89th Annual Bach Festival | Program Book by Bach Festival Society of Winter Park

FEBRUARY 2 - MARCH 3, 2024

The Bach Festival Society of Winter Park’s mission is to inspire the human spirit through extraordinary music, featuring powerful choral performances and innovative programming that celebrates the legacy of J.S. Bach. The 89th Season will showcase a dynamic array of world-class musicians and vocalists performing classical masterworks and contemporary compositions that will delight, challenge, and inspire listeners.

Photo credit: Scott Cook

OFFICERS Dr. Jack Schott, President Dr. Bill Oelfke, Vice President Michael Kakos, Treasurer Beverly J. Slaughter, Secretary TRUSTEES

STAFF John V. Sinclair, Artistic Director and Conductor Kathy Johnson Berlinsky, Executive Director Rhonda Burnham, Artistic Manager Jane Secrist Newnum, Marketing and Development Consultant

Pilar Carvajal Dr. Grant H. Cornwell Dr. Jeff Flowers Dr. Grant Hayes The Honorable Cynthia Mackinnon Richard Russell Alex Tiedtke

Lex Goity, Finance and Strategy Manager

TRUSTEES EMERITI

Luke Noles, Administrative Coordinator

The late M. Elizabeth Brothers J. Michael Murphy The late Rev. Eric Ravndal, III

Regunia Griggs, Choir Liaison

Ruby Abreu, Marketing Manager Sondra Jones, Education Manager Logan Landry-Jennings, Operations Manager

Sherry Orr, Assistant to John Sinclair Vivian Cook, Young at Heart Chorale Director Rebecca Hammac, Youth Choir Director Lynn Peghiny, Accompanist Sofía Cardi Bonfil, Youth Choir Accompanist

Major Support Provided By

Our 89th Season is supported by many generous individual donors as well as the Jessie Ball duPont Fund; Winifred Johnson Clive Foundation; Edyth Bush Charitable Foundation; Dr. Phillips Charities; Joe & Sarah Galloway Foundation; Elizabeth Morse Genius Foundation; Massey Services, Inc; Orange County Government through the Arts & Cultural Affairs Program; United Arts of Central Florida, your local agency for the arts; the State of Florida, Department of State, Division of Arts and Culture and the Florida Council of Arts and Culture; City of Winter Park’s Community Redevelopment Agency; and Rollins College.

JOHN V. SINCLAIR ARTISTIC DIRECTOR AND CONDUCTOR

Photo credit: Mary Kent

John V. Sinclair has established a national reputation as one of the leading conductors of choral masterworks while locally being known as one of the hardest-working and in-demand artists of the Central Florida cultural community. In his 34th season as Artistic Director and Conductor of the Bach Festival Society, he has broadened the society’s musical offerings of masterworks by both classical and contemporary Photo credit: David Bean composers into the repertoire of the Society while perpetuating his reputation as a scholarly interpreter of J.S. Bach’s music. He continues his imaginative programming, creative interpretations, and expressive conducting. Dr. Sinclair, known as a master teacher, is Director of Music at Rollins College and holds the John M. Tiedtke Endowed Chair. As a career educator, Sinclair keeps the Society’s educational focus vital by providing a broad range of musical programs and experiences for individuals of all ages. As a conductor who is equally adept at directing choral and orchestral music, he has been referred to as Central Florida’s “resident conductor.” Sinclair has appeared as conductor for more than a thousand EPCOT Candlelight performances in addition to his work as a clinician and lecturer. The Bach Festival, under his leadership, has achieved international recognition by touring in Europe, producing nationally released CDs and broadcasts, and performing with the London Symphony Orchestra and the Royal Philharmonic Orchestra during their Florida residencies. Dr. Sinclair holds masters and doctoral degrees from the University of Missouri-Kansas City’s Conservatory of Music. His undergraduate school, William Jewell College, honored him with its most prestigious Citation for Achievement. In addition to editing and interpreting historical choral works through the Moravian Music Foundation, he has authored an anecdotal book entitled Falling Off the Podium and Other Life Lessons. The late Terry Teachout, formerly the Wall Street Journal’s arts critic, once wrote, “John is a gifted conductor, a great educator, and the best of all possible colleagues.” For more than three decades, John Sinclair has shared his talent and dedication to musical excellence with the Central Florida community and beyond. 4

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Bach Festival Society of Winter Park Presents

ADAM J. BRAKEL, ORGAN Organ works of Johann Sebastian Bach (1685-1750) February 2, 2024• 7:30pm | Knowles Memorial Chapel

PROGRAM Fantasia in G Major BWV 572 (9’) I. II. III.

Trés vitement Gravement Lentement

Trio Sonata No. 3 in d minor BWV 527 (14’) I. II. III.

Andante Adagio e dolce Vivace

Prelude and Fugue in E-flat Major "St. Anne" BWV 552 from Clavier-Übung III (15’) "O Mensh," bewein dein Sünde groß BWV 622 from Orgelbüchlein (6’) Concerto in G Major BWV 592 (8’) I. II. III.

Allegro Grave Presto

"Komm, Heiliger Geist" from the "Leipzig" chorales BWV 652 (9’) Prelude and Fugue in D Major BWV 532 (11’)

INTERMISSION Fantasia and Fugue on B-A-C-H, Op. 46 (18’)

Max Reger (1873-1916)

This recital is made possible by Rollins College through the Faith Emeny Conger '54 Visiting Organist Concert Series in Honor of John Oliver Rich ’38. Please turn off cell phone and electronic devices prior to the start of this performance. The Bach Festival Society’s policies strictly prohibit photography, filming, or recording of any kind during performances without the express written permission of the Society. BachFestivalFlorida.org

FEATURED ARTIST ADAM BRAKEL, ORGAN Hailed as “an absolute organ prodigy” by National Public Radio and “one of the most talented organists in the world” by the Chicago Tribune, concert organist Adam J. Brakel is a preeminent artist “with the technique and virtuosity that most concert pianists could only dream of.” (NPR) Adam’s celebrated performances span the globe. His expansive repertoire includes the entire Photo credit: Marjorie Durante spectrum of styles featuring the complete organ works of Bach, Bruhns, Buxtehude, Couperin, Liszt, de Grigny, Franck, Mozart, Mendelssohn, and Duruflé. Brakel’s performance highlights include the complete works of César Franck, and, most notably, the fiendishly difficult Six Etudes of Jeanne Demessieux, of which Adam is one of the few organists in the world to have performed and recorded in its entirety. Demonstrating his agility in style and performance, Adam has also made a concentrated study of jazz music for the pipe organ. In collaboration with American jazz pianist Dick Hyman, Adam premiered his own arrangement of Hyman's Shenandoah and performed the American premiere of Millennial Countdown at Mr. Hyman's personal request. A graduate of the Peabody Conservatory and Duquesne University, Adam has a rich musical pedigree. His recital career was launched at a young age after being awarded an American Guild of Organists scholarship. At Duquesne University, Adam studied organ with John Walker and David Craighead and harpsichord with Rebecca Rollett. He was appointed Associate Organist at St. Paul Roman Catholic Cathedral in Pittsburgh, where he was featured weekly on television broadcasts throughout western Pennsylvania. He then received further training at The Juilliard School in New York City as a recipient of the John Dexter Bush Scholarship and the Alice Tully Award. In addition to his studies, Adam was appointed Assistant Organist at the Church of St. Ignatius Loyola on Park Avenue and was featured in solo recitals at St. Patrick’s Cathedral and Central Synagogue. While completing his master’s degree at Peabody, Adam studied under Donald Sutherland and visiting guest professor, Dame Gillian Weir. He was also awarded a Graduate Performance Diploma during his time there. Concurrent with his graduate studies, he served as assisting organist at the Basilica of the National Shrine of the Immaculate Conception in Washington, DC. A fierce and exacting competitor, Adam has taken top prizes in many international organ competitions. In addition to his concert career, Adam was most recently appointed Director of Music for St. James Cathedral and the Diocese of Orlando, Florida. This appointment follows positions at St. Frances Xavier Cabrini Parish in the Diocese of St. Petersburg, Florida, and at St. Ignatius Roman Catholic Cathedral in Palm Beach Gardens, Florida—a position he was appointed to at age 25, making him at the time one of the youngest directors appointed to a cathedral in the United States. 6

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Bach Festival Society of Winter Park Presents

VISITING ARTISTS FUOCO OBBLIGATO Saturday, February 3, 2024• 3:00pm | Tiedtke Concert Hall

AMOR DILETTO **Orchestral Suite in b minor, BWV 1067: Rondeau** J.S. Bach (1685-1750) “Amor diletto” from Le Carnaval de Venise André Campra (1660-1744) Juliette Tacchino, soprano; Katharina Wolff, violin “Wenn die Frühlingslüfte streichen” from Cantata BWV 202 Juliette Tacchino, soprano; Katharina Wolff, violin

J.S. Bach

**Orchestra Suite: Sarabande** “L’impatience” from Cantata JP Rameau (1683-1764) Juliette Tacchino, soprano; Jérôme Huile, cello “La placida sera” from Amor non ha legge Antonio Caldara (1670-1736) Guy Elliott, tenor; Jérôme Huile, cello **Orchestral Suite: Bourrée I & II** “Vieni a me dolce oggetto” from Fredegunda Richard Keiser (1674-1739) Juliette Tacchino, soprano; Katharina Wolff, violin “Latte e miele” from Arianna Benedetto Marcello (1686-1739) Guy Elliott, tenor; Katharina Wolff, violin; Jean Bregnac, traverso **Orchestral Suite: Bourree** “Mein gläubiges Herze” from Cantata BWV 68 Juliette Tacchino, soprano; Jérôme Huile, cello; Katharina Wolff, violin; Jean Bregnac, traverso

J.S. Bach

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“Cosi la Tortorella” from La resurrezione GF Handel (1685-1759) Guy Elliott, tenor; Jean Bregnac, traverso; Elizabeth Gex, viola **Orchestral Suite: Minuet** “Sei garisce la rondinella” from Orlando finto pazzo Antonio Vivaldi (1678-1741) Juliette Tacchino, soprano; Katharina Wolff, violin “Softly rise, O southern breezes” from Solomon William Boyce (1711-1779) Guy Elliott, tenor; Jean Bregnac, traverso **Orchestral Suite: Badinerie** “As steals the morn upon the night” G.F. Handel from L’ Allegro, il Penseroso ed iI Moderato, HWV 55 Juliette Tacchino, soprano; Guy Elliott, tenor: Jean Bregnac, traverso

"Repertoire of delicate, often incandescent beauty…" "Who could turn down the chance to hear ravishing, intimate music without listening to a four-hour opera." -Heard and Seen International, July 2023

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

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Photo credit: Fuoco Obbligato

FUOCO OBBLIGATO – THE ENSEMBLE Fuoco Obbligato, founded by violinist Katharina Wolff in 2020, is a chamber ensemble combining Opera Fuoco’s young singers and its instrumental soloists. Interpreting arias from baroque opera, oratorio, the passions or Lied, the ensemble explores the subtle discourse between singer and chamber musician. The intertwining of vocal and instrumental “obbligato” lines, often representing a musical ego and alter-ego, is an expressive medium used by composers from the early 18th century onward. Fuoco Obbligato gives the Opera Fuoco Young Artists Program an intimate performance platform to complement the masterclasses and full-scale opera productions led by David Stern. It also gives the public a more personal access to this particular repertoire. Fuoco Obbligato has enjoyed a season of concerts at the Marmottan Monet Museum in Paris, France’s National Renaissance Museum in Ecouen, Ton Koopman’s Itinéraire Baroque Festival and the Bach en Combrailles near Lyon. It is performing in Florida for the first time at the 89th Annual Bach Festival of Winter Park, Florida. SINGERS Members of the Opera Fuoco Young Artists Program Anna Cavaliero, soprano Guy Elliott, tenor

INSTRUMENTALISTS Katharina Wolff, violin Jean Bregnac, traverso Jérôme Huile, cello Elizabeth Gex, viola Kenneth Weiss, harpsichord

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Bach Festival Society of Winter Park Presents

BACH VOCAL ARTISTS THE SPLENDOR OF BAROQUE MAGNIFICATS Bach Festival Chamber Orchestra John V. Sinclair, Conductor Friday, February 9, 2024• 7:30pm | Knowles Memorial Chapel

PROGRAM Magnificat anima mea Dominum, BuxWV Anh. 1 (8.5') Magnificat in C, IAC 69 (14')

Antonio Caldara (1670-1736)

Grave-Allegro. Magnificat anima mea / Et exsultavit spiritus

II.

Andante. Deposuit potentes sede

III.

Alla breve. Suscepit Israel purerum suum

IV.

Allegro. Sicut erat in principio

Magnificat in g minor, RV 610 (15')

Dietrich Buxtehude (1637-1707)

Magnificat anima mea Dominum

II.

Et exultavit spiritus meus

III.

Et misericordia ejus

IV.

Fecit potentiam

Deposuit potentes

VI.

Esurientes

VII.

Suscepit Israel

VIII.

Sicut locutus est

IX.

Gloria Patri

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Antonio Vivaldi (1678-1721)

INTERMISSION Magnificat in D, No. 108 (1725) (11') I.

Magnificat anima mea Dominum

II.

Suscepit Israel

III.

Amen

Magnificat in C, TVWV 9:17 (19') I.

Sonata

II.

Magnificat

III.

Quia respexit

IV.

Quia fecit

Et misericordia

VI.

Fecit potentiam

VII.

Dispersit superbos

VIII.

Ensurientes

IX.

Suscepit Israel

Sicut locutus

XI.

Gloria Patri

XII.

Sicut erat in principio

Jan Dismis Zelenka (1679-1745)

Georg Phillip Telemann (1681-1767)

This program is sponsored in loving memory of the late Reverend Eric Ravndal III by his family and friends.

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s Photo credit: Jen Adams

BACH VOCAL ARTISTS John V. Sinclair, Artistic Director and Conductor John Grau, Co-Artistic Director Jessica Beebe

Brad Diamond

Meg Dudley

John Grau

Anna Eschbach

Erik Gustafson

Kate Lucander

Steven Soph

Catherine Psarakis

Thaddaeus Bourne

Melissa Attebury

Brian Ming Chu

Amanda Crider

Brandon Hendrickson

Mary Jane Knight

Stephen Mumbert

Morgan Peckles

Joseph Trumbo

Patricia Thompson

Read more about the Bach Vocal Artists at BachFestivalFlorida.org/meet-the-bach-vocal-artists

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PROGRAM NOTES SPLENDOR OF BAROQUE MAGNIFICATS While several of these composers are not widely known to audiences today, in their day they were hugely prominent. Mary’s hymn of praise, Magnificat, has always been a favorite text for both Protestant and Catholic church composers and has established itself as an important sacred work in Latin: Magnificat anima mea Dominum – My soul doth magnify the Lord. Best known for his organ compositions, Dietrich Buxtehude’s charming Magnificat anima mea Dominum uses lilting triple-time melodies, frequent hemiolas, clear sectional structure and simple diatonic harmony. The composer alternates florid vocal soli and choral tutti passages, as well as simple and fluid string writing. The original manuscript for Antonio Caldara’s Magnificat in C is presently located in the Ôsterreichische Nationalbibliothek in Vienna and was published for the first time in 1977 by Bârenreiter with Christoph Wolff as editor. Antonio’s father, Giuseppe, was a violinist and was responsible for his son’s early musical training, which continued when he became a choirboy at the Basilica of San Marco and received further training as a cellist and contralto. Caldara is named in a list of founding members of the Guild of St Cecilia in 1687. The guild's charter states that one of its major functions was the provision of adequate musical honors for its patron on her feast day. Caldara's influence in Venice, Rome and Vienna was significant and stemmed from his immense output during the peak years of the musical establishments. Antonio Vivaldi composed his Magnificat in G minor around the time he was promoted to the position of maestro de’ concerti of the Ospedale della Pietà, a girls’ orphanage in Venice that functioned as a music conservatory and trained the most talented of its residents. Vivaldi’s setting of the Magnificat opens with majestic chords that develop into suspensions and harmonic shifts. The following movements contrast the poignancy of “mercy,” timeless promise, rays of hope, drama, a cry for “help,” and a reminder to the Lord of his promise to Abraham. A double fugue is the grand closing: “as it was in the beginning is now and ever shall be, world without end, Amen.” The impressive Magnificat in C by Georg Phillip Telemann was probably composed for the dedication of the organ in the Leipzig Neukirche in 1704. With the use of three trumpets and timpani the influence of J.S. Bach’s Magnificat BWV 243 is obvious. The choir uses strict counterpoint with every single line functional, and with little ornamentation. Czech composer Jan Dismas Zelenka spent most of his professional life working at the court church in Dresden, Germany. His music fell into obscurity following his death and although it has received well‐deserved attention in the past decade, his name remains unknown to much of the concertgoing public. His Magnificat in D opens with strong instrumental basses and a powerful choral statement, then proceeds with crisp and assertive oboes and strings, and along with the soprano soloist, moves joyfully to Mary’s everlasting blessedness. The choir then takes up the “scattering of the proud and the raising of the humble”, illustrating the state of each and rejoicing in the outcome. The second section, for solo alto, reflects on the special status of Israel, BachFestivalFlorida.org

PROGRAM NOTES with expressive obbligatos from oboes and bassoon and beautiful long lines from the choir and strings. The same forces sing the doxology before everyone joins the Amen. J. S. Bach so admired this ending that he had one of his sons copy it out by hand, so that it could be performed at his church, St Thomas’, in Leipzig.

TEXT AND TRANSLATION MAGNIFICATS

Magnificat anima mea Dominum.

My soul magnifies the Lord.

Et exultavit spiritus meus in Deo salutari meo

And my spirit has rejoiced in God my Savior.

Quia respexit humilitatem ancillæ suæ, ecce enim ex hoc beatam me dicent. omnes generationes.

For he has regarded the low estate of his handmaiden: for behold, henceforth all generations shall call me blessed.

Quia fecit mihi magna qui potens est, et sanctum nomen eius.

For he who is mighty has done great things to me and holy is his name.

Et misericordia eius a progenie in progenies timentibus eum.

And his mercy is on them who fear him from generation to generation.

Fecit potentiam in brachio suo, dispersit superbos mente cordis sui.

He has shown strength with his arm, he has scattered the proud, even the arrogant of heart.

Deposuit potentes de sede et exaltavit humiles.

He has deposed the mighty from their seats and exalted the humble

Esurientes implevit bonis et divites dimisit inanes.

The hungry he has filled with good things, and the rich he has sent empty away.

Suscepit Israel puerum suum recordatus misericordiae suae.

He has helped his servant Israel, in remembrance of his mercy.

Sicut locutus est ad patres nostros, Abraham et semini elus in sæcula.

As is was spoken to our fathers, to Abraham and his seed forever

Gloria Patri, et Filio, et Spiritui Sanco sicut erat in principio, et nunc, et semper, et in sæculorum. Amen.

Glory be to the Father, and to the Son, and to the Holy Spirit; as it was in the beginning, is now, and ever shall be, world without end. Amen.

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Bach Festival Society of Winter Park Presents

SPIRITUAL SPACES

Bach Festival Chamber Choir and Orchestra John V. Sinclair, Conductor Saturday, February 10, 2024• 5:00pm | Knowles Memorial Chapel Morgenstimmung from Peer Gynt Suite Elegiac Song, Op. 118

Edvard Grieg Ludwig van Beethoven

Aria from Suite Lyrique Dawn Edwards, harp | Nora Lee Garcia, flute Villanella from Ancient Airs & Dance Air from Orchestra Suite No. 25

John Rutter Ottorino Respighi

Georg Frideric Handel

Good Night, Dear Heart

Dan Forrest

Bist du bei mir

Johann Sebastian Bach

Blow, Blow Thou Winter Wind

J Rutter

Touch Her Soft Lips from “Henry V” Suite

William Walton

Snow Day

Brian (BK) Kelly

Lament from Ecce Cor Meum

Paul McCartney

Air from Holberg Suite

Edvard Grieg

Theme from Schindler’s List

John Williams Joni Roos, violin

And So It Goes

Billy Joel | arr Maclane Schirard

If I Should Go from Materna Requiem

Rebecca Dale

Cantique de Jean Racine

Gabriel Fauré

We respectfully ask patrons to refrain from applause until the end of the program. This program is sponsored by GladdeningLight. Please turn off cell phone and electronic devices prior to the start of this performance. The Bach Festival Society’s policies strictly prohibit photography, filming, or recording of any kind during performances without the express written permission of the Society.

