, and power, too, to release thee? EVANGELIST Jesus then answered him: JESUS No power couldst thou have over me, had this power not from above unto thee been given; therefore, he who to thee delivered me up is the greater sinner. 24

EVANGELIST From thenceforth Pilate oft bethought him how he might release him.

RECITATIVE EVANGELIST Then Pilate delivered him to them, that they might crucify him. Then they took Jesus with them and led him away, and he bore his cross and went along with them to a place called Place of Skulls, which is in the Hebrew tongue called Golgotha! ARIA BASS Run, ye souls whom care oppresses, Go from trouble’s dark recesses, Run—


TEXT ST. JOHN PASSION CHOIR O where? BASS —to Golgotha! Take the wings of faith nor tarry, Fly— CHOIR O where? BASS —His cross to carry, Your salvation ‘waits you there. RECITATIVE EVANGELIST And there crucified they him, and two others with him on either side, Jesus in the midst, between them. And Pilate wrote for him an epigraph; and put it upon the cross; and it was written: Jesus of Nazareth, the King of Jewry! And this epigraph was read by many, for the town was not far from the place where Jesus was crucified. And the words were written in the Hebrew, the Latin, and the Grecian tongues. Then said the chief priests of the Jews unto Pilate: CHORUS Write thou not, the King of Jewry, but instead write that he himself hath spoken, I am the King of Jewry! RECITATIVE EVANGELIST But Pilate replied to them: PILATE Behold, what I have written, that is what I have written. CHORALE ln my heart’s in-most being Thy name and cross alone Glow bright with light eternal, And bring me joys unknown. O come, bright vision, render me comfort in my need, Since Jesus, mild and tender, For us to death did bleed RECITATIVE EVANGELIST And then the four soldiers, after thus they had crucified Jesus, divided all his garments in four equal portions, a portion for each of the soldiers there, and also his coat. Now the coat had no seam but was woven: from end to end ‘twas woven through and through. They said therefore one to another: CHORUS Let us then not cut or tear it, but draw lots for choosing whose it shall be. RECITATIVE EVANGELIST That the Scripture might be fulfilled which sayeth: They parted out my raiment equally among them, but for my

vesture, they cast lots for its possession. These things therefore were done by the soldiers. Now standing beside the cross of Jesus was his mother and also his mother’s sister, named Mary, Cleophas’ wife, also Mary Magdalena. Now when Jesus saw his mother near him, and his well-beloved disciple standing by her, he saith unto his mother: JESUS Lo! woman, behold thy son! EVANGELIST Then saith he to that disciple: JESUS See thou: here behold thy Mother! CHORALE He of everything took heed in his hour of dying, Caring for his mother’s need, On his friend relying. O Man, lead a righteous life, Love God and thy neighbor, Death will bring an end to strife, Rest from care and labor. RECITATIVE EVANGELIST And from then on she stayed with that disciple. And now since Jesus knew full well that all was accomplished, as was written in the Scripture, he saith: JESUS I thirst! EVANGELIST Now some vinegar stood in a vessel. They filled a sponge with vinegar from the vessel, and put it on a twig of hyssop, and put it to his mouth to drink it. When the vinegar had touched the lips of Jesus, he said: JESUS It is fulfilled. ARIA ALTO It is fulfilled. O rest for all afflicted spirits. This night of woe the final hour is passing slow before me. Victorious Judah’s hero fights and ends the strife! It is fulfilled. RECITATIVE EVANGELIST And bowed down his head, and was gone. ARIA and CHORALE BASS O Thou my Saviour, give me answer, dearest Saviour, Since Thou upon Thy cross art crucified, And Thyself hast said: it is fulfilled! Shall I from death be ever free? Can I through Thy despair and Passion The Heavenly home inherit?

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TEXT ST. JOHN PASSION Is all the world redeemed today? Thou canst for pain indeed not answer, Yet bowest Thou Thy head to say, in silence: Yea, yea! CHORUS Jesus, Thou who once wast dead, Livest now forever. When the path of death I tread, Let my seeking never Elsewhere than to Thee be turned, O beloved Saviour! Give me but what Thou hast earned, More I do not pray for. RECITATIVE EVANGELIST And then behold, the veil of the temple was rended in twain, from very top to bottom down. And the earth quaked and trembled, and the rocks burst asunder, and the graves were opened again, and many bodies of sleeping saints arose. ARIOSO TENOR My heart! See, all the world because of Jesus’ woe in woe is shrouded, The sun in deepest mourning clouded. The veil is rent, the rocks are cleft, the earth doth quake, graves open flying, When the Redeemer they see dying. And as for thee. what wilt thou do? ARIA SOPRANO Release, O my spirit, thy torrents of crying: The Highest is dying. Through heaven and earth these dark tidings be spread, Thy Jesus is dead! RECITATIVE EVANGELIST The Chief Priests therefore, because of the Passover, in order that the bodies should not remain on the cross for the Sabbath (for the Sabbath in that week was a high one), now entreated Pilate to allow their legs to be broken, that they might from thence be taken. Then came the soldiers and brake the legs of the first one, and the other which was crucified there with him. Then at last coming up to Jesus, and perceiving that he had already died, therefore they brake not Jesus’ legs: but one of the soldiers then took up his spear, and with the spear did he pierce His side, and straightway came there blood and water out. And he that hath seen these things, ‘tis he who bare record, and his record is true, nor indeed can he fail to know whereof he speaketh, that ye believe him. For all these things were done as promised by the Holy Scripture: A bone of him shall not be broken. Again in the Scripture another hath said: They shall behold him, behold the one whom they have pierced.