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Bach Festival Society of Winter Park Presents

MORAVEC AND CAMPBELL

SANCTUARY ROAD Bach Festival Choir and Orchestra John V. Sinclair, Conductor

Laquita Mitchell, soprano | Melody Wilson, mezzo Joshua Blue, tenor | Benjamin Taylor, baritone| Dashon Burton, bass February 17, 2024• 7:30pm | February 18, 2024• 3:00pm Knowles Memorial Chapel

PROGRAM Symphony No. 1 in e minor (38') I. Allegro ma non troppo II. Largo, maestoso III. Juba Dance: Allegro IV. Finale: Presto

Florence Price (1887-1953)

INTERMISSION Sanctuary Road (50') 1. Write 2. Quietly 3. Reward! 4. The Same Train (Ellen Craft) 5. Interview I 6. Run I (Wesley Harris) 7. This Side Up (Henry “Box” Brown) 8. I Waited 9. Run II (Wesley Harris) 10. Interview II 11. Aunt Abigail (Harriet Eglan, Charlotte Giles) 12. Run III (Wesley Harris) 13. Interview III 14. Rain (Clarissa Davis) 15. Interlude: 1861-1865 16. Finale

Paul Moravec (b. 1958) Mark Campbell, lyricist

This program is sponsored by the The Jessie Ball DuPont Fund. Please turn off cell phone and electronic devices prior to the start of this performance. The Bach Festival Society’s policies strictly prohibit photography, filming, or recording of any kind during performances without the express written permission of the Society. 16

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BACH FESTIVAL CHOIR Bryan Adames, 2*

Carl Davis, 21

Maribel Gomez, 1

Katie Anderson, 1

Tim Delcavo, 7

Cheri Grayson

Stewart Anderson, 2

Stephanie Dezelin*

Minet Gregory, 9

Morgan Anderson, 12*

Mirjana Dimitrovska, 4

Regunia Griggs, 23

Sue Antonition, 1

Jodi DiPiazza, 2*

Gregg Gronlund, 25

Catalina Arias, 5+

Frank DiPietro, 4

James Guild, 1

Liz Ausburn, 3+

Jacqueline Dixon

Jeanné Hall, 3

Meg Baldwin, 4

Theresa Dulong, 14+

Jennifer Hallenbeck, 7

Barby Barbara, 4

Karen Dunscomb, 1

Diane Hansen, 9+

Will Barbara, 4

Lilyan Duong*

Grant Hayes, 4+

Samantha Basso, 1

Dante Duphorne, 15+

Brooke Hayes*

Jim Beck, 11+

Ashley Duvé, 8+

Richard Horn, 1

Heather Bissett, 2

Cynthia Dybas, 8

Amber Horne, 6

Frederick Blanchard, 1*

Tabitha Dybas, 4

Ariel Hudak, 6+

Richard Bump, 2

Dana Eagles, 12

Rebecca Hul,l 13

Michael Burridge, 24

Patti Eastwood

Silvia Ibañez, 7

Gayle Burton

Jolie Eichler, 15+

Howard Jaffe, 4+

Laurie Calhoun, 4

Marjorie Emmert, 5

Jenny Jimenez

Melanie Campbell

Mary Frances Emmons, 2

Elisabeth Johar, 1

Sofia Cardi, 2

Jonathan Erick, 27

Heather John, 7

Julia Carpenter, 12

Sam Fender

Charlotte Johnson, 1

Christine Carter, 13

Eltavious Johnson, 1*

Ellen Huey Cassel, 12+

Raphael Arenas Fernandez, 2

George Chandler, 6+

Bob Fields, 4

Sondra Jones, 12+

Kateryna Cherenko

Jay Forsythe, 2

Beth Kassander, 7+

Paul W. Chilcote, 5+

Alice Fortunato, 3

Erika Kellam+

Anne Claiborne, 1

Larry Fortunato, 8

Megan Kenney*

Maya Clausen, 3+

Brad Gant, 2

Amanda Kinder, 6

Emily Cole, 1

Linda Gibson

James T. Kitchens, 4

Tom Cook, 35+

Abigail Gibson-Cribbs

Yen-Yen Kressel, 16

Vivian Cook, 4+

Joshua Gibson-Cribbs

Rob Landry, 3

Athalia Cope, 61

Rebekah Gibson-Cribbs

Wendy Landry, 3

Bob Cope, 52

Alexander Goity, 4

Rachel LaQuea, 5

Michael Creighton, 2+

Barbara Gomes+

Rebekah Lewis

Frederick Jones

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BACH FESTIVAL CHOIR

Gary Li

D'Andrea Pelletier+

Herbert Suarez

Kathleen LoPresti, 20

Isabelle Perez, 1*

Alona Svydenko

Leyse Lowry, 8

Ashley Peters, 5+

Nataliia Svydenko

Clara Mansilla

Cara Pfost Brown, 1

Jodi Tassos, 48

Julie Mathews, 1+

Martin Phillips, 23

Jennifer Thibodeau, 3+

Cody Mathewson, 1*

Kurt Plotts, 17

Alex Tiedtke, 4+

Stephanie Matthews*

Dan Preslar, 11

Carlos Velazquez

David Mattson, 16+

Veronica Prevost, 2*+

Jeanine Viau, 6+

Carolyn Maue, 2

Bj Price, 18+

Cezarina Vintilla, 19

Elizabeth Maupin, 5

Anaba Reyes Ramirez*

Matt Walker, 6+

Michael McClory

Beverly Rich, 10

Christian Wangsgard*

Justin McGill, 5

Angelina Richardson, 2*

Jane White, 41

Margaret McMillen, 30+

David Romaine, 4+

Patty White, 6

Rita Merlot, 14

Mikaella Romero, 1*+

Susan Whritenour, 13

Luiz Mestrinho, 5

Pamela Rosario, 8+

Wave Wildman, 1*

Janice Meyer, 7+

Eleanora Rosel

Gwendolyn Williams, 17

Diego Mihelic, 2

Erin Rosel

Richard Wilson+

Susan Miller, 2

Sebastian Sanchez, 1*+

Rowan Wilson*

Stella Monner, 2*

Calvin Sands

Tyler Wornick*

Aleitha Morgan, 11

Anne Elise Santos

Elizabeth Yantorni

Natalie Morgan, 2+

Jane Scamehorn, 8+

Mary Lou Zobel, 6

Margaret Munro+

John Maclane Schirard, 7+

Jack Nagle, 14

Morgan Schouten

Donald Nash, 44

Edward Searl, 1

John Niss, 28+

Daniel Sharp, 3

Luke Noles, 7+

Karyll Shaw, 8+

Donna O'Connor

Amanda Shoopman, 3

Bill Oelfke, 33

Taylor Sinclair, 8

Digna Ojito*

Michael T. Sinelli*

Betsy Owens, 11

Diana Sisley, 16+

Hannah Pacchioli, 1

Beverly Slaughter, 48+

Liana Pacilli, 11+

Andrew Smith*

Meredith Parker, 1

Vanessa Spallone

Kirsten Paulson, 2

Marti Stanford

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Lynn Peghiny, Accompanist Number denotes years of service * Rollins College student + Member of the Bach Festival Chamber Choir

BACH FESTIVAL ORCHESTRA VIOLIN I

CELLO

HORN

Routa KroumovitchGomez*+ Alvaro Gomez*+ Olga Ferroni Mary Bos+ Julia Gessinger Shelley Mathews+ Kathleen Beard Renata Arado

David Bjella Shona McFadyen+ Brenda Higgins+ Maureen May Amie Tishkoff Jonathan Stillwell

Kathy Thomas+ Ben Lieser Pam Titus Justin Gittle

STRING BASS

Teresa Linn+ John Copella+ Fred Green+

*Co-concertmaster

Tye Van Buren Lee Eubank Rob Kennon+

TROMBONE

VIOLIN II Joni Roos+ Rhonda Burnham+ Victor Ferroni Dina Fedosenko+ Christina Gant+ Jennie Rudberg Olivia Skaja Ariah Deason

VIOLA Susan Christian+ Dan Flick+ Jesus Alfonzo Marla Morgan

Nora Lee Garcia+ Elsa Kate Nichols+

Jeff Thomas Aaron Lefkowitz Alex Regazzi

OBOE

TUBA

Sherwood Hawkins+ Lora Macpherson+

Robin Sisk

FLUTE

TIMPANI CLARINET Jessica Speak+ Erik Cole

BASSOON ORGAN TBD

TRUMPET

Ashley Heintzen+ Rich Ervin+

Kirk Gay

PERCUSSION Thad Anderson Jeremy Katalenic

HARP Dawn Edwards+

HARPSICHORD Kristine Griffin+ + Member of the Bach Festival Chamber Orchestra

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FEATURED ARTIST LAQUITA MITCHELL, SOPRANO Soprano Laquita Mitchell consistently earns acclaim on eminent international opera and concert stages worldwide, having recently been nominated for a Grammy for her contribution as the soprano soloist in the world premiere of Pulitzer Prize-winning composer Paul Moravec’s Sanctuary Road at Carnegie Hall with Oratorio Society of New York. This season, Mitchell Photo credit: Courtesy of the Artist returns to the role of Countess in the New Orleans Opera production of Le nozze di Figaro and reprises her lauded performance of Sanctuary Road with Virginia Opera, Princeton Pro Musica, and the Bach Festival Society of Winter Park. In addition, Mitchell appears in concert with the Oratorio Society of New York for Bach’s Magnificat and Mozart’s Requiem, Saint Thomas Church for Poulenc’s Stabat Mater, Chattanooga Symphony for Beethoven’s Symphony No. 9, and Waterbury Symphony for their performance of the final movement of Mahler’s Symphony No. 4. Last season, Ms. Mitchell performed Samuel Barber’s Knoxville: Summer of 1915 with Detroit Symphony Orchestra, Beethoven’s Symphony No. 9 with the Madison Symphony, Mahler’s Symphony No. 4 with Sarasota Orchestra, Sanctuary Road with the Vocal Arts Ensemble of Cincinnati, Verdi’s Requiem with Rhode Island Philharmonic and Buffalo Philharmonic, Tippet’s A Child of Our Time with Duluth Superior Symphony Orchestra, and Dett’s The Ordering of Moses with the Cincinnati May Festival. Previously, Mitchell delighted concertgoers across the US with performances such as The Ordering of Moses for the Bach Festival Society of Winter Park, Beethoven’s 9th Symphony for the Memphis Symphony, Brahms’ Requiem and a Bel Canto Gala with Albany Pro Musica, Knoxville: Summer of 1915 with Lima Symphony Orchestra, Sanctuary Road with Chautauqua Symphony, and a Holiday Concert for the Princeton Symphony. Mitchell appeared in New York Philharmonic’s Bandwagon concerts and the Kauffmann Music Center’s Musical Storefront series as part of New York City’s Pop-Up Arts Revival. An active concert artist, Ms. Mitchell débuted with the New World Symphony in Alberto Ginastera’s Cantata para América Mágica; the world premiere of composer Steven Stucky’s August 4, 1964 with Dallas Symphony Orchestra; her Boston Symphony Orchestra début as the soprano soloist in Wynton Marsalis’ All Rise under the direction of Kurt Masur; and the soprano solo in Tippett’s A Child of our Time with the Washington Chorus at Kennedy Center. A native of New York City, Ms. Mitchell was a 2004 Metropolitan Opera National Council Auditions Grand Prize Winner and was awarded a Sara Tucker Award. She was also the First Prize Winner of the Wiener Kammeroper’s Hans Gabor Belvedere Competition, making her the first American to win this competition in more than twenty years. Ms. Mitchell holds a Master of Music degree and a Professional Studies Certificate from the Manhattan School of Music and completed undergraduate studies at Westminster Choir College. 20

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FEATURED ARTIST MELODY WILSON, MEZZO-SOPRANO Melody Wilson has gained recognition as an accomplished artist in the United States and Europe, equally celebrated in classic and contemporary repertory. Praised for her “rich voice and great acting chops” (St Louis Post-Dispatch), her “smoky mezzo-soprano and stately deportment” (Opera News), and her “beautiful voice and well-honed technique” Photo credit: Courtesy of the Artist (San Francisco Classical Voice), she’s been hailed for performances that “reign supreme” (St Louis Magazine) and for her “fine comic work” (Broadway World). Wilson has enjoyed a varied 2022-23, including Tchaikovsky’s Eugene Onegin and John Adams’ new Antony and Cleopatra at San Francisco Opera and Paul Moravec’s Sanctuary Road with Chautauqua Symphony Orchestra, which she will revive with the Bach Festival Society of Winter Park in 2024. In 2021-22, Wilson debuted with the San Francisco Symphony, performing a concert including Brahms’ Alto Rhapsody and spirituals arranged by Jack Perla. She also debuted with the Oakland Symphony, singing songs by Richard Strauss and H. Leslie Adams, and prepared the mezzo-soprano soloist in Tippett’s A Child of Our Time, under the baton of Leonard Slatkin (canceled due to pandemic). Prior to the pandemic, Ms. Wilson cultivated a reputation in both classic and contemporary repertoire and she is known internationally as a concert soloist and recitalist. Among other concerts, she has performed Berlioz’s Les Nuits d’Eté (Slovak State Philharmonic), Beethoven’s 9th Symphony (various orchestras), Haydn’s Theresienmesse (Wexford Opera Festival Orchestra and Vienna’s Consortium Musicum), as well as Haydn’s Missa in Tempore Belli and Schubert’s Mass No. 3 in b-flat major (also with the Consortium Musicum). She was a featured soloist in Las voces de Montserrat Caballé in Zaragoza, Spain, and in The Sacred Music of Duke Ellington (Wilmington Jazz Festival) and has presented solo recitals at the US Embassy in Bratislava, the Weidner Center for the Performing Arts in Green Bay, Wisconsin, and the Barocksaal Vienna. Wilson holds undergraduate degrees in Music and Spanish from the University of Delaware and a Master of Music and an Artist Diploma from the University of Michigan-Ann Arbor, where she studied with Shirley Verrett and George Shirley. She hails from Newark, Delaware and is based in Vienna, Austria.

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FEATURED ARTIST JOSHUA BLUE, TENOR During the 2022-23 season, British-American tenor Joshua Blue made his Los Angeles Philharmonic debut as the tenor soloist in Beethoven's Symphony #9 performed at the Hollywood Bowl. He also made Carnegie Hall appearances featuring Handel's Messiah with Musica Sacra and Beethoven's Symphony #9 for the United Nations General Assembly. Additional concert debuts Photo credit: Courtesy of the Artist included the Cincinnati May Festival for Mozart's Requiem and the American Symphony Orchestra performances of Ethel Smyth's Mass in D. Additional career highlights include Verdi’s Requiem with the Oratorio Society of New York at Carnegie Hall and the Cleveland Chamber Orchestra led by James Gaffigan; traveling to Japan in Tchaikovsky’s Eugene Onegin conducted by Fabio Luisi at the Seiji Ozawa Matsumoto Festival; joining The Florida Orchestra for Stravinsky’s opera-ballet Pulcinella which include projected paintings by Geff Strik and Tampa City Ballet dancers, returning to the Opera Theatre of Saint Louis in Gianni Schicchi accompanied by members of the St. Louis Symphony Orchestra with conductor Leonard Slatkin at the helm; and premiering Paul Moravec’s "Caltagirone” from A Nation of Others and a quartet reduction of "Much to be Done” from the 2019 work STONEWALL, both works have librettos by Mark Campbell, with the New York Festival of Song; In 2022, Mr. Blue was awarded the prestigious gift of The Mabel Dorn Reeder Foundation Prize by Opera Theatre of Saint Louis. He received the Ellen Lopin Blair award for 1st place in the 2017 Oratorio Society of New York solo competition. Mr. Blue appears on the recording of Moravec’s Sanctuary Road which was nominated for a 2021 Grammy Award and he provided vocals for the 2018 Oscar-nominated short film My Nephew Emmett. Mr. Blue earned his bachelor’s degree from the Oberlin Conservatory of Music and graduated from The Juilliard School with a master’s degree, studying voice with Dr. Robert C. White, Jr. This is Mr. Blue’s first appearance with the Bach Festival Society of Winter Park.

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FEATURED ARTIST BENJAMIN TAYLOR, BARITONE

Photo credit: Courtesy of the Artist

Baritone Benjamin Taylor begins the 23/24 season with a return to Opera Philadelphia, The Metropolitan Opera, and Bayerische Staatsoper He will also debut with Symphoria and Northwest Florida Symphony in Orff’s Carmina Burana. Last season he returned to the Berkshire Opera Festival. On the concert stage he will made his debut with The Cleveland Orchestra in La fanciulla del West.

Mr. Taylor began the 2019-2020 season with a debut at Sacramento Philharmonic & Opera in Opera Favorites: All Mozart concert. He then appeared in Carmen with the Pittsburgh Opera before making another debut at Opera Ithaca in Le nozze di Figaro. A graduate of the Pittsburgh Opera Resident Artist Program, he was seen in La bohème, in Glory Denied, in Tosca, in The Long Walk, and in Moby-Dick. During the 2018-2019 seasons he was an Apprentice Artist at Santa Fe Opera. Mr. Taylor was a Gerdine Young Artist (2015, 2016) and Richard Gaddes Festival Artist (2017) at Opera Theatre of Saint Louis where he performed in The Barber of Seville, in Shalimar the Clown, and Madame Butterfly. Additionally, he appeared in La bohème, in Ariadne auf Naxos, and in The Trial. In 2016, he performed in Madama Butterfly for Berkshire Opera’s inaugural season. Benjamin received his Master of Music from Boston University, where he also earned his Performer’s Certificate with Boston University’s Opera Institute. He received his Bachelor of the Arts at Morgan State University where he sang in Blue Monday with the Baltimore Symphony Orchestra.

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FEATURED ARTIST DASHON BURTON, BASS

t Photo credit: Courtesy of the Artist

Hailed as an artist “alight with the spirit of the music” (Boston Globe), Dashon Burton has established a vibrant career appearing regularly throughout the US and Europe. Highlights of his 2022/2023 season included returns to the Cleveland Orchestra for Schubert Mass No. 6 with Franz Welser-Möst, the Houston Symphony for Stravinsky’s Oedipus Rex, and to the New York Philharmonic for Michael Tilson Thomas’ Rilke Songs led by the composer.

Recent appearances include Mendelssohn’s Elijah with the Milwaukee Symphony and the Bach Festival Society of Winter Park, the world premiere of Chris Cerrone’s The Year of Silence with the Louisville Orchestra, Copland’s Old American Songs with the New World Symphony, and the Dvorak Requiem with the Richmond Symphony. Mr. Burton continues his relationship with San Francisco Performances as an Artist-inResidence with appearances at venues and educational institutions throughout the Bay Area. Burton also performs Bach’s Christmas Oratorio with the Washington Bach Consort, sings Handel’s Messiah with the St. Paul Chamber Orchestra and the Philadelphia Orchestra, and performs the title role in Sweeney Todd at Vanderbilt University. With the Cleveland Orchestra, Burton participates in a semi-staged version of Mozart’s The Magic Flute, and he joins the Milwaukee Symphony and Ken-David Masur for three subscription weeks as their Artist in Residence. A multiple award-winning singer, Mr. Burton won his second Grammy Award in March 2021 for Best Classical Solo Vocal Album with his performance featured in Dame Ethyl Smyth’s masterwork The Prison with The Experiential Orchestra (Chandos). As an original member of the groundbreaking vocal ensemble Roomful of Teeth, he won his first Grammy Award for their inaugural recording of all new commissions. His other recordings include Songs of Struggle and Redemption: We Shall Overcome (Acis), the Grammy-nominated recording of Paul Moravec’s Sanctuary Road (Naxos); Holocaust, 1944 by Lori Laitman (Acis); and Caroline Shaw’s The Listeners with the Philharmonia Baroque Orchestra. His album of spirituals garnered high praise and was singled out by the New York Times as “profoundly moving…a beautiful and lovable disc.” Mr. Burton received a Bachelor of Music degree from Oberlin College and Conservatory, and a Master of Music degree from Yale University’s Institute of Sacred Music. He is an assistant professor of voice at Vanderbilt University’s Blair School of Music. Dashon Burton's performance is sponsored by the John and Elizabeth Nagle Endowed Fund for Bass Soloists in honor of Bass-Baritone Kevin Deas. 24

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PROGRAM NOTES Sanctuary Road, Paul Moravec/Mark Campbell After the success of his opera The Shining, Pulitzer Prize-winning composer Paul Moravec once again collaborated with librettist Mark Campbell to create the second of his “American historical oratorios.” Sanctuary Road draws on the astonishing stories to be found in William Still’s book The Underground Railroad, which documents the network of secret routes and safe houses used by African American slaves to escape into free states and Canada during the early- to mid-1800s. The epic nature of these stories of courage, perseverance and sacrifice is transformed into an enthralling saga, and had its world premiere performance at Carnegie Hall—a performance acclaimed by Broadway World for its “riveting, pulsating wall of sound [and] stellar soloists.” Mark Campbell chose to focus on William Still, an African American conductor on the Underground Railroad. Still was based in Philadelphia and facilitated the escape of some 800 fugitive slaves, recording in detail their accounts and eventually compiling them in his landmark 1872 book, The Underground Railroad. The astonishing stories of Ellen Craft, Wesley Harris, and others make up the substance of the libretto’s narrative. At the center of it all stands Mr. Still, whose words and resolute spirit guided the composer through the challenge of imagining this work’s musical universe. In Mark's libretto, William Still assumes the roles of both narrator and active participant. As narrator, Still begins the oratorio by stressing the need to document and remember the history of the Railroad, a sentiment echoed by the other solo voices and chorus (“Write”). As an agent in the action, Still conducts interviews with fugitive slaves for the records that will form the basis of his book. In the third movement, “Reward!” the chorus joins the action as slave-hunters issuing wanted posters for the capture and return of slaves to the South. The chorus returns as both actor and observer in “I Waited,” a setting of Psalm 40 and a continuation of movement 7, “This Side Up,” in which Henry “Box” Brown recounts his amazing escape in a crate mailed from Richmond to William Still in Philadelphia. The story goes that when the crate was opened, Brown stood up and recited the psalm to the assembled abolitionists. The chorus’ most unusual dramatic role comes in “Interlude: 1861-1865,” which imagines their wordless singing as the ghostly voices of fallen soldiers in the Civil War. In the Finale, Still tells of recovering his Underground Railroad records kept hidden during the War, among them letters from fugitive slaves written when they reached Canada. The soloists sing excerpts from the letters expressing gratitude to Mr. Still, and the oratorio ends with an anthem of freedom for the combined forces. The activities of the Underground Railroad were necessarily secret during its years of operation, but his “record of facts” ensures that the courage and virtuous resolve of these people struggling for freedom will always be remembered - men who risked it all in pursuit of freedom. — Paul Moravec

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PROGRAM NOTES Symphony No. 1 in e minor, Florence B. Price Born in Little Rock, Florence Price gave her first piano recital at age 4, published her first piece at 11 and entered the New England Conservatory at 15. There she studied piano and took composition lessons from George Chadwick. Graduating at age 18, she taught at Shorter College in Arkansas, and in 1910 became the head of the music department at Clark University in Atlanta. Price was a prolific composer. She wrote more than 300 works, including four symphonies, two violin concertos, a piano concerto, piano music, and a large number of songs and choral compositions. Most of these remain unpublished, and while some of her works have been recorded, Price’s music is only now being discovered by audiences. Price composed her Symphony No. 1 in e minor in 1931-32 while recovering from a broken foot. That misfortune turned out to be a blessing in disguise because it gave her time to work. To a friend she wrote: “I found it possible to snatch a few precious days in the month of January in which to write undisturbed. But, oh dear me, when shall I ever be so fortunate again as to break a foot!” Submitted to the Rodman Wanamaker Competition, her First Symphony promptly won first place and was premiered at the Chicago World’s Fair by the Chicago Symphony Orchestra in 1933 making it the first work by an African American woman to be performed by a major American symphony orchestra. Price’s First Symphony begins with two long movements and concludes with two short ones. The opening movement is based on two theme groups and is reminiscent of Dvorak’s New World Symphony. The second movement opens with a lovely ten-part brass chorale that goes through a number of lovely extensions, sometimes accompanied by drums and bells. The third movement is in the form of a juba dance, one of Price’s favorite dance forms. Originally brought to the United States by slaves from West Africa, the juba was built on syncopated rhythms and the sound of slapped drums and stomped feet. Price builds this concise movement up to an exciting climax, and it comes to a grand conclusion. The symphony concludes with a brief but lively Presto. — Eric Bromberger

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TEXT Sanctuary Road, Paul Moravec/Mark Campbell 1-WRITE SOPRANO Sarah Grace... A slave all her days... Separated from her family... Ellen Craft... Sold three times. MEZZO-SOPRANO Clarissa Davis... Born in Martinsburg... A slave all of her life... A slave all of her days. TENOR Wesley Harris... Talbot Johnson... Fled from Richmond... On horseback all night. BARITONE Barnaby Grigby... Isaac Jackson... Fled from Charleston... Samuel Green. WILLIAM STILL “The Underground Railroad. A record of facts, Authentic narrative, letters, et cetera, Narrating the hardships, Hairbreadth escapes, And death-struggles, Of the slaves in their efforts of freedom, As related by themselves and others, Or witnessed by the author; Together with sketches of Some of the largest stockholders And most liberal aiders and Advisors of the road, By William Still.” MEZZO-SOPRANO Escaped on the roof of a train... Cordelia Loney... Emiline Chapman... Charlotte Giles. TENOR Wesley Harris... On horseback all night... On foot... On a steamer... Talbot Johnson... A slave all of his life... John Henry Pettifoot.

SOPRANO Separated from her family... Henry Brown... Owner had five-hundred slaves... Edmundson Turner. BARITONE Isaac Jackson... Fled from Charleston... Fled from Atlanta... Hid in a cave for one year. WILLIAM STILL Write it down. Write it. Write. Record. Recount. Chronicle. Write. Write it down, Every word. Every word they say, Every detail. Every sentence, Every phrase, Every syllable. Write it down. Write it. Write. WILLIAM STILL Set it to paper. Preserve every story, every fact, Every event. Preserve, collect, Compile every testimony. SOPRANO Clarissa Davis... Harriet Eglan... Ellen Craft... Mary Epps... Our struggles, MEZZO-SOPRANO Cordelia Loney... Sarah Grace... Our struggles... TENOR Isaac Jackson... Sam Green... Robert Carr... Our stories, BARITONE Emiline Chapman... Charlotte Giles... Our testimony... Our testimony... SOLOISTS Our sacrifices. WILLIAM STILL From cities and plantations, Rice swamps and cotton fields, Kitchens and mechanic shops, BachFestivalFlorida.org

TEXT From cruel masters, and kind masters, They arrived. By steamer, by skiff, By train, on foot, Shipped in a crate... They arrived. CHORUS + SOLOISTS Our testimony. Our stories cannot be forgotten. Our testimony, Our stories will be repeated, Over and over. Our testimony will never be forgotten. Our struggles, Our triumphs, Our sacrifices, Will be remembered, Remembered. BARITONE SOLO + CHORUS Our testimony, Our stories cannot be forgotten. Our testimony, Our stories will be repeated, Over and over. Our testimony will never be forgotten. Write it down. Every word they say, Every word, Every detail will be remembered. Remembered. WILLIAM STILL Their testimony will never be forgotten. Write it, Write, Write, Write it down. Every word they say, Every word, every detail. Dip the quill in the well. Draw, draw from it deeply, Deeply, and write. Write it down. Write it, Write. Record. Recount. Chronicle. Write, Write it, Write, Write. 2-QUIETLY BARITONE Spoken in a whisper, Spoken in a whisper, Quietly, quietly, Just a rumor, Too good to be true, Free. TENOR Spoken, spoken in a whisper, Spoken in a whisper, Never too loud, Just a rumor,

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Too good to be true, Too good to be true, Free. MEZZO-SOPRANO Spoken, spoken, Spoken in a whisper, Too good to be true, Free. BARITONE + TENOR Hard to believe, Not a hope in Heaven, But there it is, Even just a chance, They must never know. MEZZO-SOPRANO + SOPRANO Quietly, quietly. They must never hear. SOLOISTS One little word, One sweet little word, Free. MEZZO-SOPRANO + SOPRANO Free, To be your own person, To have your own life, TENOR + BARITONE To raise your own family, Free to have your own life, SOLOISTS Your own soul. May not be tomorrow, May take us a while. Imagine it, Pray for it, Find a way, Make it come to be, Quietly, Quietly, Free. 3-REWARD! CHORUS Reward will be paid! Runaway slave! Age... Appearance... Countenance... Demeanor... Last seen... Reward will be paid! Runaway, runaway slave! BARITONE + TENOR CHORUS Reward. CHORUS $100... $2000... $400... $1600...

TEXT SOPRANO + ALTO CHORUS Will be paid. BASS + TENOR CHORUS For the apprehension... BARITONE CHORUS For the safe return... CHORUS For the arrest and confinement... Of a runaway slave.

APPEARANCE: CHORUS Five feet seven inches... A little over five feet... High cheekbones... A little bowlegged... Broad across the shoulders... Round featured... Stoops while walking...Face rough... A scar above his eye... Small mustache and beard... Thickset and stout made.

BARITONE Talbot Johnson... Edward Morgan... Mary Epps...

DEMEANOR:

BARITONE Josiah Jackson... Robert Carr... Wesley Harris... Sam Green...

SOPRANO + ALTO CHORUS A happy countenance...

TENOR Emiline Chapman... Sarah Grace... Clarissa Davis... TENOR John Henry Proudfoot... Saj Tracey... ALTO Sarah Grace... Clarissa Davis... ALTO Cordelia Loney... Barnaby Grigby... CHORUS AGE: CHORUS Twenty-nine... Forty years of age... Thirtyfour years old... Thirty-six... Fifty-nine years old... Between nineteen and twenty-two... Older than he looks... Sixty-four... They both are twenty-five... Forty-seven years old... Younger than her years... On the verge of womanhood... Lies about his age.

BARITONE + TENOR CHORUS Arrogant eyes...

CHORUS Can read and write well... Plays on the violin... A confident manner... Quickspoken... Laughs a good deal... Of awkward manners... Stammers some. Reward will be paid! LAST SEEN: On their way up north... SOLOISTS New York... Boston... A free state... Philadelphia... CHORUS Philadelphia. 4-THE SAME TRAIN (ELLEN CRAFT) MEZZO-SOPRANO He doesn’t know. He doesn’t know. He shuffles into the train, Huffs a “hello,” And sits across from me, Right across from me. My master’s brother. I’m done for. I’m finished. He sees through my disguise!

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TEXT Knows I’m a slave. Throws me in jail, Has me whipped, Shot, Worse. But... but he doesn’t know. He does not know. Last night I served him leg of mutton, Sweet potatoes, Blueberry pie. Poured his wine, Cleared his plates, Twice folded his napkin. Everything but chew his food for him. Last night I was a slave: Young, female, black. Today I’m a gentleman: Old, feeble, and white, At death’s door, Coughs theatrically On my way to see my “doctor” in Philadelphia, Dressed up in a fine suit, Tinted glasses, A little powder to lighten my skin, My head bandaged up. I pretend not to hear If someone speaks to me. But no one does. No one knows. Not a soul. They see me as a sick, white gentleman, A sick white gentleman, Who has his own valet – A black man who sits with the other slaves, In the other car. But he’s not my valet. That man is not my valet. He’s the man I will marry, The man I will marry in Philadelphia. He’s in a different car. But we’re on the same train, Humming along like a hymn, All the way to Philadelphia, To Philadelphia. 5-INTERVIEW I WILLIAM STILL How old are you? BARITONE Thirty-two years old, first day of June. WILLIAM STILL Were you born a slave? BARITONE Yes. 30

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WILLIAM STILL How have you been treated? BARITONE Badly all the time. 6-RUN I (WESLEY HARRIS) TENOR Run, run, Run through the woods, Along the creek, Past the marsh, Up the ridge, Down the hill. Avoid the trail, Avoid the road, Avoid the port, Anywhere they wait, Anywhere they wait, To stop you. Run, run, run... 7-THIS SIDE UP (HENRY “BOX” BROWN) BARITONE They can’t seem to read. They don’t seem to know. The crate I’m in, It says: “THIS SIDE UP WITH CARE” This side up with care. In big, big letters. To clarify: “This Side Up” is above me, Not below. Been on a cart, On a train, On a steamer, And on a train again. It’ll be twenty-six hours since I had myself Nailed in a shipping crate. It’ll be twentysix hours of being thrown This way and that, Of not seeing the light of day, Of not moving a muscle, Of not saying a word, Twenty-six hours of breathing through a Hole in this box No bigger than a button. My brain may burst from being Upside down. And my eyeballs may explode. But it’s worth every second, Every second of those twenty-six hours, Even if I’m caught, Even if I’m beaten, Even if they hang me from a tree, For just a chance, For the slightest chance,

TEXT The dimmest hope, For just a chance, The slightest chance, The dimmest hope that this crate, This crate I mailed myself in arrives, Safe and sound in Philadelphia. Philadelphia. Now if only these fools could READ.

11-AUNT ABIGAIL (HARRIET EGLAN, CHARLOTTE GILES)

8-I WAITED

SOPRANO/MEZZO-SOPRANO By gout / By scarlet fever.

CHORUS I waited, I waited patiently for the Lord, And He inclined unto me, And heard my calling. 9-RUN II (WESLEY HARRIS)

SOPRANO + MEZZO-SOPRANO Oh, oh, oh, Poor, poor Aunt Abigail. Summoned to Heaven Too, too, too early

SOPRANO + MEZZO-SOPRANO So sudden, So, so, so sudden, Too soon, too soon, SOPRANO Plucked from our arms.

TENOR Run, Go, Run, Quicker than the wind, Quicker than their horses, Quicker than their whips, Quicker than their bullets. Run, Go, Run, Hide under a house, Hide in a cave, In a hollow, Up a tree, In a barn, Hide, Then run, Run again...

MEZZO-SOPRANO By the clutches of death.

10-INTERVIEW II

SOPRANO + MEZZO-SOPRANO No one wants to trouble, The black women in black, Their faces covered in veils. But we’re not in mourning, We’re not in mourning, And poor Aunt Abigail, She doesn’t exist.

WILLIAM STILL What do you mean by Being treated badly? SOPRANO Have been whipped and sold three times.

SOPRANO + MEZZO-SOPRANO Oh, oh, oh, Poor Aunt Abigail. Will our suffering ever, Ever cease? So far, so good, On this train. SOPRANO No one wants to question,

MEZZO-SOPRANO And if someone looks askance,

WILLIAM STILL What was the name of your master?

SOPRANO If someone suspects,

SOPRANO Fleming Bibbs.

SOPRANO + MEZZO-SOPRANO (Like that man, Walking right toward us...) Then it’s... “Oh, oh, Poor, poor Aunt Abigail. Will our suffering ever cease? Oh, oh, oh...”

WILLIAM STILL Where did he live? SOPRANO Caroline County.

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TEXT SOPRANO How many tears?

CHORUS Not there.

MEZZO-SOPRANO How many sobs,

TENOR Was that a shot?

SOPRANO How many whimpers,

CHORUS You don’t hear it?

SOPRANO + MEZZO-SOPRANO How many whimpers? How many “ohs?” And how many nose-blows, To Philadelphia? To Philadelphia...

TENOR Was that another shot?

12-RUN III (WESLEY HARRIS)

TENOR There was no shot. And it’s so close, So close... So close... You can wrap your arms around it...

TENOR Run, run, Run through the woods, Along the creek, Past the marsh, Up the ridge, Down the hill. Avoid the trail, Avoid the road, Avoid the port, Anywhere they wait, Anywhere they wait, To stop you. Run, Go, Run, Quicker than the wind, Quicker than their horses, Quicker than their whips, Quicker than their bullets. Run all day, all night. CHORUS All day, all night. TENOR Was that a voice? CHORUS You don’t hear it. TENOR Was that a face? CHORUS You don’t see it. TENOR Was that a shadow? TENOR + BARITONE CHORUS Don’t look back. Don’t look around. 32

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CHORUS You don’t hear it. You don’t feel it.

CHORUS You can taste it. You’re nearly there. TENOR So close... nearly there... 13-INTERVIEW III WILLIAM STILL We’re giving you some new clothing. A good meal. Money, and a ticket away from here. To New York and then Boston And then further north. Talk to no-one. Don’t look around. Do not look back. Keep on moving. Keep on going until you’re Over the border. SOLOISTS New clothing. A good meal. And a ticket away from here. Talk to no-one. Don’t look around. Do not look back. Keep on moving. Keep on going. 14-RAIN (CLARISSA DAVIS) SOPRANO Come down, rain. Come down hard.

TEXT Come down fast. Come down Noah’s Ark heavy. Empty the streets, Empty the squares of those Who might want to catch me. Empty the streets of those Who might want to stop me, Who might want to hurt me, Who might want to kill me. Double the darkness of this night, That I might slip away, Like a shadow, And get to the boat That will take me up North To liberty, To my own life. Come down, rain. Come down hard. Come down fast. Come down Noah’s Ark heavy. And when I’m free, When I’m free, I’ll dance in that rain that hid me, That saved me, That delivered me to freedom. SOLOISTS Come down, rain. Come down hard. Come down fast. Come down Noah’s Ark heavy. And when I’m free, When I’m free I’ll dance in that rain. I’ll dance in that rain, I’ll dance. SOPRANO I’ll dance. 15-INTERLUDE: 1861–1865 16-FINALE WILLIAM STILL Five years since I hid these records. Five years, Five terrible years since the start of the war. And fearing the outcome, Concealed them in a shelf in Lebanon Cemetery. The war is done. The records must be recovered. Gently, gently, So that they don’t fall apart. Gently... and pray that no moisture or mice Got in to trouble the page, To trouble the fate of their

testimony. Survived. Every page, Every record, Every handbill, Every account, Every letter, And here, The best letters, The ones from Canada, Sent when they got there. Sent when they first knew freedom. Sent when they first saw their new flag And shook hands with the lion’s paw. MEZZO-SOPRANO Dear Mister Still...I take this method of informing you... In health and mind... TENOR My dear friend Mister Still... Excuse me for not writing sooner... As I don’t write myself... BARITONE Dear brother in Christ... As I don’t write myself... SOPRANO Dear Sir... That I am well... SOPRANO + MEZZO-SOPRANO I arrived safe into Canada... I arrived on Friday last... And I am happy to tell you I am well... WILLIAM STILL Write it. Recount every word. Record every syllable. TENOR Shaking hands with the lion’s paw. Hear that big cat roar. I’m unbound, Unchained, Unshackled. A slave no more. WILLIAM STILL Every word they say. Every detail. Every phrase. Every syllable. Write every story, Every detail...

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TEXT SOLOISTS Much pleased with Toronto... Made a good start... Endeavored to make every day Tell for itself... I will open a shop for myself... I go to work this morning... Went right to work at the Willard House... MEZZO-SOPRANO + SOPRANO $16 a month... SOLOISTS $5 a week... I shall, with the help of the Lord, Go to school... I have no master in Canada, But I am my own man... Learning to read and write... MEZZO-SOPRANO + SOPRANO The wedding takes place on Saturday... SOLOISTS + WILLIAM STILL Shaking hands with the lion’s paw. In the nick of time. Fin’lly found a place Where freedom is not a crime. SOLOISTS I wish all in bondage were as Well off as I am... I must request from you to write A few lines to my wife... If my brother is well send him on For I have a place for him... Send me word if any of our friends Have been passing through... I am grateful for my liberty... Obliged to you for all you have done and For your kindness... When I was in distress and Out of doors you took me in... I was hungry and you fed me. SOPRANO + TENOR For these things God will reward you. MEZZO-SOPRANO + BARITONE I hope to meet you all again.

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SOPRANO + TENOR If not on Earth may we so live... SOLOISTS That we shall meet in that happy land Where tears and parting are never known. CHORUS Shaking hands, Shaking hands with the lion’s paw. SOLOISTS + CHORUS Here I know I’ll stay. The sky, The land, The whole world is mine today. SOLOISTS + WILLIAM STILL Shout from every roof top, ALL SOLO + CHORUS Loud as can be, Joyfully, Finally come true... SOLOISTS + WILLIAM STILL Free. Free. One sweet little word. Everyone must hear, Everyone must know. CHORUS Thou shalt not deliver Unto his master the servant Who has escaped his master Unto thee. SOLOISTS, WILLIAM STILL + CHORUS Shout from every rooftop, Loud as can be: Free.

Bach Festival Society of Winter Park Presents

CONCERTOS BY CANDLELIGHT Bach Festival Orchestra John V. Sinclair, Conductor

Alon Goldstein, piano Routa Kroumovitch-Gomez, violin and Alvaro Gomez, violin Saturday, February 24, 2024• 7:30pm | Knowles Memorial Chapel

PROGRAM Academic Festive Overture, Op. 80 (10’)

Johannes Brahms (1833-1897)

Symphonie Concertante No. 1 in A Major for Two Violins, Opus 48 (25') Louis Spohr (1784-1859) I.

Allegro

II.

Larghetto

III.

Rondo. Allegretto Routa Kroumovitch-Gomez and Alvaro Gomez, violins

INTERMISSION Piano Concerto No. 1 in d minor, Opus 15 (48') I.

Maestoso

II.

Adagio

III.

Rondo. Allegro non troppo Alon Goldstein, piano

Johannes Brahms

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FEATURED ARTIST ROUTA KROUMOVITCH-GOMEZ, VIOLIN Born in Riga, Latvia, and considered one of the best violinists of her generation, Ms. Kroumovitch has participated in numerous concert tours and recorded on radio and television throughout the former USSR in Leningrad, Vilnius, Tallinn, and Moscow. In 1971, Ms. Kroumovitch represented Latvia in a special concert at the Kremlin and was then accepted as a scholarship student in the Moscow conservatory. Following her subsequent immigration to Chile, she completed her studies at the “Universidad de Chile” with honors. While in Chile, Ms. Kroumovitch held the positions of first violin of the Santiago Chamber Orchestra, concertmaster of the Chilean Philharmonic Orchestra and the Chilean Symphony Orchestra. She received the Critic’s Award for the best solo performance in Santiago, Chile, and a Fulbright Award and toured the world as a soloist and in duo with her husband, violinist Alvaro Gomez. In 1987, Ms. Kroumovitch immigrated to the United States and taught various master classes in the New England area. She went on to become the concert master of the Arkansas Symphony Orchestra and taught at the University of Central Arkansas. In 1989 she became a professor of violin, viola, and chamber music at Stetson University’s School of Music in DeLand, Florida, where she teaches today. Photo credit: Bach Festival Society

Ms. Kroumovitch is a regular guest in festivals such as Grand Tetons, the Florida International Festival, and Frutillar Music Festival in Chile, and she teaches summers at the Schlern International Music Festival (Italy) and the Fairbanks Summer Arts Festival (Alaska). Her master classes in Australia, China, Korea, Japan, Israel, and Europe are in high demand.

ALVARO GOMEZ, VIOLIN Alvaro Gomez made his first public appearance at the age of nine with the Chilean Symphony Orchestra and went on to receive his music degrees from the University of Chile and the Moscow Conservatory. Mr. Gomez has received several international awards, including first prize in the “Jeunesse Musicale” competition in 1970, the “Japan Foundation Prize” in 1982, and the Fulbright Foundation Award in 1987. He has performed as a violin and viola soloist with orchestras internationally, in addition to his conducting, chamber music, and master-class engagements. Alvaro served as concertmaster of the Chilean Philharmonic, Graunke Orchestra (Germany), Chilean National Symphony, Arkansas Symphony, Brevard Symphony Orchestra, and Bach Festival Society Orchestra. Alvaro and his wife, Routa, have been co-concertmasters for many of the symphonies they work for. He is presently Music Director and Conductor of the Winter Park Chamber Music Academy and the Central Florida Community Arts Young Artist Orchestra, and he is Artistic Director of the International Musical Contest “Dr. Luis Sigall” in Viña del Mar, Chile. 36

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FEATURED ARTIST As a husband-and-wife team, Routa and Alvaro are familiar to Bach Festival patrons as co-concert masters of the Bach Festival Orchestra. Performing as a duo around the world, Kroumovitch and Gomez bring artistry to a level that can only be achieved through years of collaborative music-making.

ALON GOLDSTEIN, PIANO Alon Goldstein is one of the most original and sensitive artists of his generation, admired for his musical intelligence and dynamic personality. His artistic vision and innovative programming have made him a favorite with audiences and critics alike throughout the United States, Europe, and Israel. He made his orchestral debut at the age of 18 with the Israel Philharmonic under the Photo credit: Courtesy of the Artist baton of Zubin Mehta and returned a few seasons ago with Maestro Herbert Blomstedt in Beethoven Concerto No. 1. In recent seasons, Mr. Goldstein has performed with the Los Angeles Philharmonic; Philadelphia Orchestra; the San Francisco, Baltimore, St. Louis, Houston, Vancouver, Kansas City, Indianapolis, and North Carolina symphonies; and orchestras on tour in Paris, Mexico, Russia, Romania and Bulgaria. Recent and forthcoming concerto highlights include an appearance with the Indianapolis Symphony as part of a Prokofiev Concerto Cycle, a Mozart Double Concerto in a return to the Gilmore Festival, Rachmaninoff Concerto No. 1 with the Kansas City Symphony, and performances of Beethoven and Mozart concerti on fortepiano with Mercury Houston. Recital and chamber music performances, including concerts with the Goldstein-Peled-Fiterstein Trio, include series in New York, Burlington, Yellow Springs, Jasper, and Clarksville, among others. Mr. Goldstein also maintains an active recording presence with a number of new releases on the Naxos label, including Mozart piano concerti (arranged by Ignaz Lachner) with the Fine Arts Quartet (2021 release nominated for a 2022 Grammy Award), Dvorak piano trios with the Tempest Trio, and an album of Scarlatti piano sonatas (June 2020). He recently returned to Vienna for the Lieven Piano Foundation and is in demand for in-person and virtual masterclasses and residencies worldwide. His 2020 online recitals and series of online chats entitled "Alon Not Alone" drew audiences from around the globe. Memorable experiences from recent seasons include an appearance as soloist with the Chicago Symphony at Ravinia in the Mozart Double Concerto, K. 365 with Katherine Jacobson Fleisher and in the Triple Concerto, K. 242 with Leon Fleisher and Ms. Jacobson Fleisher; the premiere of Lost Souls with the Kansas City Symphony and Michael Stern, a work written for him by the noted young Israeli composer Avner Dorman; his successful debut with the London Philharmonic Orchestra and Vladimir Jurowski playing Mendelssohn Concerto No. 1; and his Carnegie Hall debut in the Mozart Triple Concerto with Joseph Kalichstein and Shai Wosner. Mr. Goldstein has appeared at the Gilmore, Santa Fe, Tanglewood, Ravinia, BachFestivalFlorida.org

FEATURED ARTIST Marlboro, Seattle, and Steamboat festivals in the United States, as well as Prussia Cove, the Verbier Festival, and Klavier Festival in Rühr. He has also performed at the Hollywood Bowl with the Los Angeles Philharmonic and at Millennium Park in Chicago with the Grant Park Symphony Orchestra. A passionate advocate for music education, his recent teaching engagements have included posts at the Steans Institute of the Ravinia Festival, the Gilmore International Keyboard Festival, and at the “Tel Hai” international piano masterclasses in Israel, in addition to extended educational residencies across the country. Mr. Goldstein serves as the Artistic Director for The Distinguished Artists Concert & Lecture Series in Santa Cruz, CA and the Mt. Angel Abbey Bach Festival in Oregon. He is also the founder of the Emerald Coast Music Alliance, whose annual festival in Florida is devoted to sharing the beauty of classical music to underserved communities, free of charge. He is the winner of numerous competitions, among them the Arianne Katcz Piano Competition in Tel Aviv, Nena Wideman Competition in the US and the Francois Shapira competition in Israel. He is also the recipient of the 2004 Salon di Virtuosi Career Grant and the America Israel Cultural Foundation Scholarships. The Phillips Collection in Washington, DC chose a live recording of one of Mr. Goldstein’s recitals there for its first CD release. Other recordings include solo recital programs through the Jerusalem Music Center “Mishkenot Sha’ananim” and the Israeli Music Institute featuring works by Israeli composers. Mr. Goldstein graduated from the Peabody Conservatory where he studied with Leon Fleisher and served as his assistant – a position assigned only to his most exceptional students. In 2019, Mr. Goldstein was elected to the Johns Hopkins Society of Scholars, an honor bestowed upon graduates of the institution who have achieved excellence in their field. He is one of only two Peabody graduates to have been selected. A dedicated and creative teacher, Mr. Goldstein was appointed the Jack Strandberg/ Missouri Endowed Chair and Distinguished Visiting Piano Professor at the UMKC Conservatory.