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CHORALE Help, O Jesus, God’s own Son, Through thy bitter anguish, That the favor Thou hast won Evil deeds may vanquish. How and why our Saviour died We must ponder truly, And, though weak, leave naught untried, Lord to thank Thee duly. RECITATIVE EVANGELIST There came unto Pilate Joseph of Arimathea, a disciple, too, was he (but secretly, fearing the Jews), and sought leave to remove the body of Jesus. And this leave Pilate gave unto him. Therefore came he thither and carried Jesus’ body away. There came thither too Nicodemus, he who at first had come to Jesus in the night, and brought a mixture of myrrh and of aloes, together a hundredpound weight. Then straightway took they Jesus’ body, and wound it in the linen clothes with the myrrh and aloes, as the Jewish manner is to bury. In Golgotha, where the place was where He was crucified, was a garden, and in the garden a new grave in which no man yet had e’er been laid. And therein then laid they Jesus, since it was the day of preparation, it being so nigh at hand. CHORUS Rest well, rest well, Beloved sweetly sleeping, That I may cease from further weeping, Rest well, rest well, and let me, too, rest well. The grave that is prepared for Thee And holds no further pain for me, Doth open Heav’n to me, and close the gates of Hell. CHORALE O Lord, Thy little angel send, Whenever my mortal life shall end, To bear my soul to Heaven! My body in its chamber sleep, All torment do Thou distant keep, Till Thy last call be given! And then from death awaken me, That these poor eyes their Lord may see, See, Son of God, Thy glorious face, My Saviour and my fount of grace! Lord Jesus Christ, O hear Thou me, O hear Thou me, Thee will I praise eternally. It is requested that the audience refrain from applause.


BACH FESTIVAL CHOIR Dr. John V. Sinclair Conductor Lynn Peghiny Accompanist

Herb Anderson   Elena Anemogiannis, 5 Emily Axen   Jay Baird   Julie Batman, 9 John Beard   Jim Beck, 2 Carol Beyer, 3 Don Beyer, 3 Katelyn Bodwell, 2 Molly Bosscher, 1 Eli Brodrecht   Becky Brown, 22 Michael Burridge, 15 Aleitha Burton, 4 Chantelle Cade   Clinton D. Cagle, 2 Ann Callan, 8 Cory Caplinger   Colleen Cart, 28 Ellen Huey Cassel, 3 Morgen Chaderton, 2 D’Vonte Chapman, 3 David Chimento   Anthony Ciaramitaro, 1 Lauren Clark, 2 Bob Clark, 28 Stefanie Cohen, 2 Jerry P. Collins Jr., 2 Eileen Conaway, 2 Mary Beth Constant   Tom Cook, 28 Carolyn Jimette Cook, 7 Sandy Cooper, 1 Athalia Cope, 52 Bob Cope, 43 Nicholas Damiano, 3 Carl Davis, 12 Reginald Davis, 5 Sierra Denniston   Barbara Douglas, 1 Theresa Dulong, 7 Dante Duphorne, 6

Jolie Eichler, 6 Kathleen Elbert   Alisa Elliott, 1 Marjorie Emmert, 3 Jonathan Erick, 19 John Ervin, 27 Franklin Faine, 4 Patricia Franck, 1 Richard Franck, 1 Bob Frost   Calley Garnon   Rebecca Gaspelin   Alison Geisler, 3 Jessalyn Gerbholz   Minet Gregory   Michelle Griffin, 3 Regunia Griggs, 14 Gregg Gronlund, 17 Cara Guthrie, 1 Lynda Hammond, 10 Ian Hannah, 6 Paul Harmon, 10 Catherine Hartsfield, 6 David Hauptman, 4 Grant Hayes, 3 Nancy Holzen, 12 Amber Horne   Rebecca Hull, 5 Dana Irwin, 27 Phillip Johncox, 4 Andrea Jones, 10 Sondra Jones, 3 Shannon Jongema   Jeremy Joyner, 1 Catriona Kagan, 2 Doris Kelley, 12 Randy Kelley   Amy Kiley   Amanda Kinder, 1 Irina Koroleva   Victoria Kreiter   Yen-Yen Kressel, 7 Bill Kuckuck, 14 Christopher Kurek, 1 Sylvia Daniel Kurth, 18 Keumja Kwon, 16 Karen Lane, 26 Eric Larmer, 7 Janet Leavens, 2

Luana Leme, 5 Jennifer L. Little, 6 Jim Loomis, 38 Kathleen LoPresti, 15 Andrew Lumbert, 1 Gerald Marin, 12 David Mattson, 8 Nathaniel McClellan   Charlene McIntire, 1 Jonathan McIntire, 11 Patrick McLain   Margaret McMillen, 21 Maile Miller, 3 Pat Moseley, 2 Jose Muniz   Diane Murphy, 26 S. Blair Murphy, 12 Carrell Myers, 5 Beth Nagle, 5 Jack Nagle, 5 Donald Nash, 36 Linda Naughtin, 7 Stephen Nettles   John Niss, 19 Bill Oelfke, 24 Sherry Orr, 6 Patrick Ott, 4 Liana Pacilli   Evelyn Walters Pettit, 8 Martin Phillips, 16 Glenda Pineda, 8 Gabrielle Pitchford, 2 Victoria Pitre, 1 Kurt Plotts, 11 BJ Price, 9 Sarah Ravndal, 15 Beverly Rich, 9 Mary Grace Rivero   Mark Roberts, 1 Martha Robinson, 12 Ross Roden Morgan Andrea Roman  Pamela Rosario, 1 Joseph Sapora Ruth Sandweiss, 2 Don Schafhauser, 3 Susan Scullin, 3 Jennifer Seitzer   Elizabeth Sellers  

Denah Shirey   Diana Sisley, 9 Tim Sisley, 9 Beverly Slaughter, 39 Emily Smith   Nikki Smith-Eklund, 2 Sarai Soto, 2 Vivian Southwell, 2 John Warren Spencer, 2 Jim Spitzer, 4 Jeffrey Spoeri, 3 Wendy Sun, 9 Jodi Tassos, 40 Susan Tucker, 8 Cezarina Vintilla, 9 Matthew Walker   Gayle Warren, 24 Diana Webb, 2 Deborah Wertz, 1 Jane White, 33 Susan Whritenour, 4 Bryant Williams   Gwendolyn Williams, 9 Marchetta Wood, 21 Sarah Wood, 1 Armand Zilioli