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PROGRAM NOTES Symphonie Concertante for Two Violins in A Major, Louis Spohr Louis was born to musical parents in 1784 and began learning the violin when he was five. When it was clear that his musical talent was real and worth developing his parents sent him to school in Brunswick so he could have better musical experiences. From 1805-1812, Spohr occupied the concertmaster’s chair at the court orchestra of Gotha, and from there he became concertmaster and conductor at the Theater an der Wien, where he met Beethoven. He moved to Frankfurt where he took up the post of opera director between 1817-19, and thanks to the recommendation of fellow composer, Carl Maria von Weber, he was appointed court Kapellmeister at Kassel from 1822 until his death in October 1859. Spohr was a major figure in the European musical world, both as an instrumentalist and composer, as well as in the newly developing field of conducting. He was probably the most famous violinist in Europe until Paganini arrived on the scene with his own fiery brand of pyrotechnics, but the work of Louis Spohr as violinist, composer, conductor, and teacher left its mark on the history of music in a less sensational but indisputably influential way. Spohr was considered one of the best conductors of his time. An unerring ear, imperturbable rhythmical feeling, energy, and fire, were combined with an imposing personal appearance and great dignity of bearing. He is credited with the introduction of the conductor's baton; in 1812 using letters on musical scores to find quickly and easily places in the music during rehearsals; and inventing the violin chinrest in 1820; As a teacher, he published his Violin School (1832) which became a standard in Germany. From his Kassel violin school emerged over 200 pupils, many of them holding positions in European and American orchestras. Spohr’s contemporaries placed his works on the same level as those of Beethoven, even considering him Beethoven’s heir. His approach to violin playing aimed at improving violin techniques inherited from Mozart’s time and defining the instrument’s technical possibilities for the entire Romantic period with the invention and general use of broken octaves, double-stops and the exploitation of eight or more positions. Spohr’s works can be described as following the formal Classical tradition, with an eye to new Romantic trends. In 1806 he married Dorothea Scheidler, a brilliant harpist, and immediately Spohr began composing works they could perform together, including sonatas for violin and harp. They undertook several concert tour tours together between 1806 and 1813, during which time the couple had two daughters. Other music composed during the Gotha period included several string quartets, more violin concertos, and a few duos for two violins. As a man he was universally respected, and was well-known for his humanitarian concerns and he constantly strove for better conditions and pay for his musicians.

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PROGRAM NOTES On a personal level, he married in 1806. His wife was Dorothea Scheidler, a brilliant harpist, and right away Spohr began composing works they could perform together, including sonatas for violin and harp. They undertook several concert tour tours together between 1806 and 1813, during which time the couple had two daughters. Other music composed during the Gotha period included several string quartets, more violin concertos, and a few duos for two violins. As a man he was universally respected, As a man he was universally respected, and was well-known for his humanitarian concerns and he constantly strove for better conditions and pay for his musicians.

Academic Festival Overture, Op. 80, Johannes Brahms When Symphony Hall opened in Boston in 1900, the prominent and opinionated critic, Philip Hale, suggested signs be posted over the doorways, reading "Exit in case of Brahms." A fire wasn't needed to empty the auditorium; merely a few bars of Brahms would do the trick. A distaste for Brahms was fashionable among the lingering pro-Wagnerians, who elevated themselves above such conservatism. Brahms, they felt, was too busy looking over his shoulder to focus on the "music of the future." Tchaikovsky threw his own tomatoes, calling Brahms "giftless" and full of "self-inflated mediocrity," and Benjamin Britten stepped outside the composers’ club long enough to say "it's not bad Brahms I mind, it's good Brahms I can't stand." We mention all of this because today, Brahms is as much at home at Symphony Hall as any in the world. His stature as a symphonist is undisputed, his two dozen chamber works are pinnacles of the literature, and his concertos, serenades, overtures, sonatas, and German Requiem form a singular and commanding voice full of ingratiating warmth and a rich, earthy quality. This certainly is the case with the Academic Festival Overture, written in appreciation for the composer's honorary degree in 1879 from the University of Breslau. Brahms wrote the work alongside his Tragic Overture, Op. 81, but rather than mirroring its serious intent, he employs a potpourri of student drinking songs strung together in a loose sonata form, and the result shows the composer at his most jovial. The music percolates with counterpoint, comic orchestral effects and soaring lyricism, and despite its lightweight veneer, its four continuos sections demand one of the largest ensembles of any of Brahms’ compositions. — Kurt Loft

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PROGRAM NOTES Piano Concerto No. 1 in D Minor, Op. 15, Johannes Brahms Nothing else like it had ever been written. Audacious, impulsive, titanic, full of the exuberance of a young man burdened by the expectations cast upon him. He had just been tagged a genius by the composer and advocate Robert Schumann, who predicted great things from the 20-year-old from Hamburg – and he didn’t disappoint. Ironically, it was Schumann’s attempted suicide that stoked the fire for the D Minor Concerto, Johannes Brahms’ monumental attempt to carve his way into an elite canon. Brahms originally conceived the work as a sonata for two pianos, and then as a symphony, but neither panned out. He spent the next four years molding both ideas into what would become a keyboard concerto. The result is music of turbulence, unanchored harmony, and soaring expression. Then there’s the shadow of Beethoven’s Ninth Symphony, which preoccupied Brahms for much of his early career. The opening movement is one of the longest of any piano concerto, clocking in at nearly 25 minutes, its stormy orchestral introduction ushering in the soloist and a series of somber chords. The tragic tone continues through all five sections – intro, exposition, development, recap, and coda – and seems intended to evoke emotional distress. If this majestic argument nearly collapses under its own weight, Brahms keeps the music moving with a countenance never again heard in his work. Unlike most concertos of the late-19th century, this section contains no cadenza for the soloist to wax virtuosic. It doesn’t need one. A plaintive adagio follows, which many believe is a tribute to Schumann’s beloved wife, Clara, whom Brahms adored. The work concludes with a vigorous rondo based on a Romani theme and the concerto’s only keyboard cadenza. If you hear hints of the finale of Beethoven’s C Minor Piano Concerto, you are correct. Some might call this plagiarism; Brahms would consider it creative borrowing.

Kurt Loft is a journalist and arts writer who has covered classical music for the Tampa Tribune and other publications for more than 40 years. He contributes similar narratives for The Florida Orchestra, Creative Pinellas Arts Coast Journal, Palladium Theater, and the Classical Voice of North America. He lives in St. Petersburg.

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Bach Festival Society of Winter Park Presents

J.S. BACH MAGNIFICAT IN D MAJOR AND HANDEL ORATORIOS Bach Festival Choir and Orchestra John V. Sinclair, Conductor

Brennan Hall, countertenor Anna Eschbach, soprano | Morgan Peckels, mezzo-soprano John Grau, tenor | Stephen Mumbert, bass Sunday, February 25, 2024• 3:00pm | Knowles Memorial Chapel

PROGRAM Orchestral Suite No. 3 in D Major, BWV 1068 (23’) I. II. III. IV. V.

Ouverture Air Gavottes I & II Bourée Gigue

From Agrippina, HWV 6 (6’) Recit: Otton, Otton qual portentoso Aria: Voi ch’udite il mio lament From Amadigi di Gaula, HWV 11 (4’) Aria: Sento la giola From Flavia, HWV 16 (6’) Recit: Son pur felice Aria: Bel centento Brennan Hall, countertenor

Johann Sebastian Bach (1685-1750)

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Georg Frideric Handel (1685-1759)

INTERMISSION From Rodelinda, HWV 19 (8’)

G F Handel

Recit: Pompe vanne di morte Aria: Dove sei, amato bene! From Saul, HWV 53 (4’) Aria: Oh Lord whose mercies numberless From Theodora, HWV 68 (9’) Recit: Most cruel edict Aria: The raptur’d soul Brennan Hall, countertenor Magnificat in D Major, BWV 243 (27’) I. II. III. IV. V. VI. VII. VIII. IX. X. XI. XII.

J S Bach

Magnificat anima mea Et Exultavit Quia respexit Omnes generationes Quia fecit mihi magna Et Misericordia Fecit potentiam Deposuit Esurientes Suscepit Israel Sicut locutus est Gloria Patri Anna Eschbach, soprano Morgan Peckels, mezzo-soprano John Grau, tenor Stephen Mumbert, bass This program is sponsored by Mr. Alexander and The Honorable Cynthia Mackinnon.

FEATURED ARTIST BRENNAN HALL, COUNTERTENOR

Photo credit: Courtesy of the Artist

Brennan Hall, a native of Orlando, Florida has attracted serious attention as an up-and-coming young countertenor. He made his professional debut singing as a soloist in Bach’s St. John Passion with the American Bach Soloists, under the direction of Jeffrey Thomas. He was praised by the San Francisco Classical Voice for his “remarkably rich voice throughout his range… and admirable musical intelligence.”

He made his Carnegie Hall debut singing in a Master Class with Martin Katz as part of Marilyn Horne’s annual series, The Song Continues. He was a featured artist in Rufus Wainwright’s If I Loved You – Gentlemen Prefer Broadway – An Evening of Duets at the 2014 Luminato Festival in Toronto and Noël Nights in New York’s Town Hall. His concert work as a soloist includes Bach’s Mass in B Minor, Haydn’s Lord Nelson Mass, Handel’s Messiah and Judas Maccabaeus as well as Vivaldi’s Gloria, Schütz’s Die Sieben Worte Jesu Christi Am Kreuz, Monteverdi’s Vespro della Beata Vergine, and Dowland’s First Book of Ayres. In the 2019-20 season, he sang the alto solos in Bach’s St. Matthew’s Passion with the Bach Society Houston and made his successful European debut at Oper Frankfurt. In 2021-22, he returned to Oper Frankfurt in Handel’s Amadigiand, made his debuts at the Bayerische Staatsoper in Shostakovitch’s The Noseas as well as with Florida Grand Opera in Handel’s Agrippina. On the opera stage, he has had leading roles in opera productions at Bloomington’s Buskirk-Chumley Theatre, with American Bach Soloists, IU Opera Theater, Indianapolis Opera, Bel Cantanti Opera Company, dell’Arte Opera Ensemble, White Box Art Center, where he sang “with exquisite control…” (The New York Times), at Juilliard’s Center for Innovation in the Arts, and sang in Daniel Bernard Roumain’s world premiere of We Shall Not Be Moved at Philadelphia Opera. Brennan made his film debut in River of Fundament, an opera film by Matthew Barney and Jonathan Bepler, which had its world premiere at the Brooklyn Academy of Music and subsequently performed several scenes from the movie at the Holland Festival in Amsterdam. Brennan Hall obtained his Bachelor of Arts degree in Vocal Performance from Rollins College in Winter Park, FL, and his Master and P.D. of Music from Indiana University’s Jacobs School of Music. In 2012, he was awarded the prestigious “Early Music America Scholarship,” in 2013, he was a semifinalist at the solo competition of the Oratorio Society of New York and in 2015, he won first prize in the international countertenor vocal competition of Havana’s festival Les Voix Humaines.

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FEATURED ARTIST ANNA ESCHBACH, SOPRANO Highly sought-after as a performer and private voice instructor in Central Florida, Anna Eschbach earned her bachelor’s degree in vocal performance from Appalachian State University and a master’s degree in vocal performance from the University of Tennessee. Born and raised in Orlando, Ms. Eschbach has performed with numerous companies throughout Florida, Photo credit: Courtesy of the Artist including the Bach Festival Society of Winter Park, Opera Orlando, the Brevard Symphony Orchestra, and the Orlando Philharmonic. Known for her performance in oratorio, guest solo appearances include Saint-Saens’ Oratorio de Noel, Mozart’s Vesperae Solennes, Poulenc’s Gloria, Rutter’s Gloria and Magnificat, and Vaughan Williams’ A Sea Symphony, as well as Orff’s Carmina Burana. Ms. Eschbach has toured internationally in Switzerland, the UK, and Kenya. Since moving back to Orlando in 2013, Ms. Eschbach has maintained a thriving private voice studio in the Orlando area and serves on the voice faculty at Rollins College and performs full time with the Basilica Choir of Mary, Queen of the Universe.

MORGAN PECKELS, MEZZO-SOPRANO Mezzo-Soprano Morgan Peckels is an active performer and highly sought-after voice teacher in the Central Florida area. Earning her bachelor’s degree from Elon University and her master’s from the Boston Conservatory at Berklee, Morgan can be seen singing with the numerous orchestras and performance groups in the state of Florida such as the Bach Festival Society of Winter Photo credit: Courtesy of the Artist Park, Orlando’s Messiah Choral Society, The Orlando Philharmonic, Space Coast Symphony, and Opera Orlando. She is a founding member of The Bach Vocal Artists with the Bach Festival Society of Winter Park, and her solo oratorio credits include Bach’s B Minor Mass, Handel’s Messiah, Vivaldi’s Juditha Triumphans, Mozart’s Requiem and Richard Einhorn Voices of Light where she was praised by Matt Palm of the Orlando Sentinel for her “hauntingly lamenting tones.” Her operatic credits include The Mother in Amahl and the Night Visitors, Kate Pinkerton in Madama Butterfly as well as roles in Trouble in Tahiti, Dido and Aeneas, and La Rondine. Morgan is currently on the voice faculty at Rollins College and runs a thriving private studio from her home in Winter Springs.

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FEATURED ARTIST JOHN GRAU, TENOR John Grau, a specialist of oratorio and opera from the Baroque to 20th-century music, has performed at the Boston Early Music Festival, the Ravinia Music Festival, the Bach Festival Society of Winter Park, the Boulder Bach Festival, the Colorado Bach Ensemble, the Oratory Bach in Minneapolis, Minnesota, and the inaugural Duke University Bach Cantata Series. As a recitalist, Photo credit: Rhianna Lynne John is a strong advocate for contemporary music and has presented the music of Bernstein and Copland. Dr. Grau received his BA from St. Olaf College, a master’s degree from Northern Arizona University, and his doctorate degree from the University of Minnesota. Having taught at the University of Colorado-Boulder and the University of Minnesota-Twin Cities, Dr. Grau is currently head of the voice division at Rollins College in Winter Park, Florida, and appears with many professional vocal ensembles. Dr. Grau’s scholarly activities contribute to vocal pedagogy, and he has presented his research on developing tenor voices using excerpts from Handel oratorio arias at the Minnesota Music Educators Association, and at the National Association of Teachers of Singing Convention.

STEPHEN MUMBERT, BASS-BARITONE Hailed as a “Scene-stealer…with an unquestionably evil-sounding bass voice and a knack for staying in character even when he isn’t the center of attention,” Stephen Mumbert is currently an Adjunct Professor of Voice at Rollins College and maintains a private voice studio here in Orlando FL. He is a graduate of Stetson University where he holds a B.M. in voice performance, Photo credit: Ruby Abreu and he also holds an M.M. in opera from The Boston Conservatory. Recent performances include Riccardo in Bellini’s I Puritani with Minnesota Concert Opera, Mozart’s Requiem with the Riverside Community Chorale and Orchestra and the Dakota Valley Symphony (broadcast on Twin Cities Public Television), Handel’s Messiah with the Villages Philharmonic, Messiah Choral Society, and Space Coast Symphony Orchestra, Jesus in Bach’s St Matthew Passion, BWV 90, and Faure’s Requiem with the Bach Festival Society of Winter Park, Ben in Menotti’s The Telephone with Musical Traditions, Mr. Gobineau in Menotti’s The Medium at the Orlando Fringe Festival, Adam in Haydn’s Creation, the Doctor in the Death of Ivan Ilych, Count Monterone in Rigoletto, and Actor 8 in All is Calm and Marco in Gianni Schicchi both with Opera Orlando, and a new opera project performing the lead roles of Guildenstern in Herschel Garfein’s Rosencrantz and Guildenstern are Dead and Hopkins in Robert Aldridge's Sister Carrie staged with the respective Grammy award winning composers in residence. Upcoming local performances include a return to Steinmetz Hall to sing the bass solos in Handel’s Messiah, bass soloist for A Classic Christmas, Bach’s Magnificat, and Voices of Light, all with the Bach Festival Society of Winter Park. Stephen is thrilled to be a founding member of the Bach Vocal Artists. 46

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PROGRAM NOTES Orchestra Suite No. 3 in D Major, BWV 1068 Of Bach’s four orchestral suites the third is the best known, largely due to the fame of the second movement, the famous “Air for the G string.” The third suite consists of five movements: and all, except for the air, are scored for three trumpets, timpani, two oboes, strings, and continuo. The oboes rarely play independently of the violins and trumpets and drums are used for color and emphasis. Typical of Bach’s suites, this one consists of mostly two-part movements based on French dances. Overture - All of Bach’s orchestral suites begin with a French overture. The slow, majestic music returns at the conclusion of the fast portion, with a repeat to the beginning of the fast section. Air - Is there a more famous piece from the Baroque era than this one? This movement is fascinating for the density of material in what is a mere eighteen measures. “Air” is in fact not a French dance, as are the other movements. It is an English term for “aria” or any lyrical work. As he usually does in the slow movements of his Brandenburg Concertos, Bach drops out the wind instruments. The movement is sometimes called the “Air for the G string” because when it is transposed to C major the entire first violin part can be played on the G string alone; the 19th century German violinist August Wilhelm did this in his transcription of the work for violin and piano. Gavotte I & II - The gavotte traces its history back to the late 16th century and continued as a popular courtly dance form to the end of the 18th century. A gavotte is a stylized French dance, moderate in tempo, always in duple meter, and with each four-measure phrase beginning half-way through a measure. It is graceful, sometimes joyful, but not as romping and raucous as a gigue. In this case, there are two separate gavottes. Bourrée - Like the gavotte, the bourrée was a French courtly dance. It is in duple meter, usually moderate to quick in tempo, and always beginning with a quarter-note pick-up. Like the gavottes, the phrases are usually four measures in length. Atypical of most bourrées, Bach experiments a bit with syncopation in the second portion of the movement: It’s not exactly jazz, but this is unusual for a bourrée, where the rhythm almost never obscures the strong beats. At this same moment, Bach shifts the music to the minor mode, and the combination of the rhythm and modality is unsettling. Gigue - In its various guises, the gigue (aka: jig, giga, or gique) appears forty-two times in Bach’s works. What they all have in common is the use of compound meter, a fast tempo, and a romping style. A few characteristics of such a work are compound meter, unpredictable phrase lengths, balanced phrasing at the beginning of sections, lively affect, one or two beats per measure, Slower tempo with the illusion of fast (the individual eighth notes go fast, but the beat is a dotted-quarter, and thus not actually as fast as the piece might appear), no harmonic change within triple groups , and jagged rhythms. — Bach Choir of Bethlehem BachFestivalFlorida.org

PROGRAM NOTES Magnificat in D Major, BWV 243, Johann Sebastian Bach Following two decades building a career in Arnstadt, Mühlhausen, Weimar, and Cöthen, Johann Sebastian Bach accepted a position in 1723 in the Saxon city of Leipzig, where he would remain for the rest of his life. The new position offered certain perks Bach found alluring, not least of which was that the city boasted a university to which his sons might aspire, perhaps catapulting them to even greater success than their father, who had not enjoyed the luxury of an advanced education. But there seems to have been another inducement: the prospect to compose sacred vocal music, which had hitherto been only an ancillary pursuit. In addition to teaching at the Thomasschule (the boarding school attached to the Saint Thomas Church), overseeing the musical programs at all four of the city’s principal churches, and organizing certain other musical activities that fell under the jurisdiction of the City Council, Bach was obligated to compose sacred music—lots of it. He was expected to write substantial cantatas for every Sunday and feast-day of the year, about sixty events in all, and he plunged into this endeavor with enthusiasm. Bach composed his Magnificat during his first year in Leipzig, perhaps for his first Christmas there—when it was most certainly performed—or conceivably for a feast day prior to that. What was performed on Christmas Day of 1723 was not quite the work we hear in this performance. That version was in E-flat major, a half step higher than the D major setting given here. Roughly a decade later, Bach revised his score. He transposed the piece into D major and adjusted numerous details of the score. Practical musician that he was, Bach almost surely prepared this for some specific performance. Both versions are splendidly scored, employing not only a five-part chorus and five vocal soloists but also the full contingent of instrumentalists available for church performances in Leipzig at that time: a pair of recorders, two oboes (doubling on oboes d’amore), three trumpets, timpani, strings, and continuo (cello, double bass, bassoons). The text of the Magnificat appears in Luke I: 46-55. Mary has been informed by the Angel Gabriel that she is going to bear God’s son, and he also tells her that her kinswoman Elizabeth is pregnant, even though she is old enough that this would not be considered possible but for divine intervention. Mary travels to visit Elizabeth, and as they rejoice together in their unlikely situations. The Magnificat is a jewel among Bach’s sacred works. It is concise, with its twelve discrete movements running less than a half hour. Bach had time constraints in mind since the piece had to fit comfortably within the span of a Vespers service. In the Magnificat, each line of text is treated as a complete, self-standing idea. The Magnificat is packed with material, but Bach, his eye ever on the clock, keeps his thematic development and contrapuntal elaboration short and to the point.

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PROGRAM NOTES The resulting succession of movements seems less crafted to inspire meditation than to entertain the listener. Adding to the sense of delight is Bach’s rampant use of word-painting, which underscores the text with descriptive musical equivalents. A listener readily grasps the rising notes of “Et exultavit” (to depict rejoicing) and the descending theme of “Deposuit” (“He has put down”). In the chorus “Fecit potentiam,” we hear the choral texture fragment at the word “dispersit” (“He has scattered”). In the concluding chorus, Bach indulges in a touch of cleverness that was already growing traditional by that time: at the words “Sicut erat in principio” (“As it was in the beginning”), he revisits the music from the work’s beginning, a twist that not only underscores the momentary meaning of the words but also rounds everything off with a winning sense of balance. —James M. Keller Program Annotator for the San Francisco Symphony and the New York Philharmonic

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TEXT AND TRANSLATION Magnificat in D Major, BWV 243, Johann Sebastian Bach 1.

Magnificat anima mea Dominum. My soul proclaims the greatness of the Lord.

Et exsultavit spiritus meus in Deo salutari meo And my spirit has exulted in God my saviour.

Quia respexit humilitatem ancillae suae; ecce enim ex hoc beatam me dicent Because he has regarded the lowly state of his slavegirl; For look! from now on [they]will say that I am blessed

Omnes generationes. Every generation.

Quia fecit mihi magna qui potens est, et sanctum nomen eius. Because he who is mighty has done great things for me, and holy is his name.

Et misericordia a progenie in progenies timentibus eum. And his mercy [continues] from generation to generation for those who fear him.

Fecit potentiam in brachio suo, dispersit superbos mente cordis sui. He has made known the power of his arm, scattered those who are arrogant in the thoughts of their heart.

Deposuit potentes de sede et exaltavit humiles. He has put down the mighty from their seats [of power] and raised up those who are lowly.

Esurientes implevit bonis et divites dimisit inanes. The hungry he has filled with good things, and the rich he has sent away empty.

10. Suscepit Israel puerum suum recordatus misericordiae suae. He has taken under his protection Israel his boy, and remembered his mercy. 11.

Sicut locutus est ad Patres nostros, Abraham et semini eius in saecula. In accordance with what he said to our fathers, to Abraham and to his seed forever.

12. Gloria Patri, gloria Filio, gloria et Spiritui Sancto! Sicut erat in principio et nunc et semper et in saecula saeculorum. Glory to the Father, glory to the Son, glory also to the Holy Spirit! As it was in the beginning and [is] now and always and throughout ages of ages. Amen.

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Bach Festival Society of Winter Park Presents

INSIGHTS & SOUNDS FOLK SONGS AND FAIRY TALES John V. Sinclair, Conductor Bach Festival Youth Choir, Rebecca Hammoc, director Clara Rottsolk, soprano | Amanda Crider, mezzo-soprano John Grau, tenor | Brandon Hendrickson, bass

Thursday, February 29, 2024• 7:30pm | Tiedtke Concert Hall

PROGRAM The Little Match Girl Passion (35') 1.

Come, Daughter

It was Terribly Cold

Dearest Heart

In an Old Apron

Penance and Remorse

Lights Were Shining

Patience, Patience!

Ah! Perhaps

Have Mercy, My God

10.

She Lighted Another Match

11.

From the Sixth Hour

12.

She Again Rubbed a Match

13.

When It is Time for Me to Go

14.

In the Dawn of Morning

15.

We Sit and Cry

David Lang (b. 1957)

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Der Schulmeister (The Schoolmaster) (18')

Christoph Ludwig Fehre (1718-1772) previously attributed to G Ph Telemann (1681-1767)

INTERMISSION Aesop’s Fables (21')

Richard Maltz (b. 1958)

Prelude

The Hare and the Tortoise

The Fox and the Grapes

The Ants and the Grasshopper

The Oak and the Reeds

The Milkmaid and Her Pail

Finale Ed Kania, narrator

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BACH FESTIVAL YOUTH CHOIR

Photo credit: Ana Hernandez

BACH FESTIVAL YOUTH CHOIR Isabella Andriolo

Lydia Gibson

Eliana Ramirez

Isla Bievins

Hudson Hamilton

Lilyanne Tindell

Erivyn Campbell

Cooper Labelle

Rebecca Ziesig

Xiongwei Cao

Daniella Labella

Grace Colon

Maricela Lawson

Madelyn Colon

Kennedy Page

Caleb Cribbs

Larissa Patterson

Mae Fofana

Alexandra Peet

Sequoia Fowler

Romy Perez

Aliyah Garcia-Munoz

Lauren Pichardo

Rebecca Hammoc, Director Sofia Cardi, Accompanist

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TEXT The Little Match Girl Passion, David Lang Come, Daughter Come, daughter Help me, daughter Help me cry Look, daughter Where, daughter What, daughter Who, daughter Why, daughter Guiltless daughter Patient daughter Patient daughter Gone It was Terribly Cold It was terribly cold and nearly dark on the last evening of the old year, and the snow was falling fast. In the cold and darkness, a poor little girl, with bare head and naked feet, roamed through the streets. It is true she had on a pair of slippers when she left home, but they were not of much use. They were very large, so large, indeed, that they had belonged to her mother, and the poor little creature had lost them in running across the street to avoid two carriages that were rolling along at a terrible rate. One of the slippers she could not find, and a boy seized upon the other and ran away with it, saying that he could use it as a cradle, when he had children of his own. So the little girl went on with her little naked feet, which were quite red and blue with the cold. Dearest heart Dearest heart What did you do that was so wrong? What was so wrong? Dearest heart Dearest heart Why is your sentence so hard? In an Old Apron In an old apron she carried a number of matches and had a bundle of them in her hands. No one had bought anything of her the whole day, nor had anyone given her even a penny. Shivering with cold and hunger, she crept along; poor little child, she looked the picture of misery. The snowflakes fell on her long, fair hair, which hung in curls on her shoulders, but she regarded them not. Penance and Remorse Penance and remorse Tear my sinful heart in two My teardrops May they fall like rain down upon your poor face May they fall down like rain My teardrops Here, daughter, here I am I should be bound as you were bound All that I deserve is What you have endured Penance and remorse Tear my sinful heart in two My penance My remorse My penance

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TEXT Lights Were Shining lights were shining from every window, and there was a savory smell of roast goose, for it was new year’s eve—yes, she remembered that. In a corner, between two houses, one of which projected beyond the other, she sank down and huddled herself together. She had drawn her little feet under her, but she could not keep off the cold; and she dared not go home, for she had sold no matches, and could not take home even a penny of money. Her father would certainly beat her; besides, it was almost as cold at home as here, for they had only the roof to cover them, through which the wind howled, although the largest holes had been stopped up with straw and rags. Her little hands were almost frozen with the cold. Her little hands were almost frozen with the cold Patience, Patience! Patience, Patience! Ah! Perhaps Ah! Perhaps a burning match might be some good, if she could draw it from the bundle and strike it against the wall, just to warm her fingers. She drew one out—“scratch!” how it sputtered as it burnt! It gave a warm, bright light, like a little candle, as she held her hand over it. It was really a wonderful light. It seemed to the little girl that she was sitting by a large iron stove, with polished brass feet and a brass ornament. How the fire burned! And seemed so beautifully warm that the child stretched out her feet as if to warm them, when, lo! The flame of the match went out, the stove vanished, and she had only the remains of the half-burnt match in her hand. She rubbed another match on the wall. It burst into flame, and where its light fell upon the wall it became as transparent as a veil and she could see into the room. The table was covered with a snowy white tablecloth, on which stood a splendid dinner service, and a steaming roast goose, stuffed with apples and dried plums. And what was still more wonderful, the goose jumped down from the dish and across the floor, with a knife and fork in its breast, to the little girl. Then the match went out, and there remained nothing but the thick, damp, cold wall before her. Have Mercy, My God Have mercy, my God. Look here, my God. See my tears fall. See my tears fall. Have mercy, my God. Have mercy. My eyes are crying. My heart is crying, my God. See my tears fall. See my tears fall, my God. She Lighted Another Match She lighted another match, and then she found herself sitting under a beautiful Christmas tree. It was larger and more beautifully decorated than the one which she had seen through the glass door at the rich merchant’s. Thousands of tapers were burning upon the green branches, and colored pictures, like those she had seen in the show-windows, looked down upon it all. The little one stretched out her hand towards them, and the match went out. The Christmas lights rose higher BachFestivalFlorida.org

TEXT and higher, till they looked to her like the stars in the sky. Then she saw a star fall, leaving behind it a bright streak of fire. “Someone is dying,” thought the little girl, for her old grandmother, the only one who had ever loved her, and who was now dead, had told her that when a star falls, a soul was going up to God. From the Sixth Hour “In the sixth hour there was darkness over all the land until the ninth hour. And at the ninth hour she cried out: Eli, eli.” “Why have you forsaken me?” She Again Rubbed a Match She again rubbed a match on the wall, and the light shone round her; in the brightness stood her old grandmother, clear and shining, yet mild and loving in her appearance. “Grandmother,” cried the little one, “O take me with you; I know you will go away when the match burns out; you will vanish like the warm stove, the roast goose, and the large, glorious Christmas-tree.” And she made haste to light the whole bundle of matches, for she wished to keep her grandmother there. And the matches glowed with a light that was brighter than the noon-day, and her grandmother had never appeared so large or so beautiful. She took the little girl in her arms, and they both flew upwards in brightness and joy far above the earth, where there was neither cold nor hunger nor pain, for they were with God. When It is Time for Me to Go When it is time for me to go Don’t go from me When it is time for me to leave Don’t leave me When it is time for me to die Stay with me When I am most scared Stay with me In the Dawn of Morning In the dawn of morning there lay the poor little one, with pale cheeks and smiling mouth, leaning against the wall; she had been frozen to death on the last evening of the year; and the new-year’s sun rose and shone upon a little corpse! The child still sat, in the stiffness of death, holding the matches in her hand, one bundle of which was burnt. “She tried to warm herself,” said some. No one imagined what beautiful things she had seen, nor into what glory she had entered with her grandmother, on new-year’s day. We Sit and Cry We sit and cry And call to you Rest soft, daughter, rest soft Where is your grave, daughter? Where is your tomb? Where is your resting place? Rest soft, daughter, rest soft Rest soft Rest soft Rest soft Rest soft Rest soft You closed your eyes. I closed my eyes. Rest soft

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TEXT AND TRANSLATION Der Schulmeister, Georg Phillip Telemann 1. Ouvertüre and Rezitativ Ihr Jungen, ihr Jungen sperrt die Ohren aug! You youngsters, you youngsters, open now your ears! Ich will mein amt verwalter und singestunde mit euch haltern. My duty is with singing and lessons now I shall be bringing. Singt alle nach, gebt Achtung drauf: Sing after me, and listen here. CDEFGAHC CDEFGAHC Das ist das ganze Fundament, auf deutsh, der ganze Grund. That is the fundamental scale, that means, the total base. Manch Kahler Lumpenhund, der dieses alles nicht versteht, sprich ja; Yet many’a turnipface, who all these things does not quite know, says so: Ut re mi fa sol la sei tota musica! Do re mi fa sol la is tota musica! Allein es ist erlogen und erstunken! But that, that is all lies and idle folly! Obgleich die dumme Welt oft Wasser hat getrunken, Although the stupid world oft water drinks and jolly, So stimmt mir doch ein Jeder bei, das Doppelbier viel besser sei. Yet everyone will surety say, that porterbeer makes better play. 2. Aria Wenn der Schulmeister singet, so klingt es wunderschön. When the Schoolmaster is singing, then it sounds wonderful. Denn wenn ich meinen Baß und Stimme will erheben, erheben, erheben, If I would sing with my bass and raise my voice, would raise it, would raise it, So muß, so muß, so muß, muß, muß, muß, Then must, then must, then must, must, must, – Rezitativ So lernt doch Achtung geben! – Then learn to pay attention! –

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TEXT AND TRANSLATION Denn wenn ich meinen Baß und Stimme will erheben, so muß, muß, muß, If I would sing with my bass and raise my voice, would raise it, then must, must, must, Wie klingt den das? Ganze schlecht, schlecht! Does that sound fine? Quite wrong, wrong! Ich muß es selbst gestehn, ich muß es selbst gestehn. I must myself confess, I must myself confess. Wenn der Schulmeister singet, so klingt es wunderschön, wunderschön! When the Schoolmaster is singing, then it sounds wonderful, wonderful! Wenn der Schulmeister singet, so klingt es wunderschön, When the Schoolmaster is singing, then it sounds wonderful, So klingt es wunderschön, so klingt es wunderschön. Then it sounds wonderful, then it sounds wonderful. 3. Rezitativ and Knabenchor Das war ein rechtes Meisterstülkke, dergleichen weder Telemann, That really was a masterpiece, I’m sure that neither Telemann, Noch Hasse selbst zuwege bringen kann. Nor Hasse himself could write one half so good. Doch hab ich weder Stern noch Glu2kke, weil mir zum äußersten Verdruß Stets eine Saudas Spiel verderben muß; Yet I have neither luck nor guidance, for to my quite unhappy shame Always a pig must spoil my singing game; Dann klingt es freilich abgeschmackt, das macht das böse Ding, der Takt, If without taste these measures are, it’s due to that bad thing, the bar, Den könnt ihr Flegel nicht begreifen, ich mag euch singen oder pfeifen. That you, you dullards don’t attain, oh! Wether y’ sing or whistle it to you. Rezitativ Um euch recht gründlich anzuführen, so wollen wir was küstliches probiere;, And since good training we are bringing, so let us now an artful song be singing; Es hat es noch Herr Hammerschmidt gemacht; es gecht nach Fugenart; Ihr Bengel, habet acht! It was by the great Hammerschmidt composed; a fugue can be supposed, You rascals, now look here! Schulmeister und Knabenchor Ceciderunt in profundum, in profundum, - nien, nien! - no, no!

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TEXT AND TRANSLATION Rezitativ Ihr Schlingel, habt nicht recht gezählt! Noch einmal fang ich an, gebt acht, daß ihr nicht fehlt! You scoundrels, you did not count right! Again now I’ll begin, watch out or fear your plight! Ceciderunt in profundum summus Aristoteles, Plato et Euripides – Rezitativ Nun, was ist das, wo bleibt, seid ihr stumm? Fürwahr! Ihr seid doch ochsenmäßig dumm! Well, what is wrong, where are you, are you stuck? Indeed! You are just like a stupid duck! Merkt auf! Acht Takte sing ich erst allein, dann fällt die zweite Stimme ein! Just count! Eight measures I will sing alone, then comes the second voices tone! Ceciderunt in profundum summus Aristoteles, Plato et Euripides, 4. Rezitativ Das war eins aus dem C, und zwar von Aristotele. That was one from the scale of C, and ‘twas from Aristotele. Es hätte noch viel lieblicher geklungen, wofern ihr bösse Jungen so wie es sich gebührt, nur hättet recht pausiert! It would have better, better yet have sounded, if only, you confounded, and that for a just cause, if you could only pause! Es wär kein Wunder nicht, daß ich längst Podagra und Gicht aus Ärgerniß bekommen hätte! Small wonder if ere now afflicted I had been with gout from anger and I’ll ply the leather! Bald schreit ihr um die Wette, bald trefft ihr keinen Ton, ihr bringt mich noch ums Leben! First scream you all together, then none seems to know how, an end to life you’re bringing! Fürwahr, ich zittre schon, ich kann vor Zorn den Takt kaum geben! In truth, I tremble now, I can the measure scarce by singing! Jedoch, was lustigs auf die Bahn, daran das Herze sich ergötzt! Oh well, some happy song now bring, and let all hearts to joy now wend! Ich will euch noch zu guterletzt erweisen was ich kann! And so to make a happy end just listen while I sing! BachFestivalFlorida.org

TEXT AND TRANSLATION 5. Aria Wer die Musik nicht liebt und ehret, wer diese Kunst nicht gerne höret, der ist und bleibt ein Asinus, der ist und Asinus, der ist und Asinus, I - a, I - a, ein Asinus, I - a, I - a, ein Asinus! Who loves not music, loves some part, who listens not to this great art, he is and stays an Asinus, he is and stays an Asinus, he is and stays an Asinus, I - a, I - a, an Asinus, I - a, I - a, an Asinus! Ein schönes Lied von rechten Meistern, kann Herze, Leib und Seel’ begeistern. Songs from a masters eternal fire, can heart and mind and soul inspire. Drum sag ich euch noch zum Beschfuß: Wer die Musik nicht und ehret, wer diese Kunst nicht gerne höret, der ist und bleibt ein Asinus, I – a, I – a, ein Asinus! I – a, I – a, ein Asinus, nus, nus, nus! So will I say yet to conclude: Who loves not music, loves some part, who listens not to this great art, he is and stays an Asinus, I – a, I – a, an Asinus, nus, nus, nus!

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TEXT Aesop’s Fables, Richard Lang I. Prelude II. The Hare and the Tortoise The Hare was making fun of the tortoise for being so slow. “Do you ever get anywhere?” he asked with a mocking laugh. “Yes”, replied the tortoise, “and I get there sooner than you think. I’ll run you a race and prove it.” The hare was amused at the idea of running a race with a tortoise, but for the fun of the thing he agreed. So the fox, who agreed to act as a judge, marked the distance and started the runners off. The hare was soon far out of sight and to make the tortoise feel how ridiculous it was for him to try to race a hare, he lay down beside the course to take a nap until the tortoise should catch up. The tortoise, meanwhile, kept going slowly but steadily. After a time, the tortoise passed the place where the hare was sleeping. But the hare slept on very peacefully, and when at last he did wake up, the tortoise was near the goal! The hare now ran his fastest but he could not catch the tortoise in time. III. The Fox and the Grapes A beautiful bunch of ripe grapes was hanging from the branches of a tree. The grapes seemed ready to burst with juice. A fox spied the grapes and his mouth watered as he gazed at them. The bunch hung from a high branch and the fox had to jump for it. The first time he jumped, he missed it by a long way. So he walked off a short distance and took a running leap at it only to fall short once more. Again and again and again and again, but he just couldn’t reach them. Then he sat down and looked at the grapes in disgust. “What a fool I am”, he said. “Here I am wearing myself out to get a bunch of grapes.” And off he walked, with his nose in the air. It is easy to belittle what you cannot have. IV. The Ants and the Grasshopper One bright day in late Autumn a family of ants was busy in the warm sun, drying out the grain they had stored up during the summer. Along came a starving grasshopper, his fiddle under his arm. He begged for a bite to eat. “What!” cried the ants in surprise, “haven’t you stored anything away for the winter? What in the world were you doing all last summer?” “I didn’t have time to store up any food”, whined the grasshopper. “I was busy making music.” The ants shrugged their shoulders in disgust. “Making music, were you? Very well, now dance!” And they turned their backs on the grasshopper and went on with their work. There is a time for work and a time for play.

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TEXT V. The Oak and the Reeds A giant oak stood near a brook in which grew some slender reeds. When the wind blew, the great oak stood proudly upright with its hundred arms uplifted to the sky. The giant oak stood tall but the reeds bowed low and sang a sad and mournful song. “You have reason to complain,” said the oak. “The smallest breeze that rustles the surface of the water makes you bow your heads, while I, the mighty oak, stand upright and firm before the howling storm.” “Do not worry about us, the winds do not harm us. We bow before them and so we do not break. You in all your pride and strength have so far resisted their blows. But the end is coming.” As the reeds spoke, a great hurricane rushed out of the north. The oak stood proudly and fought against the storm while the reeds bowed low. The wind became furious and all at once the great oak fell, torn up by the roots, and lay among the pitying reeds. It can be dangerous to ignore your weaknesses. VI. The Milkmaid and her Pail A milkmaid had been out to milk the cows and was returning home from the field with the shining milk-pail balanced nicely on her head. As she walked along her head was busy with plans for the days to come. “This good rich milk,” she thought, “will give me plenty of cream to churn. The butter I make I will take to market, and with the money I get for it, I will buy a lot of eggs for hatching. How nice it will be when they are all hatched and the yard is full of fine young chicks. Then when summer comes I will sell them, and with the money I’ll buy a lovely new dress to wear to the fair. All the young men will look at me. They will try to win my love but I will very quickly send them about their business!” As she thought of how she would settle that matter, she proudly tossed her head, and down fell the pail milk to the ground. And all the milk flowed out and with it went butter and eggs and chicks and new dress and all the milkmaid’s pride. Don’t count your chickens before they hatch. VII. Finale The tortoise learned that with a goal in sight, he could skip along with the speed of a hare. The fox found a new respect for the grapes. The ants fed the grasshopper and he worked with the ants. The reeds are happy now, but the oak doesn’t stand so tall. And the milkmaid had to stop daydreaming. Follow your dreams and see where they lead

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Bach Festival Society of Winter Park Presents

ROSSINI AND FRANCK Bach Festival Choir and Orchestra John V. Sinclair, Conductor

Clara Rottsolk, soprano | Amanda Crider, mezzo-soprano Jonathan Boyd, tenor | Brandon Hendrickson, bass March 3, 2024 | 3:00pm | Knowles Memorial Chapel

PROGRAM Symphony in d minor (39') I. II. III.

César Franck (1822-1890)

Lento – Allegro non troppo Allegretto Allegro non troppo

INTERMISSION Stabat Mater (61') I.