Choir Committee Bill Oelfke, President Theresa Dulong Lynda Hammond Eric Larmer

Number after name denotes years of service

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BACH FESTIVAL YOUTH CHOIR 2014 SPRING Brie Alderman Norah Almasry Nora Kate Bethea Madeline Buckley Juliette Garnier Alana Harris Jack Hudson Brittany Kocinski

Joshua Lefkowitz Mary Grace Meyer Petra Nguyen Quinn Nguyen DJ Palinckx Emma Peters Beatrice Plant Molly Powers

Christopher Raymond Tara Sawhney Mike Sinelli Becca Stockel Sasha Taylor Mia Trolice

BACH FESTIVAL ORCHESTRA Dr. John V. Sinclair Conductor Violin 1 Routa Kroumovitch-Gomez, co-concertmaster Alvaro Gomez, co-concertmaster Shelley Bareham Mathews Mary Berglund-Bos Olga Ferroni Julia M. Gessinger Dina Fedosenko Zhan Dolinsky Kathleen Beard Violin 2 Joni Roos Rhonda Burnham Victor Ferroni Daniel Flick Fang Brill Gail Collins Iris Rogan Jennie Rudberg Elizabeth Ridgway

Viola Susan Gray-McCoy John Adams Jesus Alfonzo Marianne Beck Darryl Manley Cello Brenda Higgins Shona McFadyen-Mungall Maureen May Laurel Stanton Bass Tye VanBuren Lee Eubank Flute Nora Lee Garcia Sandra del Cid Oboe Sherwood Hawkins Aaron Hilbun Jamie Strefeler Clarinet Jessica Hall Speak Christine Barron

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Bassoon Ashley Heintzen Rich Ervin Trumpet Chris Dolske Teresa Linn Horn Kathy Thomas Carolyn Blice Trombone Paul Nichols Karl Edge Timpani Kirk Gay Organ Chris Olivent Viola da Gamba Joanna Blendulf Harpsichord Joanne Kong


BACH FESTIVAL SOCIETY DONORS CONTINUO SOCIETY Your legacy gift to the Bach Festival Society of Winter Park will help ensure that great music continues to play for future audiences. A bequest is a simple way to support the mission of the Bach Festival Society. For more information about making a bequest to the Bach Festival Society please phone 407.646.2182. BACH FELLOWSHIP ($20,000 and up) Bach Festival Choir Galloway Foundation Orange County Arts and Cultural Affairs Rollins College United Arts of Central Florida BEETHOVEN ALLIANCE ($15,000-$19,999) State of Florida, Department of State, Division of Cultural Affairs, The Florida Council on Arts and Culture BRAHMS PARTNERSHIP ($10,000-$14,999) M. Elizabeth Brothers Darden Restaurants Foundation Michael J. and Aimee Rusinko Kakos Elizabeth Morse Genius Foundation Borron and Beppy Owen Warren and Augusta Hume Foundation MOZART’S LEAGUE ($5,000-$9,999) Edward & Helen Layman Family Fund The Chesley Magruder Foundation Blair and Diane Murphy J. Michael and Helene Murphy The Rev. and Mrs. Eric Ravndal III Sally and Jack Schott Rupe and Lisa Sidhu Nancy and Egerton van den Berg MENDELSSOHN COLLEAGUES ($2,500-$4,999) John W. and Linda Cone Allen The Bryce L. West Foundation M. Virginia Klaasen Karen Lane Kenneth and Ann Hicks Murrah Beth and Jack Nagle The Thomas P. and Patricia A. O’Donnell Foundation Wayne and Dr. Robin Roberts Donor Advised Fund of the Community Foundation of Central Florida Joan Ruffier and Edward Manning Drs. John and Gail Sinclair Bosco R. and Beverly J. Slaughter Philip and Sigrid Tiedtke ST. CECILIA SOCIETY ($1,000-$2,499) Anonymous (2) David and Judy Albertson P. Andy and Autumn Ames in memory of John M. Tiedtke Jack and Annis Bowen Foundation Commerce National Bank & Trust Robert and Athalia Cope Ann and Carl Croft Dr. Thomas Fiala Randolph and Susan Fields David Garthe Kathryn and Bud Grammer Grateful For The Anonymous Donor Susan Gray-McCoy Paul M. Harmon Brian Henties in honor of Maile Miller Allen and Dana Irwin Becky and Randy Kelley Dr. and Mrs. J. S. Kwon

Michael and Karen Lane in honor of Diane and Blair Murphy The Lee Foundation Mr. Alex and The Hon. Cynthia Mackinnon David R. Mattson John Niss, Roger and Lisa Mouton Robin H. Murphy Bj Price Jolyon Ramer in memory of Dorothy L. Ramer Betsy and Joe Samuel Jim and Pat Schroeder Joel H. Sharp, Jr. Mr. and Mrs. David R. Terry Jr. Dr. Tracy Truchelut and Mr. Robert A. White Kathryn Chicone Ustler Mr. Hardy Vaughn Dr. and Mrs. Joseph W. Warren Mrs. Jean Woodbury in memory of Dr. Ward Woodbury Dr. Armand and Alison Zilioli ALLEGRO SOCIETY ($500-$999) Anonymous Anonymous in memory of Clifford and Marilyn Lee Akerman Senterfitt Jeff and Nikki Bromme Debra Minor Brown Tom and Kathy Cardwell Charitable Fund of the Schwab Charitable Fund Drs. Gary and Gloria Cook Mr. and Mrs. Jack D. Couch DAC Bond Mr. and Mrs. J. Rolfe Davis Jr. Drusilla Farwell Foundation O’Brien and Wise Mrs. Buell G. Duncan, Jr. in memory of Buell G. Duncan Jr. Dante Duphorne in memory of Marvin Duphorne Patsy Duphorne in memory of Marvin Duphorne Mary Anne Elwood Dr. and Mrs. Lee E. Eubank Carol Stanley Fenner Betsy Gwinn and Michael Galletta Catherine Hartsfield in memory of Martha Lynn Mrs. Harriet Hope Allison and Peter Hosbein Dr. Susan Cohn Lackman and Dr. Richard D. Knapp Pat and Audrey Knipe Mr. and Mrs. Chip Landon in memory of Mr. and Mrs. Duval Belcher Rob and Wendy Landry Jeannette Leinbach Rita and John Lowndes Janice M. Moss William and Nancy Nail John and Anne Perry Dr. and Mrs. Mark and Beverly Rich in loving memory of Dr. Seymour Cohen William and Barbara Robbinson Randy and Pat Robertson Dr. Marc Shapiro Jodi Tassos in memory of John Tassos Elaine Berol Taylor & Scott Bevan Taylor

Foundation George R. and Eleanor C. Taylor Joan and Harry Travis Leila Edgerton Trismen Jeremy Udell and Rebecca Hull Harold and Libby Ward Gwendolyn and Wilford Williams John and Helen Williams HAYDN ASSOCIATES ($250-$499) Anonymous (4) George and Leslie Andreae David B. Baer Ernie and Roz Bennett Dr. and Mrs. Donald G. Beyer Carolyn Blice Bill and Becky Brown Rhonda Burnham Jane D. Callahan Center for Foot and Ankle Medicine O’Ann and Pat Christiansen Tom Cook and Patricia Simmons Alan and Susan Davis Jolie Eichler in memory of Andy Mitchell and Carol Knowles Dr. and Mrs. Jefferson S. Flowers Bette Dale Garner in memory of Tony Lee Garner Leon and Larissa Glebova Freddi and Jim Goodrich Stan and Regunia Griggs Clark and Allis Gwinn Dr. and Mrs. Frank R. Hellinger, M.D. Larry and Doris Kelley Betty and Bob Kimbrel Susan Kopald Eric Larmer and Jennifer Thomas-Larmer Jan and Lynn Larson Gary and Janet Leavens Gerald and Kay Marin Jay Yellen and Elizabeth Maupin Dr. Margaret McMillen Dr. and Mrs. Robert Metzger Jeffrey and Mindy Moore D’Arcy Murphy in memory of Charles E. Murphy and Patricia Murphy Carrell Myers in honor of William C. Myers Beth and Jack Nagle Linda Naughtin Hilary Parkinson Mr. Richard H. Proctor, Sr. Joy and Louis Roney Mr. and Mrs. Joseph E. Sichler III Dr. Robert F. and Mrs. Martha S. Stonerock Jr. Linda Threatte Laurencia and Joseph Unanue Lee and Judy Van Valkenburgh Katy Moss Warner Diana Webb and T. J. Trapp Annette Weidner Kathy Wendt Gayle Wirtz HANDEL CIRCLE ($100-$249) Anonymous (11) Anonymous in honor of Mr. and Mrs. Norman L. Hull Edward J. and Georgine M. Baranski

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BACH FESTIVAL SOCIETY DONORS HANDEL CIRCLE continued Dennis and Marianne Franus Beck in memory of Marie Franus Bill Bieberbach Dr. Rita Bornstein Carol Bresnahan and Michelle Stecker Dale and Patricia Burket Michael and Mabel Burridge Colin Byrne David Caudle and Gil Villalobos Donna and Guy Colado John and Carolyn Coleman Sandy Cooper Edward and Janet Davenport Mr. Carl Davis and Ms. Carrie Duvall Davis Tracy A. Davis Dr. and Mrs. Isidoro Lessa de Paula Bob and Patti Dilg in memory of Shirley Jackson Barbara A. Douglas Edwina Kelsey Driggers in honor of Walter E. Driggers Mr. and Mrs. John L. Duda Ann L. Dwyer in memory of John B. Dwyer Mr. and Mrs. Peter Elliott Harold and Marjorie Emmert Candice T. Erick Frank Faine Michelle and Andrew Feinberg Daniel Flick Dr. and Mrs. Robert Flick Gail and Richard Fote Penny S. Gilman Mr. and Mrs. Alvaro Gomez Dr. Scott Greenwood and Dr. Pamela Freeman-Greenwood Gregg Gronlund Family John and Virginia Hall in honor of Tye VanBuren Ian C. Hannah Kathryn C. Harbaugh in memory of Howard C. and Janet L. Harbaugh Harold and Petronella Hass Grant Hayes Debra Hendrickson and Robert Linder Dr. and Mrs. G. Wyckliffe Hoffler Nancy Holzen

Martha and Lynn Howle Mr. and Mrs. Kermit L. James Jr. Mrs. Patricia E. Jenkins Frank and Etta Jean Juge Marc and Henrietta Katzen Mary F. Kelsh Devon Kincaid Dr. Yen-Yen Kressel Sylvia Daniel Kurth in memory of The Rev. Thomas Daniel and Ruth Daniel Milliken Eileen LaSeur Dr. Mubarak Shah and Ms. Becky Lee Meredith E. Level Dr. Michael and Diane Levine Lee Liming Jim and Tootsie Loomis The Rev. Dr. and Mrs. Robert Lord Francille MacFarland, M.D. Janine and Jim Madison Gerald and Kay Marin Dr. Dan Marinescu Gerould W. Maurer Jack and Linda McEwan David and Sue McGuffin Dr. and Mrs. Jonathan McIntire Dr. Margaret McMillen Janet W. Middleton Maile Miller Mrs. Gail M. Miller Dr. Margaret G. Miller and Mr. Charles E. Miller Lois H. Mills Robert E. Morin in honor of Rev. Eric Ravndal Dale and Martha Morrison Dr. and Mrs. William Munsie William Myers in honor of The Alto Section Donald A. and Marie D. Nash John J. Neumaier and Sally F. Luther Perry and Jane Nies Sheila and Bill Oelfke Jean Osowski in memory of Stanley Osowski Betsy and Paul Owens Dr. Mary Palmer Betty E. Parker in memory of Robert F. Lee