Stabat Mater dolorosa

II. III. IV. V. VI. VII. VIII. IX. X.

Cujus animam Quis est homo Pro peccatis Eja, Mater Sancta Mater Fac ut portem Inflammatus Quando corpus morietur In sempiterna saecula. Amen

Gioachino Rossini (1792-1868)

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FEATURED ARTIST CLARA ROTTSOLK, SOPRANO Soprano Clara Rottsolk has been lauded by The New York Times for her “clear, appealing voice and expressive conviction” and by The Philadelphia Inquirer for the “opulent tone [with which] every phrase has such a communicative emotional presence.” In repertoire extending from the Renaissance to the contemporary, her solo appearances have taken her across the U.S., the Photo credit: Courtesy of the Artist Middle East, Japan, and South America. She specializes in historically- informed performance practice and has sung with such ensembles as American Bach Soloists, Seattle Baroque Orchestra, Pacific MusicWorks, Virginia Symphony, Atlanta Baroque, Santa Fe Pro Musica, Baltimore Chamber Orchestra, Piffaro, Colorado Bach Ensemble, Seraphic Fire, New Mexico Symphonic Chorus, ARTEK, St Thomas Church Fifth Avenue, Philadelphia Bach Collegium, Trinity Wall Street Choir,and the Masterwork Chorus. As a recitalist, she has performed throughout the US, in venues including the Goethe-Institut Boston, St. Mark’s Church Philadelphia and Swarthmore College, and at the Carmel Bach Festival, Whidbey Island Music Festival, and the Brevard Music Center. Her recordings include Myths and Allegories (French Baroque cantatas with Les Délices), and Scarlatti Cantatas with Tempesta di Mare. A native of Seattle, currently based in Philadelphia, Rottsolk earned her music degrees at Rice University and Westminster Choir College and received an award for musical excellence from the Metropolitan Opera National Council.

AMANDA CRIDER, MEZZO-SOPRANO Mezzo-soprano Amanda Crider has been recognized for her “gleaming vocalism” (Boston Globe), and “superbly clear diction and warmly burnished timbre” (South Florida Classical Review). Amanda is in demand for performances of both classical and contemporary repertoire, including Handel's Messiah with Apollo's Fire and the Helena Symphony and multiple appearances Photo credit: Courtesy of the Artist with the GRAMMY® nominated ensemble Seraphic Fire, including Haydn's Creation in performances with the Fort Worth Symphony under the baton of Robert Spano. Most recently, Crider performed as mezzo soloist In Mozart's Requiem with Amarillo Symphony, Elgin Symphony and Winter Park Bach Festival. In the 2020-21 season, she appeared with Apollo’s Fire in Allure: The Three Amandas with sopranos Amanda Forsythe and Amanda Powell. A busy soloist and recitalist, Crider has appeared regularly with Seraphic Fire, Apollo’s Fire, the Bach Festival Society of Florida, the International Contemporary Ensemble, the Symphony Orchestras of Eugene, Savannah, Charlotte, Syracuse, Charleston, Amarillo, Southwest Michigan and Jacksonville. She made her Carnegie Hall debut in the fall of 2007 in Messiah with the New England Symphonic Ensemble. She has performed as a soloist in Beethoven’s Symphony No. 9, Bach’s B minor 64

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FEATURED ARTIST Mass and St. John Passion, Monteverdi’s L’Orfeo, Mozart’s Mass in C minor, Britten’s Phaedra, Bernstein’s Jeremiah Symphony, Haydn’s Lord Nelson Mass, and Ravel’s Chansons Madécasses, and has been a featured recitalist on the Trinity Church Concerts at One Series and with Five Boroughs Music Festival. Ms. Crider was a grant recipient from the Pittsburgh Concert Society, and a finalist in both the Joy in Singing Debut Artist Competition and the Jensen Foundation Vocal Competition. She was a finalist in the José Iturbi International Voice Competition and the Oratorio Society of New York Vocal Competition. Ms. Crider is the Founder and Artistic Director of Miami’s Art Song concert series, IlluminArts.

JONATHAN BOYD, TENOR Jonathan Boyd, a native of Corning, New York consistently performs to great acclaim in Europe, North America and South America. Mr. Boyd’s concert appearances have included Beethoven’s Symphony No. 9 with Opéra de Rouen Haute Normandie, Britten’s War Requiem for Orquesta Filarmónica de Bogotá, Mendelssohn’s Elijah with Fort Worth Symphony, Photo credit: Courtesy of the Artist Haydn’s Creation with the Choral Arts Society at the Kennedy Center, Mozart’s Requiem at Carnegie Hall, Dvořák’s Stabat Mater with Orchestre Métropolitain du Grand Montréal, Rachmaninoff’s Vespers with the Choral Arts Society in Washington D.C., Mozart’s Solemn Vespers at Carnegie Hall and with Maestro Nicholas McGegan and the Philharmonia Baroque in Händel’s Messiah. With I Musici de Montréal Mr. Boyd was heard in Finzi’s Dies Natalis and Britten’s Les Illuminations, and with Buffalo Philharmonic Orchestra and in a live TV broadcast with Virginia Symphony in the role of Mozart in Rimsky-Korsakov’s Mozart and Salieri. Hailed in numerous operatic roles as “…physically and vocally suited…, acting with assurance and singing with an easy lyricism” Mr. Boyd has appeared internationally with Icelandic Opera in Reykjavik Iceland, Opéra de Tours, L’Opéra de Reims, Scottish National Opera, Teatro Colón in Argenetina, Opéra de Nice, and Mr. Boyd’s success Photo credit: Scott Cook in La Traviata with Akouna, Opéra en Plein Air, was heard by thousands in the outdoor performance at Le Sénat in Parc Luxemburg of Paris. Noted North American engagements from recent seasons include Portland Opera, Pittsburgh Opera, Seattle Opera, Atlanta Opera, Austin Lyric Opera, multiple appearances with San Francisco Opera, San Diego Opera, L’opera de Montreal, and New York City Opera. Composer Lee Hoiby personally chose Mr. Boyd to create the role of Romeo in his opera Romeo and Juliet, subsequently Mr. Boyd had the honor of performing selections of it with New York City Opera, Stamford Symphony in Connecticut, and the National Symphony at the Kennedy Center. The full work has yet to be produced. Jonathan began his musical career at the age of 4 by playing piano, then moved to playing trumpet in high school and then started singing more seriously the last years of BachFestivalFlorida.org

FEATURED ARTIST high school, and finally attended Westminster Choir College in Princeton, NJ. Then he was invited to various resident programs such as Santa Fe Opera, Florentine Opera, and L’Opéra de Montreal leading to debuts all over North America, then Europe and South America.

BRANDON HENDRICKSON, BARITONE American baritone Brandon Hendrickson is hailed by Opera News Magazine as having a “mellifluous,” and “beautiful baritone.” Hendrickson has interpreted standard and contemporary opera, musical theater, concert work, and recital repertoire on domestic and international stages. Recently, Hendrickson portrayed the role of 1st Mate in Des Moines Metro Opera’s Photo credit: Courtesy of the Artist Emmy Award Winning Production of Benjamin Britten’s Billy Budd. Additionally, he played the role of Captain Smith in an American Prize in Musical Theater First Place Prize Winning production of Titanic: The Musical with Bob Jones University. A frequent performer of concert repertoire, Hendrickson has been featured as baritone soloist in Carl Orff’s Carmina Burana at Carnegie Hall as well as with the National Philharmonic Orchestra. He has been recently featured as baritone soloist in Cantata 212 by Bach, Mozart’s Requiem, Ein Deutsches Requiem by Brahms, Duruflé’s Requiem, and Mahler’s 8th Symphony. In addition to the National Philharmonic Orchestra, Hendrickson has appeared as guest artist with other major orchestras including the Bach Festival Society of Winter Park, The American Festival Chorus, Helena Symphony Orchestra, Great Falls Symphony Orchestra, Oklahoma City Philharmonic, Madison Symphony Orchestra, Southeast Pennsylvania Symphony Orchestra, Charleston Symphony Orchestra, South Dakota Symphony Orchestra, Baton Rouge Symphony Orchestra and Louisiana Sinfonietta. Hendrickson has performed with many nationally recognized opera companies around the United States including the Des Moines Metro Opera, Utah Festival Opera, Annapolis Opera, and The Dallas Opera. His performances on the operatic stage have included key roles in Mozart’s Don Giovanni, Mozart’s Le Nozze di Figaro, Così fan tutte, and The Magic Flute, Rossini’s Il Barbiere di Siviglia, Puccini’s La Bohème, Puccini’s Gianni Schicchi, and Die Fledermaus by Johann Strauss. Dr. Hendrickson was the recipient of an SEC Travel Grant which allowed him to present master classes and perform a recital titled “I Was There,” at the University of South Carolina with fellow LSU colleague Dr. Ana Marìa Otamendi. Hendrickson performs frequently by invitation throughout the United States. Having presented recitals in Malaysia, Canada, Ireland, and the United Kingdom, he also performed the European debut of Paul Sanchez’s song cycle “Gothic Atonement” for the Autunno Musicale Festivale in Caserta, Italy.

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PROGRAM NOTES Symphony in d minor, César Franck French music, with its concern for color and balance, stands in sharp contrast to the Austro-Germanic symphonic tradition, which emphasizes musical architecture and captures a heroic or tragic character. Neither Debussy nor Ravel wrote a symphony. Nor, for that matter, did Gabriel Fauré or Emmanuel Chabrier. Yet the lure of the symphony was strong even in France, and throughout the 19th century and well into the 20th French composers made numerous attempts to transplant the essentially Austro-German form of the symphony to their native musical soil. Franck’s Symphony in D minor fuses both traditions, combining symphonic architecture with a French concern for color and supple melodic lines. Franck was not French but Belgian by birth, and although he spent most of his career in Paris he was more receptive than most native Frenchmen to influences from outside France. This piece, Franck’s only work in symphonic form, dates from 1888 and crowns the extraordinary creative metamorphosis of the composer’s maturity. Having caused something of a sensation with his feats as a child prodigy, Franck settled into a rather staid and unremarkable career as a teacher and church organist. Although his improvisations at the organ were by all accounts phenomenal (Franz Liszt reportedly left one of these performances muttering comparisons between Franck and Bach), his early compositions were anything but that. From about 1870, Franck’s music began to take on a greater boldness, clarity, and depth of expression, and his fame now rests on those works—the Piano Quintet, the oratorio Les Béatitudes, the symphonic poem Psyché, and especially the D-minor Symphony—completed during the last twelve years of his life. Much has been written about this symphony’s “cyclical construction,” in which certain themes recur in different movements. Although such reappearances constitute an important aspect of the work, it is easy to attach too much significance to them. Each of the symphony’s three movements has its own thematic material and would stand as a satisfying symphonic section even without the melodic cross references with which Franck enriches the work. Adhering to classical precepts of symphonic design, the composer prefaces the opening movement with an introduction in slow tempo. The dark initial motif announced by the low strings during this introductory paragraph is transformed to become the principal theme of the ensuing Allegro, the main body of the movement. A second important subject, one marked by a broad syncopated rhythmic figure, appears only well after the movement is under way. The Allegretto that follows serves as both slow movement and scherzo. Its opening passage, a memorable English horn melody sung over an accompaniment of harp and string pizzicato, is perhaps the loveliest idea in the symphony, as well as the most famous. Franck develops this theme further in the brisk, scherzo like central section. The BachFestivalFlorida.org

PROGRAM NOTES finale begins and concludes with a robust subject first heard in the cellos and bassoon, but it also contains conspicuous recollections of themes from both of the previous movements. — Paul Schiavo

Stabat Mater, Gioacchino Rossini William Tell is generally regarded as being Rossini’s greatest opera. It was completed in 1829, making it his thirty-sixth opera in nineteen years. It is hardly surprising, therefore, that he wrote no more stage works during the remaining forty years of his life, although it would not be true to say that he never produced anything operatic in style; the Stabat Mater is unashamedly theatrical. The story behind the composition of the work is as involved as one of Rossini’s own libretti. In 1832 he was invited by Don Francisco Fernandez Varela, Knight of the Grand Cross of the Order of Charles III, whom Rossini had met on a previous visit to Spain, to compose a setting of the Stabat Mater. After some initial reluctance, Rossini agreed, on the understanding that the work would be for private use only, and never published. He originally planned twelve movements, but having written Nos. 1 and 5 - 9, a severe attack of lumbago prevented him from continuing. An old friend and fellow-composer, Giovanni Tadolini, agreed to compose the remaining six movements. The collaboration was kept a closely guarded secret, the work being passed off as entirely Rossini’s, and he was duly rewarded with a handsome present. Don Varela died in 1837, and immediately a Parisian music publisher successfully bid for the manuscript. Rossini was furious that the agreement had been broken, and no doubt fearful that his secret would be revealed, with dire consequences for his reputation. He successfully prevented the publication of the original version, and in 1841 removed Tadolini’s contributions and wrote four more sections of his own, bringing the total number of movements to ten. This final version was first heard in January 1842, and the work was an enormous success, with no less than twenty-nine performances in its first year. The extreme solemnity of the thirteenth-century text, a devotional poem about the Virgin Mary’s grief-stricken vigil at the foot of the Cross, could not be in greater contrast to the prevailing mood of much of the music, which at times seems completely incongruous. Rossini brushed aside any such criticism, referring to himself as ‘a musical simpleton’, and casting doubt on music’s ability to communicate any specific emotion. Most important of all, he declared, was that the music should be of the finest quality. In that he must surely be judged successful, for the Stabat Mater is full of glorious music. — John Bawden

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TEXT AND TRANSLATION Stabat Mater, Gioacchino Rossini 1. INTRODUCTION Stabat mater dolorosa Juxta crucem lacrimosa, Dum pendebat Filius.

At the cross, her station keeping, stood the mournful Mother weeping where he hung, her dying son.

2. AIR Cuius animam gementem, Contristatam et dolentem Pertransivit gladius.

Through her soul, of joy bereaved, Torn with anguish, deeply grieved, Lo! the piercing sword has run.

O quam tristis et afflicta Fuit illa benedicta, Mater Unigeniti!

O how sad and sore distressed Then was she, that Mother blessed Of the sole begotten One!

Quae moerebat et dolebat, Et tremebat, dum videbat Nati poenas inclyti.

Torn with grief and desolation, Mother meek, the bitter Passion Saw she of her glorious Son.

3. DUET Quis est homo qui non fleret, Matrem Christi si videretIn tanto supplicio?

Who, on Christ’s dear Mother gazing, Bowed with sorrow so amazing, Born of woman, would not weep?

Quis non posset contristari Piam Matrem contemplari Dolentem cum Filio?

Who, on Christ’s dear Mother thinking, With her Son in sorrow sinking, Would not share her sorrow deep?

4. AIR Pro peccatis suae gentis Vidit Iesum in tormentis, Et flagellis subditum. Vidit suum dulcem natum morientem desolatum, Dum emisit spiritum.

For his people’s sins chastised, She her Jesus Saw despised, saw Him by the scourges rent. Saw her own sweet offspring taken, and in Death by all forsaken while his spirit forth he sent.

5. RECITATIVE & CHORUS Eia, Mater, fons amoris, Me sentire vim doloris Fac, ut tecum lugeam. Fac, ut ardeat cor meum In amando Christum Deum Ut sibi complaceam.

Mother, fount of love o’erflowing, Ah that I, Thy sorrow knowing, in thy grief may mourn with thee. That my heart, fresh ardour gaining, Love of Christ my God attaining. Unto Him may pleasing be.

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TEXT AND TRANSLATION 6. QUARTET Sancta Mater, istud agas, Crucifixi fige plagas Cordi meo valide. Tui Nati vulnerati, Tam dignati pro me pati, Poenas mecum divide. Fac me vere tecum flere, Crucifixo condolere, Donec ego vixero. Juxta Crucem tecum stare, Te libenter sociare In planctu desidero. Virgo, virginum praeclara, mihi iam non sis amara, fac me tecum plangere.

Holy Mother, be there written every Wound of Jesus smitten in my heart, and there remain. As thy Son through tribulation Deigned to purchase my salvation, let me share with thee the pain. Let me weep with Thee for the sins which crucified Him while my life remains in me.

7. CAVATINA Fac ut portem Christi mortem, Passionis eius consortem, Et plagas recolere. Fac me plagis vulnerari, Cruce hac inebriari, Ob amoren Filii.

Take beneath the cross my station, Share with thee thy desolation: Humbly this I ask of thee. Virgins, Virgins all excelling, spurn me not, My prayer repelling; Make me weep And mourn with thee.

8. AIR & CHORUS Inflammatus et accensus, Per te, Virgo, sim defensus In die iudicii.

Lest in flames I burn and perish, On The Judgement day O cherish and defend me, Virgin good.

Fac me cruce custodiri, Morte Christi Praemunire, Confoveri gratia.

Christ, whene’er this world shall Leave me through Thy Mother then Receive me to the palm of victory.

9. CHORUS Quando corpus morietur, fac ut animae donetur paradisi gloria.

When the bonds of flesh are riven, Glory To my soul be given in thy paradise Paradise with thee.

10. FINALE In sempiterna saecula. Amen.

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For ever and ever. Amen.

LEARN MORE ABOUT THE

SPECIAL EVENTS

presented throughout the 89th Annual Bach Festival. BachFestivalFlorida.org/festival-event

READ ABOUT THE HISTORIC

90TH SEASON

programming to be announced this month by Artistic Director and Conductor John V. Sinclair. BachFestivalFlorida.org/90-season

ACCESSIBILITY The Bach Festival Society is committed to making its programs accessible to all audiences. Tiedtke Concert Hall and Knowles Memorial Chapel on the Rollins College campus in Winter Park have accessible entrances and parking options available, as does Steinmetz Hall at the Dr. Phillips Performing Arts Center in downtown Orlando. Please call 407.646.2182 for assistance with questions or concerns.

COMMITMENT TO INCLUSION

The Bach Festival Society of Winter Park believes that all people deserve equal access and opportunities to participate in a vibrant, creative life. We are committed to policies and practices to increase diversity in the governance and administration of the Society, to deliver programming that illuminates diverse experiences, and to engage the broader community through outreach and education.

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GIVE BACH The Bach Festival Society of Winter Park is an independent nonprofit organization that brings classical music experiences to delight, inform and inspire audiences of all ages. Your investment in the power of music will support the Society’s ongoing efforts on stage, in the classroom and across Central Florida. Please consider making a tax-deductible donation to the Bach Festival Society. There are many ways you can “give Bach.” Thank you! BachFestivalFlorida.org/giving

DONATE Securely Online www.BachFestivalFlorida.org/giving By Mail 1000 Holt Ave. #2763 Winter Park, FL 32789 By Calling 407.646.2182 STOCK GIFTS The Bach Festival Society gratefully accepts gifts of stock and distributions from retirement plans, subject to IRS guidelines. To ensure that the gift is received and acknowledged properly, please notify the Society of the pending transfer. For more information, please contact Kathy Berlinsky at KBerlinsky@BachFestivalFlorida.org or call 407.691.1056. SPONSORSHIPS Learn more about program and featured artist sponsorships by contacting Kathy Berlinsky at KBerlinsky@BachFestivalFlorida.org or call 407.691.1056. The EIN for the Bach Festival Society of Winter Park is 59-6015959. The Bach Festival Society of Winter Park’s State of Florida Solicitation of Contributions Act Registration Number is CH1655. A COPY OF THE OFFICIAL REGISTRATION AND FINANCIAL INFORMATION MAY BE OBTAINED FROM THE DIVISION OF CONSUMER SERVICES BY CALLING TOLL-FREE (800-435-7352) WITHIN THE STATE. REGISTRATION DOES NOT IMPLY ENDORSEMENT, APPROVAL, OR RECOMMENDATION BY THE STATE. The Bach Festival Society of Winter Park is a 501(c)(3) nonprofit organization. Your contribution is tax-deductible to the extent allowed by law. 72

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CONTINUO SOCIETY The Continuo Society recognizes patrons who have chosen to provide for the Bach Festival Society through their estate plans. These thoughtful legacy gifts will help sustain the Society's mission for many years to come. For more information about major and planned gift opportunities, please contact Executive Director Kathy Belinsky at 407.691.1056 or KBerlinsky@BachFestivalFlorida.org. CONTINUO SOCIETY MEMBERS Anonymous (2) John W. and Linda Cone Allen P. Andrew and Autumn Ames in honor of John M. Tiedtke M. Elizabeth Brothers* Dana and Diana Eagles Paul M. Harmon Karen and Mickey Lane in

memory of Bernice and Stanley Levy Rob and Wendy Landry Bonnie B. and Robert M. Larsen Leyse Lowry in honor of John V. Sinclair Pat McKechnie Dr. Blair and Diane Murphy

Kenneth* and Ann Hicks Murrah The Rev.* and Mrs. Eric Ravndal, III Drs. John and Gail Sinclair Bosco R. and Beverly J. Slaughter Dr. Walter Stamm Heather and David Torre

IN HONOR OF JOHN V. SINCLAIR ON HIS 25TH ANNIVERSARY

Anonymous (4) Athalia and Robert Cope Tim Delcavo Michael and Aimee Rusinko Kakos Susan D. Tucker *deceased

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JOHN V. SINCLAIR ENDOWMENT FUND FOR ARTISTIC EDUCATION Established in 2020 in honor of Dr. John V. Sinclair's 30th anniversary as Artistic Director, this fund will help ensure that future Artistic Directors will have sufficient resources to maintain a level of artistic excellence. We invite all Bach Festival patrons to join the generous donors listed below to build this important resource. Contact Executive Director Kathy Belinsky at 407.691.1056 or KBerlinsky@BachFestivalFlorida. org for details. GIFTS AND PLEDGES OF $20,000 AND ABOVE Cynthia and Alex Mackinnon The Rev.* and Mrs. Eric Ravndal, III Sally and Jack Schott The Tiedtke Family

Dan and Barbara Preslar BJ Price Ann Morgan Saurman Vivian Southwell Edward and Virginia Ubels BettyJane and Cecil Wilson, M.D.

GIFTS AND PLEDGES OF $10,000-$19,999

GIFTS AND PLEDGES OF UNDER $1,000

S. Blair and Diane Murphy Bill and Sheila Oelfke Leila Edgerton Trismen

John Adams Stewart Anderson Meg Baldwin Will and Barby Barbara Jim Beck Marianne Franus Beck Mary Berglund-Bos Bill and Becky Brown Marcia and Michael Brown Tim and Rhonda Burnham Laurie Calhoun Paul and Janet Chilcote Tom Cook and Patricia Simmons Grant and Peg Cornwell Alan and Susan Davis Daniel Flick Alice and Larry Fortunato Bill and Joanne Frederick Elizabeth Gwinn and Michael Galletta Lee and Diane Hansen Kathleen Hartung Sherwood Hawkins and Brenda Higgins Amanda Kinder Wendy and Rob Landry Karen and Mickey Lane Aaron Lefkowitz

GIFTS AND PLEDGES OF $5,000-$9,999 Kathy Johnson Berlinsky Brock and Sarah McClane Gerard and Nichola Mitchell Bosco R. and Beverly J. Slaughter GIFTS AND PLEDGES OF $1,000-$4,999 Anonymous (2) Brian Ainsley and Candice Crawford P. Andy and Autumn Ames Stewart Anderson Michael and Mabel Burridge Susan and Robert Christian Dana and Diana Eagles Alvaro and Routa Gomez Leyse Lowry Katie Mess Janice and George Meyer Beth and Jack Nagle Donald A. Nash Liana and Fred Pacilli 74

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Kay and Gerald Marin Lora MacPherson Elizabeth Maupin and Jay Yellen David Odahowski Bill and Sherry Orr Maurice O’Sullivan Liana and Fred Pacilli Martin Phillips Dan and Barbara Preslar Dr. Mark and Beverly Rich in honor of our favorite conductor Lisa and David Rosen Joe Sapora and Carol Ducas Dr. Daniel and Nancy Sharp Karyll Shaw Amanda Shoopman Diana and Tim Sisley Brian Solomon Jessica Hall Speak Matthew Swope Jodi Tassos Charles Thatcher Jeff and Kathy Thomas Susan and Michael Tucker Jeanine Viau Cezarina and Ray Vintilla Kathleen Wassum-Hame Diana Webb and T.J. Trapp Jane R. White Patty White Mr. and Mrs. Robert Whritenour Gwendolyn and Wilford Williams *deceased

OUR 2023-2024 SEASON DONORS The Bach Festival Society of Winter Park would like to thank the individuals and community partners below who have generously made a pledge or contribution in support of the dynamic artistic and educational programming and community engagement for the 89th Season. BACH FESTIVAL SOCIETY VISIONARIES $100,000 AND ABOVE Bach Festival Choir Orange County Government through the Arts and Cultural Affairs Program State of Florida, Department of State, Division of Arts and Culture Beth and Jack Nagle Rollins College United Arts Central Florida J. S. BACH LEADERSHIP COUNCIL $50,000 - $99,999 Jessie Ball duPont Fund Elizabeth Morse Genius Foundation CONDUCTOR'S CIRCLE $25,000 - $49,999 Winifred Johnson Clive Foundation Mr. Alex and The Hon. Cynthia Mackinnon Richard Russell and Thomas Ouellette Sally and Jack Schott The Hon. Winifred J. Sharp COMPOSERS CIRCLE $15,000 - $24,999 John V. Frank The Joe and Sarah Galloway Foundation Ginsburg Family Foundation Massey Services, Inc. The Tiedtke Family SAINT CECILIA CIRCLE $10,000 - $14,999 David and Judy Albertson Michael and Aimee Kakos Chesley G. Magruder Foundation Wayne and Robin Roberts Leila Edgerton Trismen CHORAL CIRCLE $7,500-$9,999 Kathryn and the late Bud Grammer

Thomas P. and Patricia A. O'Donnell Foundation Sarah Ravndal- in Loving Memory of my husband, The Rev. Eric Ravndal III Bosco R. and Beverly J. Slaughter PATRON'S CIRCLE $5,000 - $7,499 Anonymous (4) Kathy Johnson Berlinsky Jeff and Nichole Bromme Cynthia Brumback Festival of Orchestras Endowment Fund Sheryl Kerr Beverly M. King Andrea and Philip Kobrin Bonnie B. and Robert M. Larsen Dr. Hugh F. McKean Memorial Fund Charles Hosmer Morse Foundation Richard Russell and Thomas Ouellette Kelly Price Dr. MK Reischmann Dr. John V. Sinclair and Dr. Gail D. Sinclair George R. and Eleanor C. Taylor in memory of The Rev. Eric Ravndal, III John Templeton Foundation Dr. Joe and Sue Warren Welsh Charitable Trust Marchetta Tate Wood ARTISTIC CIRCLE $2,500 - $4,999 The Brumback Family in memory of The Rev. Eric Ravndal, III Patsy L. Duphorne Dana and Diana Eagles Jeff and June Flowers Giving Fund Jeannette Leinbach David R. Mattson The Mayflower Retirement Center, Inc. Bj Price Ann Saurman Dr. Tracy Truchelut and Mr. Robert A. White BachFestivalFlorida.org

2023-2024 SEASON DONORS BENEFACTORS $1,000 - $2,499 Anonymous (3) Anonymous in memory of Clifford and Marilyn Lee Anonymous in Memory of The Rev. Eric Ravndal, III Keith and Eleanor Ackermann David and Judy Albertson John W. and Linda Cone Allen Mr. and Mrs. P. Andy and Autumn Ames, In Memory of John M. Tiedtke Tim and Sue Antonition Ellen Arnold Jay H. Berlinsky William Hunt Bieberbach Donna Borko Michael and Mabel Burridge Tom and Kathy Cardwell O'Ann and Pat Christiansen Robert and Athalia Cope Alan and Susan Davis Lee Eubank Susan and Randolph Fields Dr. and Mrs. Robert G. Flick Barbara and Richard Fulton in memory of The Rev. Eric Ravndal, III Linda Modrak and William Gallo G. Randall and Nancy Gibbs in honor of John Sinclair Alvaro and Routa Gomez Freddi and Jim Goodrich Mrs. Janice Granier Gruber Wallace H. Hall Paul M. Harmon Dr. Grant Hayes Dr. Mimi Hull Allen and the late Dana Irwin Nigel John and Heather Badawi John Ann Kurth in memory of Sylvia Kurth Wendy Landry The Lee Foundation Leyse Lowry Edward Manning Jody and Craig Maughan Elizabeth Maupin and Jay Yellen Dr. Margaret McMillen 76

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Jeff and Mindy Moore John Niss and Lisa Mouton William and Sheila Oelfke Leslie King ONeal Pat and Randy Robertson Dr. F. Robert and Norene Rolle Joan Ruffier and Edward Manning in Memory of The Rev. Eric Ravndal, III Sara and Bill Segal Dr. Karyll N. Shaw Sidhu Family in honor of The Rev. Eric Ravndal, III Fred Lyndon Stone John and Beatriz Struck Jodi Tassos Jodi Tassos in memory of John Tassos Kathryn C. Ustler Dr. Nancy van den Berg Hardy Vaughn and Betty Brady Hardy Vaughn and Betty Brady in Memory of The Rev. Eric Ravndal, III Gwendolyn B. and Wilford J. Williams Betty Jane and Cecil Wilson, MD FRIENDS $500 - $999 Anonymous (5) David B. Baer Richard O. Baldwin, Jr. Dr. and Mrs. Donald G. Beyer Carol Beyer in memory of Dr. Don Beyer Carol Beyer David Caudle and Gil Villalobos Larry and Jennifer Coates Thomas Cook and Patricia Simmons Mary Anne Elwood Raphael Fernandez and Family Arunas E. Gasparaitis, MD Stan and Regunia Griggs Gregg Gronlund Family John and Jennifer Hallenbeck Allison and Peter Hosbein Lars and Julie Houmann Bette Jore Frank and Etta Jean Juge Dr. Susan Cohn Lackman and Dr. Richard D. Knapp

2023-2024 SEASON DONORS Rita Lowndes Dr. Jim Madison Susan Miller D'Arcy Murphy Eva Burbank Murphy Donald A. Nash in memory of Marie D. Nash Jane Secrist Newnum James F. Niss Stuart E. Oleson Dr. Daniel and Lesley Podberesky Dan and Barbara Preslar Dr. and Mrs. Mark and Beverly Rich in loving memory of Dr. Seymour Cohen Dr. Richard Sandler Jim and Pat Schroeder Dr. Mubarak Shah and Ms. Becky Lee Lee and Judy Van Valkenburgh Nancy R. Wagers Harold and Libby Ward Diana Webb and Dr. T.J. Trapp Craig and Jeanne Weeks Jane R. White SUPPORTERS $250 - $499 Anonymous (3) Judy Alper Phil and Jennifer Anderson George and Leslie Andreae Lawrence D. Brown, M.D. Brenda Bullock-Paget Susan and Robert Christian Guy and Donna Colado Endean Fund - Mr. Jeffrey Endean and Dr. Myrna Endean The Honorable and Mrs. William Frederick Daniel Flick Dr. and Mrs. Thomas Grau Larry and Debbie Halye Kathryn Harbaugh Patricia Higginbotham Rebecca Hull Mr. & Mrs W H Jayne, III The Hon. Toni Jennings Kenneth and Ann Hicks Murrah Endowment Bob and Betty Kimbrel Carol Klim

Paul and Nola Knouse Dr. Yen-Yen Kressel Neva and Bill Meek Lois H. Mills Barbara and Peter Minderman Ann Hicks Murrah Jocelyn Amalong Oehmler Leslie King O'Neal Liana and Frederick Pacilli Nancy F. Peed Dr. Calvin and Pamela Peters Roger D. and Rosalind Ray John and Virginia Rigsby Joy Roney William C. Schwartz Fund Tyler Simonton Jeffrey T. Spoeri Rene Stutzman Jackie and Rod Sward Amie H. Tishkoff Barbara L. Turner Paul and Madeleine Vilmos Cezarina and Ray Vintilla in honor of Stela and Dumitru Toaxen Kenneth Ward Katy Moss Warner Carrie and Kevin Wendelburg Susan Whritenour CONTRIBUTORS $100 - $249 Anonymous (11) Ruby Abreu in honor of Jane Secrist Newnum David Aiken Stewart and Robin Anderson Nancy Appich Margaret Atkins Russell and Meg Baldwin Mary D. Balk Will and Barby Barbara Denise Schabacker Barnes Jim D. Beck Jerry Janesick and Cheryl Bollinger Kathleen McKee Brenner Bill and Becky Brown Lucie Broyles Tim and Rhonda Burnham BachFestivalFlorida.org

2023-2024 SEASON DONORS Colin Byrne and Bert Rodriguez Linda Carpenter Chance and Christina Carter Anne Claiborne MD Martin and Susan Collins Commerce Bank & Trust Mr. and Mrs. Francis Conway Terry and Paul Creighton Diane Culler G. Dappert and J. Wixted Edward and Janet Davenport Carl and Carrie Davis Dante Duphorne Betsy Gardner Eckbert Hoyt and Charlene Edge Marjorie and Harold Emmert Mary Frances Emmons Mr. and Mrs. John Engle Candice T. Erick Elizabeth and Philip Eschbach Deirdre and Shayne Floyd in memory of Dr. Donald Beyer Effective Financial Services Inc. Rosemary Frankwick Christina and Brad Gant Elicia Garcia Penny S. Gilman Gail Graham Mike and Ceil Graham Dr. Scott Greenwood and Dr. Pamela Freeman Donald and Mary Pat Guske in memory of Dr. Donald Beyer Marty and Mike Haddad Bea Hoelle Dr. and Mrs. G. Wyckliffe Hoffler Silvia S. Ibanez Beth and Jack Isler V.J. James in Memory of The Rev. Eric Ravndal, III Ann Johnson Leslie and Sondra Jones Gary Kane Maria Keller Richard and Martha Kessler Mary Swain Landreth Emily Lawton 78

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Aaron Lefkowitz Dr. Michael and Diane Levine M.J. Lowitz Ms. Lora MacPherson Brian M. Malec Gerald and Kay Marin Shelley and Doug Mathews Carolyn Maue and Bryan Hunt Justin McGill in memory of Joy Groves McGill Pat McKechnie Dr. and Mrs. Robert Metzger Friend of the Bach Festival Choir Congressman John L. Mica Carolyn Minear Geoffrey C. Moehl Joseph Mundy and Thomas Bastian Linda Naughtin Roxanne Niles Paul and Betsy Owens M. Carmela Pantano in memory of Dr. Donald Beyer Margaret A. Patten Oliver and Kim Peters Sue and Ed Peterson Martin Phillips David Rea Tom and Cathy Regan Peter Riddleberger in memory of Philip Springer Bradley Roberts Holly Rogers Jane and Bruce Scamehorn Paul Schmalzer Nancy Seaman in loving memory of Hod Seaman Mr. and Mrs. Joseph E. Sichler III William and Dorothy Silverman Diana Sisley Judith Smelser Celnah Smith in memory of my husband Leon Smith Vivian Southwell in memory of Dana Irwin Elizabeth Stewart Dawn and George Sumrall Vernon Swartsel Trivergent Trust in Memory of The Rev. Eric Ravndal, III

2023-2024 SEASON DONORS Tim and Barbara Trombitus Susan and Michael Tucker Edward and Virginia Ubels Tye Van Buren Kim van Nymegen In honor of Peter Schreyer, Crealde's Executive Director Madeline Wiley

Stuart Wills Laura M. Woodbury Nicholas Yarnold Dr. and Mrs. Lee Zehngebot Armand and Alison Zilioli Mary Lou Zobel Hans Zwart

* Donors in the above list are recognized for their gifts and pledges received in support of the 2023-2024 Season prior to publication. Please advise us of any errors or omissions.

We are grateful for the generous support of donors like you. View the full donor report including the most recent gifts since publication of this program at BachFestivalFlorida.org/donor-list

GIVE BACH The Bach Festival Society of Winter Park is an independent, nonprofit organization that brings classical music experiences to delight and inspire audiences. Please consider making a tax-deductible donation to the Bach Festival Society. There are many ways you can “give Bach.” Thank you! BachFestivalFlorida.org/giving BachFestivalFlorida.org

Collaborative Campaign for the Arts & United Arts of Central Florida Donors United Arts of Central Florida is your arts agency uniting the community and fueling the arts. With the help of individual donors, corporations, foundations and public funding, United Arts inspires creativity, builds community and strengthens the economy in Central Florida. United Arts is proud to facilitate arts education programs for all ages and provide critical funding and comprehensive marketing for local art, science, and history organizations and individual artists. Leading one of the largest collaborative fundraising campaigns in the country and uniting the regions cornerstone arts and cultural organizations, United Arts is dedicated to ensuring the arts are for all. United Arts is deeply grateful to its donors and community partners for their investment in and support of Central Florida’s creative community and the enormous impact it has on our lives every day.

The following contributions were made to United Arts or the 2022 Collaborative Campaign for the Arts between July 1, 2022 – June 30, 2023. www.unitedartscfl.org | 407.628.0333

CORPORATE GOVERNMENT DONORS $100,000+ City of Orlando and Employees Darden Restaurants, Inc., and the Darden Restaurants Foundation Dr. Phillips Charities Elizabeth Morse Genius Foundation Inc. Florida Department of State National Endowment for the Arts Orange County, Florida and Employees, and Orange County Arts & Cultural Affairs Walt Disney World Resort and The Walt Disney Company Foundation University of Central Florida

$50,000 - $99,999 Anonymous Duke Energy and Duke Energy Foundation and Employees Frontline Insurance and Lanier & LaVoyce Porter 80

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The Massey Services Family and Team Members

$25,000 - $49,999 Florida Blue Greater Orlando Aviation Authority Orlando Magic and Employees, and Orlando Magic Youth Foundation Universal Orlando Foundation

$10,000 - $24,999 Anonymous The Ballet Academy of Central Florida Bank of America Central Florida Foundation City of Winter Park Florida Charities Foundation Lowndes and Employees OUC-The Reliable One and Employees OX Group, LLC SchenkelShultz Verizon Wisne Charitable Foundation Writer’s Block Bookstore

$7,500 - $9,999 Get Off the Bus LLC Harbinger Capital Advisors KPMG, LLP Seretta Construction, Inc.

$5,000 - $7,499 Anonymous AmFund The Commerce Fund of Florida Crystal Photonics, Inc. Darden Credit Union Drew Johann on behalf of Stifel Ernst & Young LLP Fifth Third Bank Florida Theatrical Association Gary Lambert Salon in honor of Robert Hill MSL CPAs & Advisors Orlando Health Publix Super Markets Charities Rotary Club of Winter Garden SPM, LLC WeldenField Development Upshot

UNITED ARTS CENTRAL FLORIDA DONORS Corporate and Government Donors ((cont. cont.))

$2,500 - $4,999

$1,000 - $2,499

Anonymous ABC Fine Wine & Spirits Wayne Dictor/Dictor Financial LLC Downtown Arts District Drive Shack Edyth Bush Charitable Foundation Hilb Group of Florida Joshi Law Firm, PA Little Diversified Architectural Consulting The Mayflower Retirement Center, Inc. NEI General Contracting The Orlando Law Group Orlando Sanford International Inc. Qwick Ray & Nicole Reed - Cutco Cutlery The Schaller Group Tavistock Development Company Edward Whalley - Anthros Inc. Todd Wheeler - Wheeler Projects Inc.

Anonymous Advanced Behavioral Health Center The Balmoral Group, LLC CannaBus LLC Caribe Royale Orlando Diane Meiller and Associates Inc. - Diane Meiller-Cook The Earl and Bettie Fields Automotive Group Foundation, Inc. Mount Dora Adventure Tours Enterprise Fleet Management Equitable Wealth Management Strategies Douglas Foreman Fringe Benefit Plans Full Sail University Gold Key Roofing Greg Neal - Neal Pottery Hilton Orlando HIP3 Home Improvement Pros Hoagland Law PLLC Hometown Entertainment The Joelson Foundation Leviton Manufacturing Company

Marcus & Millichap Meehle & Jay PA The Mount Dora Bistro Mount Dora Women’s Committee of Fine Arts Osceola County Board of County Commissioners Park Ave CDs Maegan Pierce and Behavior Concierge Pineloch Management Corporation Piñero Preventive Medical Care Premier Oracle Elevator The Ritz-Carlton & JW Marriott, Grande Lakes Rollins College Seaside Bank and Trust Shamrock Management LLC Sihle Insurance Group Steamroller Studios Sunrise Bank - Barry Griffiths Tailside Aviation Valencia College Weedies World Famous Winter Park Publishing Company LLC

Individual and Family Foundation Donors

$100,000+ Anonymous Laurence and Susan Costin Ginsburg Family Foundation Helen Leon

The Mary Palmer Family Foundation Harold and Rosy Mills John and Audrey Ruggieri Frank Santos

$50,000 - $99,999

$25,000 - $49,999

David and Judy Albertson John and Lee Benz Frank J. Doherty Janet Gamache Kay Hardesty Logan Foundation Larry Kellogg and Cathy Roth

Anonymous Jim and Barbara Caldwell Tom and Kathy Cardwell Elaine Berol Taylor & Scott Bevan Taylor Foundation Mr. Alex and The Hon. Cynthia Mackinnon

Wayne and Robin Roberts Sally and Jack Schott Jim and Valeria Shapiro Winifred J. Sharp and Joel H. Sharp, Jr. Chuck and Margery Pabst Steinmetz Brandon Colte Suggs Dr. Joe and Sue Warren Leslie Warrington Bailey Al and Brea Weiss John & Lisa Westlake Gail and Michael Winn

BachFestivalFlorida.org

UNITED ARTS CENTRAL FLORIDA DONORS Individual and Family Foundation Donors (cont. cont.))

$10,000 - $24,999 Anonymous Keith and Eleanor Ackermann John W. and Linda Cone Allen Margaret Atkins Colonel Christian J. Becht and Mrs. Elizabeth M. Becht Caroline Blydenburgh Jill and Dean Bosco Susan K. Bright and Lawrence W. Stevenson Jody and Roslyn Burttram Debbie and Larry Cappleman Chicone Family Foundation Steven P. Clawson Hillary and Jay Cohen Valerie and Paul Collins Elizabeth Nerius Conklin Judy Duda Andrea T. Eliscu Linda Ferrone Freddi and Jim Goodrich Grant E. Gribble Denise Hall Dr. Stephen F. Heller The Henderson Family Foundation Bea Hoelle-Hawes Michael and Aimee Kakos Cathy Karunaratne Mary F. Kelsh Skip Kirst & Eric Hogan Fred and Judy Klipsch Pat and Audrey Knipe Rita Lowndes Melody and Brendan Lynch David and Eydie MacInnis Jay and Traci Madara Ken and Trisha Margeson McIntyre and Skaggs Charitable Trust Jason & Ronni Mendelsohn in honor of Robert Lurie Geoffrey C. Moehl Jeff & Mindy Moore Scott Moscrip Jim and Mari Moye 82

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William and Kyra Muntan Laurie Nicoletti Mark and Jennifer O’Mara Deede Sharpe and John Parker Jim and Alexis Pugh Shyla G. Reich in memory of Steve Reich John Daniel Ruffier Rick Schell and Scott Joseph Paula Shives Ann and Charles Simpson Bosco R. and Beverly J. Slaughter Diane and Robert Smedley Andrew Snyder and Christopher Nemethy Ellen and Simon Snyder Stephen H. Goldman Charitable Foundation Philip & Sigrid Tiedtke Larry Tobin Tre Kathryn C. Ustler Hardy Vaughn and Betty Brady Nancy R. Wagers Lance & Patricia Walker Jayne and John Willis Nancy & Jonathan Wolf Larry and Laura Zirbel Zimmerman Foundation, Inc.

$7,500 - $9,999 Anonymous Aunt Jeanie Dykes and Lisa Simonton Everett Sue Ellen Franklin Jane and Charlie Gibbons Bruce Gould Jacquelyn Hughes Dr. Mitch and Swantje Levin Blair and Diane Murphy Paul Oppedisano Mrs. Sarah Ravndal Dr. Richard Sandler Geanne and Adrian Share Larry Slung

Neil and Malka Webman Craig and Jeanne Weeks

$5,000 - $7,499 Anonymous Lindsay and Dan Abt Mr. and Mrs. P. Andy and Autumn Ames, In Memory of John M. Tiedtke Phil and Jennifer Anderson George and Leslie Andreae Ann & Bill Wallace Foundation Jim and Elli Atchison - Atchison Family Fund Walter J. Bissett and Bernard Foong Sally Blackmun and Michael Elsberry Daniel Patrick Blumberg Kirt and Cheryl Bocox James F. Brown, MD Cynthia Brumback Bettina Buckley and Oscar Shearer Drs. Lynn Le and Wei-Shen Chin Bonnie and Van Church Mrs. Claudia De Garay-Debler and Mr. Richard Debler Francie and Wayne Dear Susan M. DeNardis Jim Dorman Kristy Doyle Turner & Bob Turner Bill and Jennifer Dymond Janette Estep Susan and Randolph Fields Sarah B. Flynn Barbara and Richard Fulton Dr. Matt Gay Marilyn S. Goldman Kenneth and Marcia Goodwin Mrs. Janice Granier Gruber Larry Gutter and Debbie Meitin Mr. and Mrs. L. P. Herzog

UNITED ARTS CENTRAL FLORIDA DONORS Individual and Family Foundation Donors (cont. cont.)) Donna and Bill Hoffman Elizabeth and Justin Horn Eric Horner and John Hamilton Mimi Hwang Dr. Diane M. Jacobs Jeff and June Flowers Giving Fund Kathy Johnson Berlinsky Keith and Claudia Kasen Henrietta Katzen Sheryl Kerr Embry J. Kidd and A. Noni Holmes-Kidd Matthew and Laura Kleinsteuber John P. Klumph Andrea and Philip Kobrin Harvey Kobrin and Faye David Robert & Melissa Kohn Diane N. Kuhl Dr. Susan Cohn Lackman and Dr.Richard D. Knapp William and Barbara Lynch Jody and Craig Maughan Dr. E. Ann McGee Suzanne McGuire Jamee & Gilbert Miller Beth and Jack Nagle Steve Nakagawa Daniel and Dana O’Keefe Rosemary O’Shea Philip and Susan Sargent Family Charitable Fund Dr. Gloria Pickar Christina and Gabriel Preisser Chris Ranck John and Monica Rivers The Roper Family Foundation Jeffrey and Lisa Rosen Corrine K. Roy Maria Ruiz-Hays Steve and Melanie Ruta Marco J. Santoro and Kimberly Dorsett James and Martha Seneff Dr. John V. Sinclair and Dr.