Margaret Patten in memory of Dale Patten Barbara Pemberton William H. Penn Joe and Pat Perfito Evelyn Walters Pettit Jean and Steve Phelan Tom and Teresa Quinn Fund Roger and Roz Ray Curtis Rayam Jr. in memory of Minnie Louise Mitchell Rayam Mark Edwards Roberts Martha A. Robinson Mrs. Donna Ronco Susan Rosoff Maria M. Rubin Don and Joni Ryter Ann Saurman Mr. and Mrs. John B. Schwing Nancy Seaman Mr. and Mrs. Tim Sisley Dennis Sobeck Vivian Southwell Mr. and Mrs. Larry Spinosa Jim Spitzer and Susan Scullin Charles and Joan Staples Susie Stone Nancy L. Strohmeyer - missing all my friends in the Bach Choir! Dawn and George Sumrall Wendy Sun Vernon Swartsel Mr. and Mrs. Hans W. Tews Phoebe and Eliot Rosewater Susan and Michael Tucker in memory of Janet Doubledee Gerrie F. van Breemen in memory of my husband John van Breemen Tye Van Buren Ms. Sterling S. Vestal Cezarina and Ray Vintilla Daniel O. and Jane R. White Mrs. Susan Whritenour Trudy Wild Sarah Wood and Ken Goldberg Deanna and C.A. Woodall Ruth E. Young Dr. and Mrs. Lee Zehngebot

Acknowledgments include all gifts for the 2013-2014 season through January 13, 2014. We apologize for any errors or omissions.

UNITED ARTS DONORS United Arts Donor Recognition 2013

United Arts of Central Florida is a dynamic collaboration of individuals, corporations, foundations, school districts, local arts and cultural organizations, and artists. Our mission is to enrich communities by investing in art, science, and history. We serve arts, sciences, history, and other cultural providers benefiting Central Florida residents and visitors. We do this by raising and distributing funds for arts and cultural institutions and by providing management, administrative, and advisory services.

Since our founding in 1989, and through the generosity of our donors, United Arts has invested more than $126 million in local organizations and cultural education and through them the diverse and energetic community that is Central Florida. We are deeply grateful to all of our donors and community partners for their investment in this industry of creativity and service to our community.

Elizabeth Morse Genius Foundation, Inc.

Board of Trustees:

Seminole County, Florida The Honorable John Horan

City of Orlando The Honorable Buddy Dyer Darden Restaurants, Inc. Bob McAdam

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Florida Blue Tony Jenkins The Martin AndersenGracia Andersen Foundation Thomas P. Warlow III Orange County, Florida The Honorable Tiffany Moore Russell Orange County Public Schools Dr. Barbara M. Jenkins

University of Central Florida Dr. John C. Hitt Walt Disney World Resort Jill Estorino


UNITED ARTS DONORS CORPORATE AND GOVERNMENT DONORS

Holland & Knight, LLP Employees

Premier Partners ($250,000+) City of Orlando and Employees Darden Restaurants, Inc., Darden Restaurants, Inc. Foundation and Employees Orange County, Florida and Employees Orange County Public Schools and Employees

Gold Circle ($5,000 - $7,499) Electronic Arts Millenium Management Corporation - Laraine and Phil Frahm Orlando Science Center Employees Rollins College and Bach Festival Society Employees SeaWorld Parks and Resorts Orlando SunTrust Bank, Central Florida and Employees

Partners ($175,000 - $249,999) University of Central Florida Trustees ($100,000 - $174,999) Florida Blue Seminole County, Florida Walt Disney World Resort Associate Trustees ($50,000 - $99,999) Bank of America Greater Orlando Aviation Authority Lockheed Martin and Employees Orlando Magic and Employees Chairman’s Circle ($25,000 - $49,999) Lowndes, Drosdick, Doster, Kantor & Reed, P.A. and Employees Massey Services Inc. and Employees North Highland Orlando Utilities Commission (OUC) and Employees The PNC Financial Services Group State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture Wells Fargo and Employees President’s Circle ($10,000 - $24,999) A. Brian Phillips, P.A. AAA National Office and Employees Baker & Hostetler LLP and Employees City of Winter Park Orlando Health Platinum Circle ($7,500 - $9,999) Akerman Senterfitt and Employees Dean, Mead, Egerton, Bloodworth, Capouano & Bozarth, P.A. Employees Duke Energy and Employees Foley & Lardner Employees

Silver Circle ($2,500 - $4,999) Advanced Materials Professional Services LLC Dr. Les and Mrs. Lynn Kramer in memory of Adlyne and Myron Kramer and Samuel Kraighman Amazon Hose & Rubber Company Arts and Cultural Alliance of Central Florida Employees Baker Barrios Architects Carlton Fields, P.A. and Employees Cirque du Soleil Global Citizenship Department Clifton Larson Allen Employees DAC Bond Florida Theatrical Association Holiday Inn Club Vacations Mateer & Harbert, P.A. Employees United Arts of Central Florida Employees Bronze Circle ($1,000 - $2,499) ABC Fine Wine & Spirits Arnold Palmer Hospital for Children - Sports Medicine Centerplate Colonial Photo & Hobby Inc. Commerce National Bank & Trust Cross, Fernandez & Riley, LLP and Employees Duke Realty Corporation For Art Group Hometown Entertainment Jill S. Schwartz & Associates, P.A. Odd-o-Ts’ Entertainment in honor of all those that keep us performing Orange Appeal Pineloch Management Corporation Premier Events of Distinction Premiere Show Group Silver Bullet Tech Pros Inc. Smart City Valencia Community College

Visit Orlando Employees Walgreen Co. Watauga Group Gifts as of July 31, 2013 INDIVIDUAL & FOUNDATION DONORS Partners ($175,000 - $249,999) Elizabeth Morse Genius Foundation Inc. Trustees ($100,000 - $174,999) The Bryce L. West Foundation The Martin AndersenGracia Andersen Foundation Associate Trustees ($50,000 - $99,999) 1 Anonymous Donor Chairman’s Circle ($25,000 - $49,999) A Friend’s Foundation Lyn and David Berelsman Rita and John Lowndes Ken and Trisha Margeson Harvey and Carol Massey Annette P. Neel Frank Santos and Dan Dantin Valerie and Jim Shapiro 1 Anonymous Donor President’s Circle ($10,000 - $24,999) David and Judy Albertson Jacqueline L. Bradley and Clarence Otis Jr. M. Elizabeth Brothers Whit and Martha Cotten The Dick and Mary Nunis Charitable Gift Fund Ava and Art Doppelt Paula and Buddy Eidel and Family Michael Elsberry and Sally Blackmun Laraine and Phil Frahm Gene and Amy Lee Fund at the Community Foundation of Greater Atlanta Valerie and Eddie Insignares John and Carolyn Martin Bob McAdam Kenneth and Ann Hicks Murrah Oakstone Philanthropy Dr. Mary Palmer Mr. A. Brian Phillips Publix Super Markets Charities Helen C. Routhier John and Audrey Ruggieri David Sutton and Paula Shives Kathryn Chicone Ustler Dr. and Mrs. Joseph W. Warren 3 Anonymous Donors Platinum Circle ($7,500 - $9,999) Janet Donahue

Harriett Lake Dave Pickens Robert and Shirley Waggoner Tom and Penny Yochum Gold Circle ($5,000 - $7,499) John W. and Linda Cone Allen Dr. Andy and Verna Buchs Charles P. and Lynn L. Steinmetz Family Foundation in memory of Amy Ginson Clifford and LaVonne Graese Foundation Val and Paul Collins Steven W. Cook Edwin G. Dantin Jr. Terry Dola Robert and Tricia Earl Edward and Helen Layman Family Fund Elaine Berol Taylor & Scott Bevan Taylor Foundation Carol Stanley Fenner Siegmund I. and Marilyn Goldman in honor of Steve Goldman and Julie Goldman Klein Samir S. Gupte Terri and Michael Harding Mr. and Mrs. L. P. Herzog Joe R. Lee Family Foundation Inc. Michael J. and Aimee Rusinko Kakos Pat and Audrey Knipe Dr. Mitch and Swantje Levin Mr. Alex and The Hon. Cynthia Mackinnon Mr. and Mrs. Lester Mandell Joyce and John McLeod Galen Miller - Ruth McCormack Tankersley Trust in memory of Tiffany Tankersley Blair and Diane Murphy Daisy Ng Rosemary O’Shea Borron and Beppy Owen Jo-El Quinlan and Robert Bottelli The Rev. and Mrs. Eric Ravndal III Mr. and Mrs. Brad Richmond John and Margaret Sanders Salli and Greg Setta Rupe and Lisa Sidhu Bosco R. and Beverly J. Slaughter Blaine and Rebecca Sweatt Chris Takashima Philip and Sigrid Tiedtke Wayne and Dr. Robin Roberts Donor Advised Fund of the Community Foundation of Central Florida William Newkirk and Cheryl Tschanz Family Foundation Robert B. White Jr. Scott H. Wilson Bill and Suzy Wilson Ying Family Foundation

Anonymous in memory of Lois Slung 2 Anonymous Donors Silver Circle ($2,500 - $4,999) P. Andy and Autumn Ames in memory of John M. Tiedtke John and Lee Benz Joe and Carol Bert Carol-Lynn and Frank Bevc Jeanne Miles Blackburn Matt and Alana Brenner Ms. Stewart H. Brown J.J. and Erin Buettgen Laurie Burns Steven P. Clawson Carol and Ted Conner Stanley J. Cording Candice J. Crawford Ann and Carl Croft Dr. Ronald and Nancy Davis Jeffrey and Jennifer Decker Seline and Leonard Dreifus Judith M. Duda Dr. Jay and Randye Falk George S. Fender in honor of American Military Forces Randolph and Susan Fields David George Luddy and Lynda Goetz Freddi and Jim Goodrich Kathryn and Bud Grammer Shirley and Jack Guignard Brian Henties in honor of Maile Miller Elizabeth S. Hinchliff Katherine Ho and Joey Sacco Bill and Donna Hoffman Allen and Dana Irwin Nancy C. Jacobson and James R. Lussier Hugh and Caroline James Norma and Bernard Kaplan Marc and Henrietta Katzen M. Virginia Klaasen Dr. Leslie Kramer Dr. Susan Cohn Lackman and Dr. Richard D. Knapp Jim and Kara Laurence Mara and Harvey Levitt Judy and Tony Lutkus Francille MacFarland, M.D. Paula and Michael Manchester Martha Ellen Tye Foundation - Steven Tye Robin H. Murphy Beth and Jack Nagle John Parker and Deede Sharpe Carrie and Ron Patterson Mrs. Gale Petronis Albert and Lisa Prast Jim and Alexis Pugh Quigley-Kiene Christopher and Carol Ranck Richard and DJ Shantz Fund Rita and Jeffrey Adler Foundation Phoebe and Eliot Rosewater Corrine K. Roy Maria M. Rubin