Gail D. Sinclair Martha Stonerock Dr. Stephen Summers Susan Forster Family Trust Christopher and Maria Sutorik George R. and Eleanor C. Taylor in memory of The Rev. Eric Ravndal, III Alex Tiedtke Joan and Harry Travis Tamara L. Trimble Leila Edgerton Trismen Dr. and Mrs. Paul and Madeleine Vilmos Waggoner Foundation in memory of Robert Waggoner Robert Wahl Dr. Carolyn Walker Hopp Louise and Richard Weiner Barbara Weinreich Bill and Alice Weir Alan Whittaker Connie Wightman and Rob Reedy Shelburn and Rita Wilkes William Newkirk and Cheryl Tschanz Family Foundation Teresa Williams Bob and Janet Ziomek

$2,500 - $4,999 Anonymous 2 People Russell P. Allen Andy and Phyllis Ayoob Fund Susan and Gordon Arkin Tony and Sharon Arroyo Marci Babione David B. Baer Beth Barnes and John Crocitto Joe and Carol Bert Carol-Lynn and Frank Bevc John and Diane Bishop

Carolyn Blice Albert and Cheryl Bogdanowitsch Dr. and Mrs. Gregory N. Boger Sara R. Brady Pam Brandon Sherry Bremer Rafael A. Castillo Lisa and Raul Ceide Linda W. Chapin O’Ann and Pat Christiansen Jennifer Clark Evins Dottie Clendenin Michael and Jennifer Coleman Cheryl and Tom Collins Ted and Carol Conner Mark and Laura Cosgrove Kathy K. Cressey Dan Croom and Jill Robison Croom Susan M. Curran Alan and Susan Davis Drs. Ronald and Nancy Davis David Duncan Patsy L. Duphorne Michael Dwulit Dana and Diana Eagles Ted B. Edwards George S. Fender in honor of American military forces Steve Fessler and Randy Lord Sam Flax Clive Frazier Rachel and Rob Gebaide Kathryn and Bud Grammer Steven W. Grant and Janice Paperny Barbara Grodin Dr. and Mrs. H.E. Gross Larry and Debbie Halye Roseann Harrington Dave and Nancy Harvey Jim Helsinger and Suzanne O’Donnell Larry Henrichs BachFestivalFlorida.org

UNITED ARTS CENTRAL FLORIDA DONORS Individual and Family Foundation Donors (cont. cont.)) Ann Hicks Murrah Rob & Michael Highfill-Spradlin The House Family Dr. Mimi Hull Beth and Jack Isler Toni Jennings Patricia A. Johnson Bette Jore Frank and Etta Jean Juge Eliza and Matt Juliano Jennifer Lowndes and Tim Boeth James R. Lussier and Nancy C. Jacobson John and Pamela Lyle James and Sarah Martin David R. Mattson Deborah L. Mead Albert and Maija M. Michejda Dr. Alfonso Migliara Jr. Andrea and Van-Tam Nguyen Jenise Osani Michelle and David Peck David Percival Dw Phineas Perkins Dr. Daniel and Lesley Podberesky Richard C. Riccardi John and Virginia Rigsby Nicholas Riippa & Dominic Del Brocco Patricia Rixmann Lesley and Barry Rubin Ann Saurman Eileen Schein Sara and Bill Segal Mr. Jamel Shabazz Bill and Dottie Silverman Mr. and Mrs. William Slot Paula Stuart Carol Studer Jackie and Rod Sward Rebecca and Blaine Sweatt Winston Taitt Leslie J. Temmen Cynthia Tomlinson 84

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Alvin Urena Stacia L. Wake and Karl Schuberth Harold and Libby Ward Dr. Peter Wearden Peter and Frances Weldon George and Cynthia White Michael & Diane White Ed Wimp Lori Pearson Wise and Daniel Wise

$1,000 - $2,499 Anonymous R. Scott Abrahams Millicent Adams and Michael Anthony Jeanne Bray Ailes Joseph Ales, Jr. and Stephanie Curry Ales Kay Allen Edwin L. Anderson Anonymous in memory of Clifford and Marilyn Lee Melinda B. Antalek Tim and Sue Antonition James Armstrong Ellen Arnold Maria-Elena Augustin Kai Bailey Tom and Lara Baker James and Deborah Balaschak David F. Baldree and Derek Carter Nathan and Lynda Balint Richard and Nancy Banks Mr. and Mrs. Peter C. Barr Cathy and Carlos Barrios Jody and Nicole Barry Andrea and Dick Batchelor Deborah and Edward Beidel Bradford and Jennifer Benn Jane Berg Jay H. Berlinsky Daniel Betancourt Paul and Collette Beuther

Amogh Bhonde and Sukhada Gokhale Jacques D. Blais Ann & Derek Blakeslee Darryl and Mary Bloodworth Lauren and Barry Bloom Theresa and Angelo Boer Bill Booth Donna Borko John D. Boulden Carolyn E. Bourne Jacqueline Bozzuto Berl and Katherine Brechner Alana and Matt Brenner Breck and Lauren Brewer Howard Britt Maureen and Chris Brockman Lyman and Janice Brodie Marian and Edward Bromberg Lawrence D. Brown, M.D. Randy Brown Christine and Hans Bucheli Jeff Buhler Eva Burbank Murphy Stephanie Burk Michael and Mabel Burridge Carlos and Tracy Carrasco Alexander and Melinda Cartwright Michael and Linda Cegelis Diana and Fred Chambers Frank and Ellie Chase J. Gene Chen and C. Skye Chen Jason Chepenik Rachel Chipman Allen Angela Cohen Dr. Jeff Cohen and Luci Belnick Kelly Cohen Dr. Anthony and Joan Colandrea, Jr. Beryl R. Colbourn Heather Jean Frances Comer Brian Comes Tracey Conner Robert and Athalia Cope David S. and Carol A. Cowan

UNITED ARTS CENTRAL FLORIDA DONORS Individual and Family Foundation Donors (cont. cont.)) Dr. Jill and Marc Craddock Mary Cravatta Terry and Paul Creighton Lisa Cuatt Cherie and Bill Dacko Mr. and Mrs. Noriko and Tom Davatelis Diane Davey and Dave Wiebe Doug Davis and Jeri Weigandt Elizabeth Davis, MD DEM Guys Mr. Duncan DeWahl and Dr. Juliet Burry Patricia C. and Jim A. DeYoung Cara and Alex Dobrev Carmen Dominguez William and Michelle Doster Donna Dowless Gail and Jim Downing Lisa Durant Sheldon Dutes Dr. Perry and Eileen Dworkin Jason Effron Rex and Kathy Elbert Tom and Janet Elrod Endean Fund - Mr. Jeffrey Endean and Dr. Myrna Endean Catherine M. Engelman Lee and Carolyn Eubank Dr. Heather Fagan and Mr. Robert Fagan Dr. Jay and Randye Falk James Farrell and Andrea Massey-Farrell Michael Filandro Mr. and Mrs. Edward and Laura Firth Nancy Ellen Flint John and Rhona Fournier Martin and Silke Galassini Deborah and Lawrence Gendzier Dr. and Mrs. Charles W. George Alan Gerber Stephanie Ghertner

Nancy and Fiona Gibbons G. Randall and Nancy Gibbs in honor of John Sinclair Jon M. Gibbs Drs. Brad and Kerry Giedd Suzanne E. Gilbert Biff and Kathy Godfrey Neal Goldner Stephen and Diane Goll Alvaro and Routa Gomez The Shelton D. Granade Family Christopher and Pamela Greening Dr. Scott Greenwood and Dr. Pamela Freeman Chuck and Lisa Gregg Christopher Grim and Melissa Queen-Grim Jean-Marie Grono-Nowry Barbara Grossman David W. Gurney, Ph.D. Jessica and Vance Guthrie Marty and Mike Haddad Edye Haddock Wallace H. Hall Andrew and Monica Hand Andrew Hardy & George Kalogridis Deryck and Michelle Harmer Paul M. Harmon Dr. Grant Hayes Marty and Jim Heekin Paul Helfrich and Jessica Hung Nathan W. Hill Danielle Saba Hollander David Horgan Mike & Kitti Hornreich Allison and Peter Hosbein Andrew and Kara Howell Bonnie C. Hubbard Jacqueline and Vincent Hughes Kevin Hunsicker Terrance Hunter and Ty’Ree Brown Ellen S. Hurwitz, PhD In honor of Peter Schreyer, Crealde’s Executive Director

In memory of Toeknee Caporelli Mr. and Mrs. George Indest Allen and Dana Irwin Libby Jackson James P. Caruso and Christine S. Caruso Charitable Fund Inc Caroline and Hugh James David and Lisa Jasmund Angie Jernigan Jim and Wendy Malcolm Fund Nigel John and Heather Badawi John Laura Johnson Daun and Lisa Junkerman Hal Kantor Allan E. Keen RK Kelley Tim Kelley Mary Beth Kelly Charline Kennedy Richard and Martha Kessler Kristopher and Brooke Kest Sheri Kettula and Denise Marra Charles and Olga King Scott King Carol Klim Eric and Rachael Kobb Joshua Kolbert Christina and George Kotsonis Micheline and Sumner Kramer Holly M. Kreisler Otto and Joan Krumpholc Patricia Lancaster Linda Landman González and Roberto González Wendy Landry Paul Lartonoix Dr. Sarah Layton Mark and Courtney Legett Dr. Michael and Diane Levine Mark and Noreen Levitt Miriam Levy and Dennis Pope Jack Lord BachFestivalFlorida.org

UNITED ARTS CENTRAL FLORIDA DONORS Individual and Family Foundation Donors (cont. cont.)) Leyse Lowry John MacDougall & Jame Lee Mann Dr. Jim Madison Sheila Mahone Renee M. Maloney Bob and Julie Mandell Edward Manning Vesta and Stephanie Marks Kevin and Ditian Dai Martin Jennifer and Joaquin E. Martinez Laureen Martinez Hilary and Ming Marx Elizabeth Maupin and Jay Yellen Dr. Donald R. McGee Deborah McGinn-Tytler Daniel and Elizabeth McIntosh Genean McKinnon Mack and Penny McLaughlin Dr. Margaret McMillen John and Rebekah McReynolds Julian and Sheryl Meitin Herbert and Toby Mendelsohn Congressman John L. Mica Mrs. Arthur L. Miller Lois H. Mills Barbara and Peter Minderman Dr. Andrew Minear Carolyn Minear Tom Miranda and Paula Eldred Clay and Kim Mitchell in memory of Lucy Lane Mitchell Linda Modrak and William Gallo Robert and Jacqueline Molsick Katy Moss Warner Karla Muniz Donna and Bruce Mylrea Mark and Wendy Nation Elisabeth Nevins JoAnn Newman Ken and Susie Ng John Niss and Lisa Mouton 86

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Odd-o-Ts’ Entertainment in honor of all those who keep us performing! William and Sheila Oelfke Dr. Ron and Nina Oppenheim Harry and Jackie Pappas Dr. Patricia Patterson Ronald and Carrie Patterson Beverly and Glenn Paulk John and Anne Perry Dr. Calvin and Pamela Peters Peter Pfaff A. Brian Phillips, P.A. Eddie and Melanie Pipkin Lizz and Tony Pittsley James F. Plugh and Dr. Robin M. Back George Poelker and Judy Black Steven and Nancy Price John and Ann Pucci Mark Pulliam and Judy St. Peter Jeanie and Fred Raffa Debby Randall Bill and Joan Randolph Bruce and LeAnne Rapée James and Beverly Rawlings Roger D. and Rosalind Ray Douglas and Carole Reece Bill “Roto” Reuter Kara Robertson Pat and Randy Robertson Dr. Cheryl Robinson Ian D. Robinson Dr. F. Robert and Norene Rolle Joy Roney Becky Roper and Mike Soucy Dr. Ante and Mrs. Giulia Rudez Judy Russell Joan E. Sanchez Diane L. Sandquist Rocky Santomassino The Sanz-Guerro Family Frank and Christine Schornagle Jim and Pat Schroeder Stefani and Paul Schulze

Pamela Schwartz Pat Scully Kathryn L. Seidel Olivia Share James G. Shepp Robert T. Shutts Sidhu Family Dr. Paul Skomsky Scott & Tina Skraban Charlie and Becca Sloan Mr. and Mrs. Dennis Smith Keith Smith and Marc Caglia Robert and Janan Smither Dennis Sobeck Gary and Barbara Sorensen David Spiegel Shannon E. St. John Linda L. Stanford Barbara Stedronsky Dr. Louis and Sara Nathan Stern Fred Lyndon Stone Kyle Sturley Rene Stutzman Randall M. Sumner and George B. Mabry Dr. Stella Sung Vernon Swartsel Jodi Tassos in memory of John Tassos Patrick R. Terry Michael Thomas and Rustin Davis Amy Thompson John and Nancy-Lee Thompson Mark E. Thompson Clinton and Renee Thompson James William Tivy Phoebe and Eliot Rosewater Thomas and Debra Tschopp Karen Tucker Jerry and Barbara Twedt Benjamin Urrutia Craig Ustler Dr. Nancy van den Berg Bernie Vatter

UNITED ARTS CENTRAL FLORIDA DONORS Individual and Family Foundation Donors (cont. cont.)) Dr. Jessica Vaught-Aviles and Mr. Juan Aviles Ms. Sterling S. Vestal Massimo and Louise Villinger Keith Walls Robert Waltman Deborah & William Watson Larry and Lynne Watson

David Kevin Weaver Miriam Weston Trudy Wild Atheka R. Williams Graham Gwendolyn B. and Wilford J. Williams Jennifer Williams and James Yannucci

Betty Jane and Cecil Wilson, MD David & Diane Withee Robert and Kate Wolverton Leighton and Phyllis Yates Tom and Penny Yochum Philadelphia Zimmermann

United Arts is deeply grateful to its donors and community partners for their investment in and support of Central Florida’s creative community and the enormous impact it has on our lives every day. learn more at

unitedartscfl.org

BachFestivalFlorida.org

OUR HISTORY The Bach Festival Society of Winter Park was founded in 1935 at Rollins College 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, pleasure, and enjoyment.” The Society decided early on to operate in partnership with Rollins College while still maintaining its status as a fully independent non-profit Ward Woodbury leads an early Bach Festival concert organization. Mrs. Isabelle Sprague-Smith, a former New York artist and school principal, was the president and driving force behind the Bach Festival Society from 1935 until her death in 1950. At Mrs. Sprague-Smith’s death, the future of the Bach Festival Society was uncertain. Rollins President Hugh McKean asked John M. Tiedtke, the treasurer of Rollins College, a music lover and Bach Festival Choir 1937 an astute businessman, to fill the opening and he agreed. Mr. Tiedtke served as Chairman of the Board of Trustees until his death in December 2004. Under his leadership, the Bach Festival Society expanded its programming to include two additional choral programs beyond the Annual Festival, top-tier visiting soloists and ensembles, and community events in Winter Park. Following Mr. Tiedtke’s death, the Society began a period of modernization and growth. Today, the Society maintains an all-volunteer choir of over 185 singers from throughout Central Florida and a professional orchestra of nearly 50 members. We present nearly 30 ticketed performances, dozens of in-school educational programs, a high school choral festival, and several community concerts; we produce recordings, present the Young at Heart Chorale, and form high-level artistic partnerships reaching approximately 50,000 people annually.

Bach Festival Society Archive

John V. Sinclair, John M. Tiedtke, Chip Weston

The Bach Festival Society is the third-oldest continuously operating Bach Festival in the United States and Central Florida’s longest-running performing arts organization. We maintain a strong partnership with Rollins College and provide high-quality performance and learning opportunities to students, faculty, and staff. Photos: Bach Festival Society of Winter Park Archives 88

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Photo credit: Sondra Jones

ABOUT BACH

MUSIC-MAKING INITIATIVES The renowned Bach Festival Choir is comprised of auditioned singers, enjoying weekly rehearsals and specializing in singing choral masterworks in partnership with the Bach Festival Orchestra. The Young at Heart Chorale is a volunteer singing group for those 55+ years young. The group has weekly rehearsals and performs outreach concerts at local community centers. The Bach Festival Youth Choirs have made their highly anticipated return this fall. Young musicians will refine their musicianship skills through weekly rehearsals and will be featured in performances with the Bach Festival Choir and Orchestra.

EDUCATION The Bach Festival Society's Fresh StARTs program places professional musicians in elementary and secondary schools to present unique musical learning experiences. The newly formed Bach Vocal Artists offer educational outreach through open rehearsals, and in-school visits. The world-renowned muscians featured in the Bach Festival Society's Visitng Artists Series often present master classes to students and patrons. These classes offer a unique perspective on the process of creating musical excellence. Our popular High School Honors Choral Festival provides valuable workshop/clinic feedback from collegiate choral directors recruited from across the country. This fesitval helps prepare high school choirs for their annual Music Performance Assessments. Bach Festival Society's newest Education program is the Choir of Distinction. Each year Central Florida choirs are invited to compete in a multi-phased audition process and adjudicated on tone, preparation and effect. The Lake Nona Singers from Lake Nona High School are the first recipient of the Choir of Distinction title. They will enjoy choral mentorship, invitations to Bach Festival Choir rehearsals and the opportunity to perform with the Bach Festival Orchestra. BachFestivalFlorida.org

BOX OFFICE TICKETS & FLEXIBLE SUBSCRIPTIONS Experience the music that is still making history – and save! Build Your Own Subscriptions Select 3-7 unique performances and enjoy a 15% discount off individual ticket prices or 8-17 unique performances and receive a 20% discount off individual ticket prices. Annual Bach Festival Subscription Savor 5 weekends of world-class performances plus special events with a 20% discount off individual ticket prices. Individual Tickets Reserved seating and General Admission tickets are on sale now. $10.00 student and educator rush tickets are available “at the door” with school ID pending availability. 10% discounts for groups of 10 or more are also available.

P U R C H AS E N OW ! BachFestivalFlorida.org/tickets BachFestivalFlorida.org/subscriptions 10% discounts for groups of 10 or more are also available.

BOX OFFICE HOURS Monday-Friday 10:00am-4:00pm

407.646.2182 203 E. Lyman Ave. Winter Park, FL 32789 2nd Floor QUESTIONS? BoxOffice@BachFestivalFlorida.org MAILING ADDRESS: Bach Festival Society of Winter Park 1000 Holt Ave. Box #2763 Winter Park, FL 32789

TICKET POLICIES Performance details are subject to change. To learn more about cancellation, exchange, and subscription policies, please visit BachFestivalFlorida.org/ticket-policy. 90

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International Recognition | Rigorous Rehearsals Challenging Repertoire Since 1935, the Bach Festival Choir has been recognized by audiences and critics alike for its exceptional musicianship, national and international collaborations, and musical versatility within the classical genre. A cornerstone of the classical music tradition in the United States, the Winter Park Bach Choir is the longest-continuously performing chorus in Central Florida and the third longest-running Bach Choir in the country.

LEARN MORE

BachFestivalFlorida.org/choir-auditions Photo credit: Scott Cook

2023-2024 Insights & Sounds: Haydn’s Music of Vienna

Thursday, October 5, 2023•7:30 pm

McCartney’s Ecce cor meum

Sunday, October 15, 2023•3:00 pm

Eroica Trio

Sunday, October 29, 2023•3:00 pm

Insights & Sounds: Handel’s Roman Vespers

Thursday, November 2, 2023•7:30 pm

A Voctave Christmas

Sunday, November 26, 2023•8:00 pm

A Classic Christmas

Saturday, December 9, 2023•2 pm & 5 pm Sunday, December 10, 2023•2 pm & 5 pm

89 th Ann ual Bach Fe s tival Adam Brakel, organ

Friday, February 2, 2024 • 7:30 pm

Fuoco Obbligato

Saturday, February 3, 2024 • 3:00 pm

Bach Vocal Artists: The Splendor of Baroque Magnificats

Friday, February 9, 2024 • 7:30 pm

Spiritual Spaces: Music to Reflect and Restore

Saturday, February 10, 2024 • 5:00 pm

Moravec & Campbell: Sanctuary Road

Saturday, February 17, 2024 • 7:30 pm Sunday, February 18, 2024 • 3:00 pm Saturday, February 24, 2024 • 7:30 pm

Concertos by Candlelight Brahms’ Piano Concerto #1, Spohr’s Concertante for Two Violins J.S. Bach’s Magnificat in D Major, G.F. Handel’s Countertenor Arias

Sunday, February 25, 2024 • 3:00 pm

Insights & Sounds: Literary Folk Songs and Fairy Tales

Thursday, February 29, 2024 • 7:30 pm

Rossini’s Stabat Mater

Sunday, March 3, 2024 • 3:00 pm

Voices of Light: The Passion of Joan of Arc

Friday, March 15, 2024 • 7:30 pm Saturday, March 16, 2024 • 7:30 pm

tenThing Brass Ensemble

Sunday, March 17, 2024 • 3:00 pm

Dvorak’s Stabat Mater

Saturday, April 27, 2024 • 7:30 pm Sunday, April 28, 2024 • 3:00 pm

Bach Vocal Artists: Songs for the Soul

Thursday, May 16, 2024 • 7:30 pm

LEARN MORE AND PURCHASE TICKETS AT BACHFESTIVALFLORIDA.ORG