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UNITED ARTS DONORS Richard Russell and Thomas Ouellette Teresa Sebastian Jean E. Siegfried Drs. John and Gail Sinclair Drs. David Smuckler and Maxine Tabas Elizabeth Allen Sterchi Dr. Robert F. and Mrs. Martha S. Stonerock Jr. Ms. Paula Stuart Tom and Teresa Quinn Fund Cynthia Tomlinson Nancy and Egerton van den Berg Lynda Walker and Marc Allaire Harold and Libby Ward Patricia L. White Alan Whittaker Theresa and Tim Willings Gayle Wirtz Leighton and Phyllis Yates Heidi, Lee and Jake Zerivitz in honor of Lily, Dierdre Miles Burger and Robert Hill Dr. Armand and Alison Zilioli Bronze Circle ($1,000 - $2,499) Matthew and Rebecca Ahearn Kurt L. Anderson George and Leslie Andreae Gordon and Susan Arkin Grateful For The Anonymous Donor Kim Ashby in memory of Bob and Katy Ashby Maria-Elena Augustin Nancy Austin David B. Baer Renato and Cory Barbon Frank and Daryl Barker Beth Barnes and John Crocitto Andrea and Dick Batchelor Donna Mirus Bates Kurtis T. Bauerle Beck Family Foundation Rocky and Cissy Bergman Susan Fox Beversluis Shirley D. Bias Ann and Derek Blakeslee Carolyn Blice Darryl M. Bloodworth Albert and Cheryl Bogdanowitsch Harold Bogert Russell and Mary Ellen Boice Clancey and Susan Bounds Scott Bowman and Luis Hernandez Jackie Bozzuto and Christopher Fountas Connie and Roy Brand Berl Brechner Mr. N. Howard Britt Jeff and Faith Buhler Robert and Louise Buhrmann Christina E. Buntin Sandra Carbone Holly Kreisler Casteel and Murphy Family Foundation Christopher Chang Donna Check

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O’Ann and Pat Christiansen Debbie Clements Dr. and Mrs. Delos Clift Drs. Jeff Cohen and Luci Belnick Beryl and Trevor Colbourn Teresa and Jay Colling Susan M. Connelly Robert and Athalia Cope The Cordell Family Dr. Chris Crotty and Ms. Janie Brownlee Susan M. Curran Fred and Gayle Curtis Alan and Susan Davis Horace and Mildred Dawson in honor of Lula Cole Dawson Francie and Wayne Dear William T. Demuth Duncan and Lael Dewahl Patricia DeYoung Frank J. Doherty Bruce Douglas Donna Dowless Kristy Doyle and Bob Turner Donna Dozier-Gordon Mrs. Buell G. Duncan Jr. in memory of Buell G. Duncan Jr. Sonia Durrance Eckett Oden Charitable Foundation Patricia R. Edwards in memory of Stanley Fenner Commissioner Ted B. Edwards Charles and Karen Egerton Andrea Eliscu in memory of Natalie Roussman Dr. and Mrs. Lee E. Eubank John G. Fadool JosÊ A. Fajardo Richard and Terri Finkel Dr. and Mrs. Jefferson S. Flowers Brian J. Foye and Coleen C. Foye Lynne Frederick Barbara and Richard Fulton Garber/Collins Charitable Gift Fund Andy and Camille Gardiner Glenn and Marlene Gardner Margaret B. Garland Louise, Mike and Molly Garvey Madison W. Gay, M.D. Dr. and Mrs. Charles W. George Nancy Gidusko Suzanne E. Gilbert Linda Landman Gonzalez Susan Gray-McCoy Carol and Leonard Greenbaum Dr. Scott Greenwood and Dr. Pamela FreemanGreenwood Ellen M. Guenette Edye and Ed Haddock Dr. and Mrs. Yu Hak Hahn Jodie A. Hardman Paul M. Harmon Tim Hartmann Marty and Jim Heekin Steve and Frawn Helsel Mr. and Mrs. Thomas J. Herder

Grant and Tamia Hill Fannie Hillman John and Martha Hitt Mr. and Mrs. Mark Holecek Ruby Homayssi, LCDR, USN Ret. Dustin and Angel Houck Betty and Paul Hoyer Joseph R. and Jan J. Hurt Andrew Hyltin Mone Isaia in honor of Sydney Klechner Dr. and Mrs. Donald Jablonski Mrs. Patricia E. Jenkins Dean Johnson Pamela Johnson Hal H. Kantor R.K. and Faron Kelley Becky and Randy Kelley Mary F. Kelsh Barbara and Gil Kemp Maureen and Mark Kennedy Joe Kern Lee and Keith Kernek Carla Kimball B. Kitashima and K. Saruwatari Jack and Andrea Kobrin in honor of Rebecca, William, Joshua Kobrin and Isabella Griffin Mr. and Mrs. Joseph F. Kolb Jr. Michael and Darcy Krajewski Linda and Rich Krecic Col. and Mrs. Robert and Jerilyn Kreps Dr. and Mrs. J. S. Kwon Rob and Wendy Landry Mary Laurie Lane Michael and Karen Lane in honor of Diane and Blair Murphy James and Peggy Lantz Shanon Michael Larimer Jane and Philip Leighton Meredith E. Level Dr. Michael and Diane Levine Bob and Mimi Lipka Dr. Dorothy T. Lloyd Jordan Lomas Lopdrup Family Fund Dave Lothrop John and Pamela Lyle Janine and Jim Madison Robert and Julie Mandell in honor of John and Rita Lowndes Richard and Annette Manganel Dr. and Mrs. Thomas L. March Alex and Juliet Martins Tony Massey Andrea Massey-Farrell David R. Mattson Jay and Alison McClelland Daniel and Elizabeth McIntosh Rex and Jan McPherson John and Rebekah McReynolds Bob Mead Dr. and Mrs. Robert Metzger Mark and Christine Middlebrook Dr. A. Migliara Jr.

Barry L. Miller Linda Miller Dr. Margaret G. Miller and Mr. Charles E. Miller Jim and Cynthia Milligan in honor of Jacklyn Wright Dale and Martha Morrison Janice M. Moss J. Michael and Helene Murphy Cindy and Frank Murray Rich and JoAnn Newman John Niss, Roger and Lisa Mouton Michael Nocero in memory of Mary Jo Antonia C. Novello Jean Nowry Glenn and Beverly Paulk Dw Phineas Perkins Mike and Marian Peters Mrs. Nancy K. Phipps Eddie and Melanie Pipkin Martin and Ellen Prague Kim Praniewicz Sibille Pritchard Fred and Jeanie Raffa Jolyon Ramer in memory of Dorothy L. Ramer Bill and Joan Randolph James and Beverly Rawlings Diane and Phil Reece Shyla and Steve Reich Kevin and Rebecca Reynolds in honor of Mary Peterson Johnny Rivers William and Barbara Robbinson Jon and Jane Rodeheffer The Roper Family Foundation Inc. Joan Ruffier and Edward Manning John Ruffier James and Judy Russell Michael and Theresa Ryan Michael P. Sampson in honor of April Walker of Carlton Fields, P.A. and Amy Chapman of CliftonLarsonAllen Betsy and Joe Samuel Judy and Stan Sandefur Conrad Santiago Arthur Santora Jeffrey C. Schenck Frank Schornagle Sally and Jack Schott Jim and Pat Schroeder Ms. Jill Schwartz BG Stephen M. Seay USA, Ret. Valerie Seidel Briggs and Victoria Sellers Kenneth S. Shappell Geanne and Adrian Share Joel H. Sharp Jr. James G. Shepp in honor of Christopher Wilkins and Suellen Fagin-Allen Imogene Shiplett Marie and Tom Shumilak Scot A. Silzer and Karen S. Day Charlie and Becca Sloan Diane and Robert Smedley George and Gretchen Smith Ellen R. Snyder Gary and Barbara Sorensen

Jean Starkey in honor of Robert Hill George and Barbara Stedronsky Steve Goldman Charitable Foundation J im and Ginny Stuart Rene Stutzman Stephen Summers Cory L. Taylor Jewel Taylor Mr. and Mrs. David R. Terry Jr. Judy Thompson Roger K. Thompson Pauline M. Tindal Tom and Kathy Cardwell Charitable Fund of the Schwab Charitable Fund Joan and Harry Travis Leila Edgerton Trismen Dr. Tracy Truchelut and Mr. Robert A. White Anthea M. Turner Mr. Hardy Vaughn Drs. Kenneth and Bernadette Vehec Dr. and Mrs. R. C. Vinci Donald Voorhees Jeff Voss and Bryan Stevens Dr. Lawrence and Nancy Wagers April Y. Walker Esq. Reverend Robbi Walker and Mr. William Walker Katy Moss Warner Robert A. Warren Neil and Malka Webman Miriam Weston Bill White Shara and Keith White Trudy Wild Christopher Wilkins Dan Williams Mrs. Jean Woodbury in memory of Dr. Ward Woodbury Mr. and Mrs. Bob Yarmuth Kathy and Jon Yergler Mr. Todd Zimmerman Anonymous in memory of Clifford and Marilyn Lee 15 Anonymous Donors Gifts as of July 31, 2013. We apologize for any errors or omissions.


A Powerful Ensemble OUC—The Reliable One is proud to support the 79th Annual Bach Festival and its efforts to energize and inspire our community.

www.ouc.com BachFestival_2014-01_7-25x4-625.indd 1

2/6/2014 2:46:32 PM

MUSIC: THE ESSENCE OF THE HUMAN EXPERIENCE join the conversation

ALISA WEILERSTEIN, cello INON BARNATON, piano Tiedtke Concert Hall, Winter Park

Sun | Mar 30 | 3:00 pm

DEBUSSY Sonata for Cello and Piano SCHUBERT Fantasia in C Major AUERBACH Selections from 24 Preludes RACHMANINOV Sonata in G minor JOHN V. SINCLAIR ARTISTIC DIRECTOR AND CONDUCTOR

Box Office: 407.646.2182 One of America’s great oratorio societies, the Bach Festival Society has provided Central Florida with world-class musical performances since 1935.


SCHEDULE OF EVENTS KEN COWAN, ORGAN

Knowles Memorial Chapel

Fri | Feb 14 | 8:00 pm CONCERTOS BY CANDLELIGHT: VIVALDI AND BACH Fri | Feb 21 | 7:30 pm Pre-Concert Talk | 6:00 pm | FREE Sat | Feb 22 | 7:30 pm OPEN REHEARSAL FOR HAYDN’S CREATION Thu | Feb 27 | 6:45 pm | FREE

Knowles Memorial Chapel Tiedtke Concert Hall Knowles Memorial Chapel

Sponsored by The Mayflower Retirement Community

HAYDN’S CREATION Sat | Mar 1 | 7:30 pm Pre-Concert Talk | 6:00 pm | FREE

Knowles Memorial Chapel

J. S. BACH’S ST. JOHN PASSION Sun | Mar 2 | 3:00 pm

Knowles Memorial Chapel

Tiedtke Concert Hall

THERE’S MORE TO COME! Join us after the festival for the remainder of our season. VISITING ARTISTS ALISA WEILERSTEIN, CELLO, AND INON BARNATAN, PIANO Sun | Mar 30 | 3:00 PM SEATING IS LIMITED These outstanding artists are back by popular demand after their awe-inspiring 2013 performance with the Academy of St Martin in the Fields Chamber Orchestra. The program includes works by Debussy, Schubert, Auerbach, and Rachmaninov. PROKOFIEV’S ALEXANDER NEVSKY SUITE Sat | Apr 26 | 7:30 pm Sun | Apr 27 | 3:00 pm Prokofiev’s epic Alexander Nevsky Suite and Sibelius’ Luonnotar are the center of this program highlighting music’s celebration of victory and triumph. Featuring the Bach Festival Choir and Orchestra

Bach Festival Society programs are made possible through earned income, grants, donations, and generous contributions from a variety of individuals and community partners.

WE GIVE SPECIAL THANKS TO OUR 79TH ANNUAL FESTIVAL SPONSORS:

PRESENTING SPONSORS: The Galloway Foundation Orange County Arts and Cultural Affairs

The Bach Festival Society is sponsored in part by contributions from


79th Annual Winter Park Bach Festival